Kamelot Meets Frasier: The Shadow Theory

Kamelot The Shadow TheoryOne of the year’s biggest releases, at least in the prog/power metal world, The Shadow Theory is Kamelot’s third album in the Tommy Karevik era, and their twelfth overall. It was on their third album Siége Perilous where they first introduced the much loved Roy Khan as their vocalist, but it wasn’t until its follow-up (The aptly named The Fourth Legacy) where Khan’s inclusion as a co-songwriter finally created the Kamelot magic we all love. The Khan/Thomas Youngblood songwriting duo wouldn’t suffer the expected sophomore slump either, delivering in succession albums that ranged from excellent (Karma, Ghost Opera) to downright masterful (Epica, The Black Halo). Similarly, Karevik’s first album with the band mirrored Khan’s nearly non-existent songwriting presence on Siége Perilous, as Silverthorn was an awkward, clunky affair that really could’ve used more of the new guy’s input. But just like Khan’s true unveiling on The Fourth Legacy, Karevik’s ground floor role in crafting the songs for his sophomore effort in Haven resulted in the band’s strongest album in a decade. I mention this emergent symmetry not only to point out just how much time I have on my hands to think about such things, but also to sketch out just where my expectation level was for The Shadow Theory.

 

Now I know what some of you are thinking, that this symmetry only works if you consider Haven on par with The Fourth Legacy, and truth be told Haven suffered from a few noticeable flaws, despite its largely excellent collection of songs. I wrote about this at length in my original review for that album, but the gist of it was that the band sounded inspired and reinvigorated when their songwriting leaned into Karevik’s ability to sing in higher registers. The songs that ended up being duds were the few that seemed to lack  major key melodies and power metal lift, and seemed to lean more towards an approach that I referred to as “faux-heaviness”. I’m thinking specifically of cuts like “Liar Liar (Wasteland Monarchy)” and the dreadful, industrial tinged “Revolution” (my nominee for most disappointing Kamelot song of all time). But fears that maybe the album hadn’t aged well were dispelled when I was playing it in the weeks leading up to the release of The Shadow Theory, if anything, these recent spins have reinforced my belief that its one of the band’s strongest albums. Two weak songs aren’t enough to dislodge that status, but I might have been naive in thinking that they were simply vestiges of the downtuned, minor-key driven later Roy Khan era that Youngblood and keyboardist Oliver Palotai had gotten used to writing in.

 

 

Kamelot 2018What I’m realizing after the umpteenth listen through this new album is that Karevik’s mighty vocal power and ability to sing sustained vocals in a higher register weren’t quite enough to completely shake those darker tendencies from Kamelot’s songwriting approach. Not only does The Shadow Theory not hit the same major key heights as Haven, but it doesn’t hit the same sustained emotional heights either as a result. My theory last time around was based around the possibility that Youngblood and Palotai were in the process of breaking out of songwriting tendencies that were built up over time that naturally resulted in darker albums —- their way of adjusting to Khan’s increasing preference (and controversial speculation here, his declining range) for a lower to middle register vocal approach. But I think I may have overlooked something else entirely that smacked me in the face when I went back recently to read/watch a bunch of interviews with Youngblood. He said in response to several questions over those interviews that the band moved away from their more mythological/fantastical lyrical imagery because they found it limiting over time. In interviews for the new album, he was keen to discuss the Carl Jung based conceptual angle behind The Shadow Theory, relating it to the state of the world at present and how we relate to it (ie social media, etc). In one interview he even defended the band’s name, acknowledging the Arthurian mythology influence, but effectively brushing past it by suggesting the band had moved on topically (and that basically its just a brand name).

 

While those comments might hurt the heart of many an old school Kamelot devotee, I can see where he’s coming from. Its fair that the band would want to gradually evolve away from those types of lyrics, imagery, and concepts. I’d argue their first foray into really dark territory occurred as long ago as 2005 on the second half of their Faustian concept with The Black Halo, a darker, less playful affair than Epica, but perhaps more intense and haunting as a result. But even on those records, they framed the darkness in a literary landscape that put its characters in a relatively fantastical and mythic setting and time period. Even Silverthorn was set in the 19th century amidst the intrigue of a wealthy family (if the “Sacrimony” video was anything to go by), its gorgeous ballad “Song For Jolee” referring to a “…princess captured in a wooden frame”. The lyrics on some of the best songs on Haven also invoked this kind of old world, fantasy-steeped imagery, “Fallen Star” pleading to “the kings and the queens of the dawn”;  “End of Innocence” sees Karevik invoke Prince Charming with “A kiss on the lips / Turned the toad to a prince”. There’s more examples, but my point is that this kind of romantic, melodramatic, renaissance tinged imagery has continued despite the change in album art from royal purple hand drawn covers to more modern, metallic gray sci-fi inspired artwork; its a fundamental part of the band’s DNA, a part of their genetic code that pushes them towards rich melodicism, soaring choruses, and a sense of high drama.

 

 

Kamelot 2018Thematically and to a certain degree lyrically, The Shadow Theory sees the band attempting to try something entirely new by framing the album in a very modern, nearly science-fiction setting. In some sense its their music catching up to the visual style we’ve seen in some of their recent music videos, and its certainly reflected heavily in the dystopian drenched video for the first single “Phantom Divine (Shadow Empire)”. Its a wise choice for a single as its one of the album’s best cuts, a spiritual cousin to previous storming album openers in “March of Mephisto”/”The Great Pandemonium”, and like those songs it uses strong imagery rooted in the band’s DNA to offset its larger, more abstract lyrical matter: “…In ambrosial grace / No applause for the old pantomime…”. Its a small thing to fixate on perhaps, given just how bracing this song is from a purely symphonic power metal perspective, but its also the introduction to The Shadow Theory’s far more modern lyrical concerns. The Jungian Shadow is a complex and in depth topic, worthy of being used as the basis for a thematic album (important to note that this is not a traditional concept album), but Kamelot very much use our modern day, real life problems of social media anxiety, technologically induced disassociation, negative group think, and media manipulation as the vehicle for exploring these ideas.

 

When they are able to strike a balance between this modern setting and the old world Kamelot DNA, they strike gold, as on “Ravenlight”, a song where Karevik sounds as close to Khan as he possibly can (perhaps a byproduct of said DNA…?). His lyrics during the verses are pure classic Kamelot, “Silent tears / In a sea of sorrow / If only God would talk to me / And promise me tomorrow”, and reinforced by beautiful imagery in the refrain, “In Ravenlight, you came to me / From silence rose, a symphony / of coming winters white”. Its a dark song, but it reminds me of the balance they were able to strike on the best moments on Poetry For The Poisoned, matching that darkness with decadent caramel drizzles of bright melody. We hear more of this on “Vespertine (My Crimson Bride)”, an epic symphonic ushered romp that sounds refreshingly like something from the Karma era, propelled by dueling vocal and string melodies that careen gracefully through the air. Karevik’s lyrics here are gorgeous, painting the portrait of a sunlit memory breaking through the oppressive hazy darkness, “Come day, come night, my crimson bride / Is dancing on the fields of gold”. I love this song, its regal and resplendent and reminds me of all the reasons I originally fell under this band’s spell.

 

 

Beyond the Black's Jennifer HabenPerhaps nowhere does the sunlight breakthrough more than on the glorious duet sung ballad “In Twilight Hours”, one that should be in serious consideration for our hypothetical top five Kamelot ballads discussion. Karevik delivers an impassioned vocal, and he’s matched in kind by Beyond The Black’s Jennifer Haben whose own vocals are the perfect balance of ethereal and earthy, resulting in a crystalline quality to her phrasing. Its a majestic song, centered around a cinematic, fully-arcing chorus crafted almost solely around their conjoined vocal melody —- but the emotional build up in the verses is perhaps more impressive, utilizing Palotai’s understated, sombre piano fragments and a sense of quiet, hushed dynamics that Kamelot have made a history of owning (recalling immediately classic ballads “Wander” and “On The Coldest Winter Night”). When Youngblood finally crashes in with his vocal melody echoing guitar solo, its almost cathartic in its emotional weight, the guitarist proving once again that his understanding of restraint and release is central to Kamelot’s musical power. I also really enjoyed “Stories Unheard”, a unique track that while not as magnetic as its peers described above, certainly has something charming working for it, a combination of its many disparate elements —- the music box emulating intro is immediately intriguing, keeping our attention long enough for the chorus to wallop us.

 

Then there’s the flip side, and its far more problematic here than on Haven, where the band leans into a darker musical approach, one where the melodies don’t get the spotlight, shunted aside for pure metallic aggression. I’ve said this before, but heavy riffs and pinch harmonics aren’t why we listen to this band —- there’s loads of other bands who do that well, but few can match Kamelot at their own strength. We get a dose of this aggression in “Kevlar Skin”, and it makes for an underwhelming song, with a hook that never seems to take off under the weight of its awkward melodic angle and lack of adequate build up in the verses or via a bridge. I’m not wild on the lyrics either, the imagery very sci-fi inspired, which in itself isn’t a bad thing but I just think the choice of diction limits the direction this vocal melody can head in. I might be the only one harping on these things and many of you might disagree, but I’m sensing a correlation here. Similarly on “Mindfall Remedy”, we’re blasted to a load of quasi-industrial sound effects that don’t do much for the actual song, which is already hampered by an underwhelming, under cooked refrain. Its the kind of chorus that certainly sounds like its supposed to be a chorus, yet lacks anything in the way of a discernible hook. The metalcore vocals courtesy of Lauren Hart (Once Human) are just texture at this point, although she did a fine job on “Phantom Divine”. I do sometimes wonder if the band ever realizes how transparent their decision to use female vocalists for every guest vocal spot is getting…

 

 

Tommy KarevikI really wanted to enjoy “The Proud and the Broken”, and in brief flashes I do, but overall it fails to move me as the apparent epic of the album. I’m not sure what the problem is here beyond the lack of a more definable vocal melody, because it has an interesting intro and fine middle instrumental passage (just one of those songs that doesn’t quite gel perhaps). I did notice the thematic similarities between it and Orphaned Land’s “Take My Hand” off their recent Unsung Prophets and Dead Messiahs album, not in exact diction, but in the spirit of what its lyrics are trying to say. Entirely coincidental of course, but its interesting how one song works so well and the other falls flat due to not making all the requisite emotional connections (lyrical and musical). We’ll skip the pointless closing instrumental “Ministrium (Shadow Key)”, only pausing to wonder why anyone felt that this was a better inclusion than the relatively decent bonus track “The Last Day of Sunlight” (which is noteworthy for its utterly bizarre musical hook during the verses and a chorus boasting a really nice Karevik moment). The other lackluster cuts were “Amnesiac” and “Burns to Embrace”; the former ruined by an anemic chorus and a wash of industrial sound effect nonsense, the latter by a lack of an actual melody of any kind in the verses (what the hell guys?).

 

Those lackluster moments are scattered pretty evenly across the tracklisting, and it ends up creating a picture of a really spotty listening experience. I sometimes wonder if an album is better off being a bit lopsided, with half excellent material and the other half ho-hum… does that leaves a better impression on us as fans rather than something like this, where its like eating an under cooked pancake? The moments I enjoyed on this album will find their way to my iPod’s Kamelot playlist of course, but I’m disappointed that they’ve taken a step back with The Shadow Theory. This is just one die-hard fan’s opinion, but I really think they need to reevaluate their overall stylistic approach and do something to shake things up. It could be seen as nitpicking on my part, but I’ve seen quite a few people comment that this album is more of the same, sort of a Haven part two. As I’ve pointed out, the band’s DNA is still intact, but they keep trying to edge in this direction where they’re pulling away from their roots, and at a certain point that’s more harmful then helpful (particularly when its been happening for four albums in a row now). I’d love to see Kamelot do an about face and embrace that older spirit that defined their glory era, though I know Youngblood has expressed no interest in doing so. Kamelot’s darker direction and the resultant songwriting seems to be lacking the firepower to keep things interesting for a full album. Take a page from Priest and look to the past for inspiration, this is metal after all, its okay to do that.

Two For February: Serenity’s Codex Atlanticus and Megadeth’s Dystopia

For all my bellyaching about 2015 and its overwhelming amount of new releases, it hasn’t exactly been a lighter load in these first one and a half months of 2016. Dozens upon dozens of new metal albums of all sub genres have come out in this relatively short time span and of course its impossible to listen to them all. I’ve managed a hefty amount though in just these few short weeks and if you read my recent Avantasia Ghostlights review, you’ll know that the year started off rather brilliantly. Seeing as how that was such an “event” album for myself and this blog and I gave it an accordingly lengthy review, I’ll try to shorten things up for all the other albums I was listening to alongside it. Here’s two relatively shorter reviews (but only just) for two major releases in my metalsphere. I’ll have a smaller, rapid-fire reviews series coming out soon looking at Abbath, Borknagar, and a host of others!


 

Serenity – Codex Atlanticus:

So those of you with sharp memories might remember that Austria’s Serenity leaped straight into my heart and atop my 2013 Best Albums of the Year list with their satisfyingly sweet epic, War of Ages. I found it an addictive album in its own right, but it had the added bonus of being my introduction to this wonderful band and their excellent back catalog that had gone under my radar for many years. I found myself comparing them to both Kamelot and Sonata Arctica; the latter because vocalist Georg Neuhauser reminded me so much of Tony Kakko in moments —- but the former because Neuhauser and guitarist Thomas Buchberger were a songwriting team that worked so well together that I was instantly reminded of the Roy Khan / Thomas Youngblood duo. Buchberger even shared a similar approach to guitar playing with Youngblood, preferring lean, sharp riff writing with highly melodic through lines and tastefully written solos. If they leaned a little too close to Kamelot in some spots, it was okay in my opinion, because at least I enjoyed their influences and they were managing to put their unique stamp on their own songwriting.

They had also brought in their spectacular touring singer Clementine Delauney to serve as co-vocalist on War of Ages, and she made the handful of songs she was on her own, with a malleable vocal style capable of being both breathy and ethereal, yet stormy and dark at the same time. The band had made a transition to being a five piece despite original keyboardist/co-songwriter Mario Hirzinger leaving the lineup (he would continue to contribute to the songwriting in a limited fashion), and I was already looking forward to their second album as a dual female/male vocalist band. So rather out of the blue on February 3rd, 2015 while working on a review for this blog, I glanced at The Metal Pigeon Facebook feed to see that independently both Buchberger and Delauney had announced they were leaving the band. It was a sinking moment as a fan, and I hate to see bands making music like Serenity’s suffer huge blows like the loss of a major songwriting partner. And as for Delauney herself, I thought she and the band were a complementary pairing and could dish out at least a few more albums together. Fast forward throughout the year and it seemed like Neuhauser, bassist Fabio D’Amore, and longtime drummer Andreas Schipflinger were determined to forge through these difficulties, playing some support dates for Stratovarius as well as a few festivals, Neuhauser even squeezing in his Phantasma side project (with Delain’s Charlotte Wessels), and in early October surprising us all by announcing their next album Codex Atlanticus had been finished.

Its been a long wait from October til now, and this was perhaps second to Avantasia for my most anticipated album of the first half of 2016. Serenity’s lineup is radically different, going from six members in the War of Ages publicity shots to four, the new guy being guitarist Cris Tian. Some things are similar, the lyrical focus on history for example is still present, except that instead of exploring a different subject with each song as on past albums, the band has decided to change things up in devoting an entire album to one subject, in particular the life of Leonardo DaVinci. The songs on Codex Atlanticus are like entries in his diary throughout his life, arrayed in no particular order, so some songs might be from a younger or older perspective. Its a cool idea, I was instantly reminded of Assassin’s Creed II where Da Vinci was a big part of the story line and you’d actually get to see him walking out and about in Florence. Neuhauser’s day job is as a high school history teacher and he’s pursuing a PhD candidate in history as well, so this stuff is right up his alley. From what I’ve gleaned from various interviews, Neuhauser wrote most of the album with contributions from D’Amore and Tian, along with longtime producer Jan Vacik helping out on the orchestral/symphonic side (for the first time it seems they’re not working with their other longtime producer Oliver Phillips). While Buchberger was as expected a no-show on this album despite hinting that he could contribute to songwriting in the future, ex-keyboardist Mario Hirzinger chipped in with some help on the lyrics.

 

serenitycaband_zpsbw6u0v8lAlright so enough backstory, how does Serenity hold up in this post-Buchberger era? I guess it depends on what you valued more about the band in their previous era, because Neuhauser’s vocals definitely take on a larger presence here, with all of the songs now being structured around his vocal melodies. He was certainly a large presence on older albums as well, but there he was often restricted with Buchberger and Hirzinger’s more progressive metal approach. That’s not a criticism of older albums, because the compromise worked well, but without their influence the songwriting on Codex Atlanticus is less technically inclined, owing more to classic power metal stylings rather than symphonic power metal tropes. That’s going to sound like a silly statement when you’re hearing keyboard orchestration all over this album, but put it this way, this album comes across as more Sonata Arctica rather than Kamelot —- one influence of the band edging out the other. It results in some awesome songs, such as the opener “Follow Me”, with its glory-claw inducing chorus where Neuhauser gets to demonstrate his mastery of vocal phrasing in singing “Here I am, here I stand / Nothing left to say / My destiny will stay with me in sorrow”. I love his choices on another excellent track, “Reason”, where he lands on specific enunciations with extra harmony vocal layers to give the lyrics an added dose of emotion. That kind of attention to detail is what separates power metal vocalists from their peers in other genres of metal, namely, an understanding of all the elements in a vocal track.

On the more purely symphonic front (because they don’t drift away from it completely), there’s “Iniquity” and “Caught In a Myth” where both songs balance an almost swashbuckling/derring-do orchestral bombast with Neuhauser’s sing-song vocal melodies. The latter really caught my attention with a spectacular co-joining of vocals and orchestra in a triumphant punctuation mark at the 5:02 mark (“Just go / Don’t hide…”), one of those sublime once a song moments that will keep me coming back. On the ballad front, because there had better be ballads (hey if you disagree, what are you doing reading a power metal review anyway?!) we’re treated to the rather traditionally Serenity sounding “My Final Chapter” and the charmingly Freddy Mercury-ish “Forgive Me”. Neuhauser loads up both with an array of vocal inflections at well chosen moments that elevate the songs from being merely pleasant to compelling listens (Tony Kakko disease if you will). But Neuhauser’s truly shining moment comes in the Broadway-sounding piano ditty / quasi-ballad “The Perfect Woman”, a gorgeous song about the Mona Lisa of course (who else would the perfect woman be?). I’ve never heard of a song about a painting before, none that I can recall anyway, and I love the ingenuity of the lyrical approach that Neuhauser and Hirzinger take here, that of Da Vinci marveling at his own creation in awe. The vocal melody here carries everything, and its one of Neuhauser’s finest performances, full of genuine enthusiasm and a flexing display of his soaring tenor on certain lines (“There’s no chance for me to stray / day by day”); also of note here is Amanda Somerville’s welcome presence, her role as Neuhauser’s duet partner a call back to the classic “Changing Fate” off Death & Legacy.

Worth noting is that for the first time Serenity utilizes two male lead vocalists this time around, as D’Amore takes the vocal helm solo for a couple of moments, notably on “Sprouts of Terror” and “Spirit In the Flesh”. In an interview, D’Amore said that he had to deliberately try a radically different vocal approach to his normal style in order to provide a sharper contrast to Neuhauser. Its an experiment that has me sitting on the fence, because initially I thought it worked, but over time I’ve found myself growing weary of hearing his voice. I think contrast for contrast’s sake doesn’t make a lot of sense, particularly when there’s nothing happening lyrically that would demand it (ala different characters in Avantasia). I’m not so put off that I can’t listen to those songs anymore, but I’d have rather heard Neuhauser on them all the way through (he is a big selling point for the band after all). Schipflinger turns in the reliable, solid performance that he’s always managed, and more interestingly Tian manages to come through on the guitar front, even knocking out a few solos where I couldn’t tell the difference between him and Buchberger (not sure he’d like that observation but it just means that he fits in well). Overall Codex Atlanticus bodes well for the future of Serenity, and that’s a testament to Neuhauser’s growing strength as a songwriter, one whose confidence in his vocal melody development has allowed him to carry the band on his back when they needed him most… not all vocalists could manage that.

 


 

 

Megadeth – Dystopia:

Okay, so everyone knows the backstory on this one. The fifteenth Megadeth album, the new line-up aka mach umpteenth of the band (this time being Mustaine/Ellefson/Loureiro/Adler), and this being a rather pivotal sequel to the deservedly maligned Super Collider. What you probably don’t know due to no fault of your own is that I’m a longtime and rather passionate Megadeth fan. Its a fandom that’s waxed and waned over the years due to a variety of reasons but they were one of my earliest metal obsessions alongside Metallica and Iron Maiden, and seeing a poster of the cover art to Peace Sells on the wall of my cousin’s room in 1986 when I was a wee lad is one of my earliest metal related memories. One of the reasons that might be unknown to you is that I actually have never written about Megadeth on this blog except in passing references, the major reason being that I was too late and uninspired to cover 2011’s Thirteen, and well, just too disappointed to even discuss 2013’s Super Collider. I thought the two albums that preceded those two were merely average to good at best, the last Deth’ album I thought was worth fawning over being 2004’s The System Has Failed. Oh alright Endgame had a few really great moments. See… that’s what I mean about the waxing and waning.

Actually, let me do a ranking of how I rate the Megadeth back catalog just so you’ll know where I stand so you’ll be able to gauge the ultimate verdict of this review. No numbers, you all know I don’t do numerical review scores so I won’t bother with them for a discography ranking. I think you’ll get the gist regardless. Anyway this is how I consider the Megadeth catalog, from best to worst:

 

Rust In Peace: Sitting at the top where it should be, because duh, its one of the greatest metal albums of all tid! Its also on my do not listen to whilst driving list!

Countdown to Extinction: My intro to the band and one of the first metal albums I completely immersed myself in. I’ve never gotten tired of it.

Youthanasia: What?! Over Peace Sells?! Yes, because despite its Max Norman dictated slowed down tempos I still think this contains some of Mustaine’s finest songwriting.

Cryptic Writings: Put down whatever it is you’re about to throw at me, hear me out —- I listened to this thing relentlessly, and thought songs like “Use the Man”, “Trust” and “Secret Place” was the band at their most melodic, hooky best. Its an underrated album and that’s kind of a shame. Go back and listen to it, its better than you remember!

Peace Sells: The best of 80s era Megadeth, though not quite a perfect album. I was never entirely a fan of their production during this era, as I always felt Deth’ needed sonic clarity to do justice to their technical precision.

The System Has Failed: Mustaine’s return from one of the more bizarre rock n’roll injuries in history and his much needed comeback album (because there’s no way the band could’ve ended on The World Needs A Hero). It was the most ferocious they had sounded in years, full of conviction and ear worms a plenty such as “Die Dead Enough”, “Kick the Chair”, and “Of Mice and Men”.

Endgame: I enjoyed Endgame when it came out, particularly the insta-classic “This Day We Fight”, and the album was the angriest sounding Megadeth album in ages. It was thrashy and heavy, but I felt at the time (and still do) that with a few exceptions, there was a noticeable lack of hooks amidst all the aggression. Lead single “Headcrusher” was kind of sprawling, all over the place, and only “The Right to Go Insane” really had something resembling the melodicism that I valued in Megadeth. Of the two Andy Sneap / Megadeth collaborations, this was the best one.

Thirteen: As I was writing this I took a re-listen to this one and yes, I’m reminded that it was a strong album with only a few average songs, it gets this high because of “New World Order” and “Public Enemy No. 1”. Amazing to think this album was nominated for three Grammy awards in consecutive years from 2011-2013 (and won none of course). Conversely, its this low on the list because I had to re-listen to it to remember large chunks of the album, but maybe that’s more due to how little I listened to it upon its release.

Killing Is My Business: Awful production, some okay-ish songs… I was never really sold on it as a spectacular debut however, and I still don’t feel that way in light of the remixed version even though it did clear up a lot of the original production flaws.

United Abominations: Merely mediocre, though I loved “Gears of War” and thought it deserved better than it got (it should’ve had a tremendous push for its video game tie-in but apparently that deal fell through for whatever reason). I didn’t see the point of the Cristina Scabbia duet on the remade “A Tout Le Monde”, aside from a transparent cross-promotional opportunity, it certainly didn’t sound better than the original.

So Far, So Good… So What!: A step down from Peace Sells and the second worst production in Megadeth history, this still had all-time classics (you know the ones), but I was never a fan of “Anarchy In the U.K.” in general, nor “502” which rivaled Exodus’ Impact Is Imminent for boneheaded-ness lyrically speaking. I was hoping the remaster would clear up some of the awful, thin, tinny production job but it only seemed to emphasize its worst elements (leading one to believe those Capitol remasters weren’t done from the analog masters).

Supercollider: Just one of the most inexplicable decisions ever —- on the heels of releasing a flurry of relatively Megadeth-ian sounding albums, Mustaine decided to go back to experimenting with a more… I don’t even know how to describe it. The ridiculous title track for example was awful and baffling —- where in his musical history were the seeds for such a song laid? It wasn’t all bad, “Kingmaker” was a decent song, but everything else was steeped in some sort of classic/mainstream rock marinade that ruined everything.

Risk: I know I know, you think this should be last, but hear me out! This is not the worst Megadeth album, despite its transparent attempt to break into the mainstream /modern rock charts and its highly amusing choice of producer in pop-country miscreant Dan Huff. Strip all that stuff away and consider the album as an isolated collection of songs from Mustaine and Marty Friedman that explored their more pop-driven instincts. It was an experiment that resulted in some truly awful stuff like “Crush ‘Em” and “I’ll Be There”, but also some unique and interesting stuff like “Wanderlust”, “Ecstasy”, “The Doctor Is Calling” and “Time Pt. I/II”.

The World Needs A Hero: Ah, the nadir of Megadeth! A reactionary album that proves that reactionary albums hardly ever work. Plodding, re-hashed, and uncertain of itself: This was the sound of Mustaine trying to remember how to write actual heavy metal again. It yielded a semi-decent ballad in “Promises” but even that was flawed… if Megadeth was to succeed in ballads as they did with “A Tout Le Monde”, they had to avoid attempting power ballads. Consider this not only the worst Megadeth album, but one of the worst metal albums of all time.

 

megadeth_dystopia_promo_shot_zpsyct91nusSo using the list above as a rubric, where does Dystopia fit in? I’m going to say, with a relatively high degree of confidence, that I’d slot it between Cryptic Writings and Peace Sells. Yep, you read that right, I’m considering Dystopia a top five Megadeth album, and its for good reason too. This is simply the fiercest, angriest, most convincingly Megadeth-y that the band has sounded in over a decade. Were I to remove myself from my nostalgia fed love for Cryptic Writings, I’d imagine I could comfortably slot this right below Youthanasia, its really that excellent. Mustaine in particular comes across as more plugged in and motivated both vocally and lyrically, and I wonder if that’s due to the divisive political climate we’re currently in (would make sense also considering how divided the country was in 2004 during the time of The System Has Failed). Musically the band is reinvigorated by the presence of Kiko Loureiro in particular, the ex-Angra guitarist being the creative partner that Mustaine has long missed since the departure of Friedman (certainly Al Pitrelli never fit the bill, Chris Poland was a recurrent flash in the pan, and Chris Broderick never quite seemed to gel). Loureiro comes in from a power metal background, and though you can argue that he has shredder level talent, he’s had years of experience in matching technical virtuosity with major key melodies, in other words, a Friedman-esque perfect match and foil for Mustaine’s thrashy guitar tendencies.

The album kicks the gate down right from the start, with a trio of some of the band’s best songs to date (and not coincidentally, the album’s first three singles). With “The Threat Is Real”, Megadeth have delivered their best album opener since “Trust”, Mustaine’s snarling, venomous delivery paired with a ridiculously catchy riff/vocal progression. Its sibling song “Dystopia” (tied together through their animated music videos) reminds me so much of Rust In Peace. We get alarming guitar melodies that conjure up a vivid sense of paranoia and fear, and later on the tempo slows down in an almost improvisational mid-song jam session built around funky, twisting rhythm patterns that usher along a frenetic solo —- its the kind of thing I’d imagine Friedman doing back in the day. Loureiro is simply stunning on this track, and he is equally as inspired on “Fatal Illusion”, giving his leads an Eastern-tinged accent. Ellefson and Adler cook up a thunderous rhythm section throughout, always in lockstep, and I’m impressed at how balanced the bass actually is in the mix on such a wildly guitar driven album. Ellefson in particular delivers an awesome groove on “Bullet to the Brain”, a mix of thrash and rhythmic alt-metal that works because of his distinctive bass lines. Adler is a terrific fit for Megadeth, full of fills and creative snare and cymbal usage —- and he gets that one thing that sometimes fails thrash drummers, that the music sounds more energetic when it sounds like the drummer might be slightly outpacing everyone else (it conveys an excitement that can’t be contained).

And I have to give the band kudos for sheer creativity in a gem like “Poisonous Shadows”, a slower, experimental song that demonstrates that they don’t have to step outside of their wheelhouse in order to cook up something different. Instead of playing around with goofy hard rock or pop, here they elect to use atmospheric strings and bring in a female vocalist named Farah Siraj to provide those eerie yet ethereal vocals that float over the top. I like Mustaine’s delivery choice here, going for a more desperate, sinister approach rather than trying to aim for melodic perfection. If he sang it straight the song would’ve sounded disjointed (as odd as that seems), instead his altering of his vocals actually sells the overall nightmare-like effect they were going for. And I quite enjoyed the highly syncopated “The Emperor”, with trademark Mustaine sarcasm in the verses and a hooky chorus. The decision to cover Fear’s “Foreign Policy” is yet another tip-off that Mustaine seemed far more lyrically aware and plugged in this time. Regardless of what you think of his politics, you can’t deny that he might be the best at vocalizing subject matter like this —- its an awesome cover, full of panic, aggression, and rage. And its an awesome album, one that’s kinda kick started my interest in Megadeth all over again (I’ve been on a Deth’ binge for the past few days). I really hope Loureiro sticks around, because he seems to have lit a fire within Mustaine, one that desperately needed to be lit, for everyone’s sake.

 

 

 

 

Kamelot’s Path to Haven

For many of us, this particular Kamelot album has been a long time coming. I suspect that quite a few of you felt the same way that I did when considering their 2012 Tommy Karevik-fronted debut Silverthorn —- that it was a difficult album to judge for better or worse considering that it had largely been written before Karevik had joined up. It was known that he had handled the writing of his own vocal melodies and lyrics in Seventh Wonder, and was quite good at it to say the least. Now for a lot of bands, this wouldn’t be a big deal because either the guitarist, or bassist, or keyboardist even would be serving alone as the primary songwriter. Not so with Kamelot, as founding guitarist and songwriter Thomas Youngblood spent over a decade co-writing with Roy Khan —- who in addition to being one of the greatest metal voices of all time, was also gifted with savant-like abilities in vocal melody development and lyric writing. Together they were the second coming and fully realized promise of Chris DeGarmo and Geoff Tate of classic era Queensryche, sharing similarities in their respective styles and deliveries; and in penning masterful prog-metal with crisp, clean, melodic guitars and emotive, soaring vocals with intelligent, thoughtful lyricism.

 

Youngblood and Khan were a pair of songwriters so attuned to each other that they unleashed not just one, but four outright masterworks in continuous succession from The Fourth Legacy thru The Black Halo (a feat that had not been accomplished in melodic metal since Iron Maiden’s 82-88 “Golden Era”). Khan’s departure in 2010 meant not only the loss of the band’s signature voice, but half of their songwriting engine. During the much speculated upon vocalist search, I suspected that Kamelot’s primary candidate requirement would be a singer who had also proven themselves in a songwriting capacity, to help fill that particular aspect of the void left by Khan. Considering that, the field of potential vocalists was reduced greatly, and at the top of my own (and many others’) list of suspects to be given the job was Karevik himself. He was the only logical choice: His tone and timbre was remarkably similar to Khan’s, Youngblood himself had stated a preference for the inflections present in Scandinavian accents, and Karevik had a resume full of songwriting, lyric writing, and vocal melody development.

 

With that in mind, its difficult to understand then why Youngblood and his newly adapted songwriting partners keyboardist Oliver Palotai and producer Sascha Paeth began writing without waiting for their new vocalist, but I would wager it was market forces. A full time band needs income from touring, which meant that the clock was ticking in terms of having to write and record a new album as soon as possible, vocalist or not. It was a gamble that paid off with an album that satisfied those concerns, but I believe failed in the greater context of actually being a good Kamelot album. With Silverthorn, Youngblood, Paeth, and Palotai engaged in a guessing game exercise in songwriting, the same kind faced by Nightwish’s Tuomas Holopainen for their post-Tarja Turunen album Dark Passion Play. Writing songs without knowing the tone and timbre of your future vocalist is an incredibly difficult challenge, one that rarely ensures optimal results.

 

 

When Karevik finally got to tackle his vocals, he did the best he could with clumsily constructed spacing for bridges and choruses. Rarely did he have enough room to unfurl a properly developed refrain, and the hooks suffered as a result. His vocal melodies were often forced to lay upon riffs that worked against him, resulting in awkward sonic pairings. The entire affair was hammered over with enough adjustments and editing to make it passable and listenable, but it lacked the natural smoothness and melodic flow that normally defined a good Kamelot album. One of the few exceptions was “Song For Jolee”, a stirring ballad that Karevik was able to get involved with in a greater capacity, writing the song around the strength of his vocal melody and a particularly haunting lyric. Alongside the similarly vocal melody-led “Solitaire”, it was a brief demonstration of the dramatic impact that Karevik could make if he was given a ground floor role in the songwriting.

 

It certainly made it clear to me that his second album with the band would be the far more accurate portrait of where the band was in their post-Khan evolution. That open question made Haven the most intriguing new release of 2015 for me, the very definition of a make or break situation that I nervously anticipated. I’ll be honest, I was still nervous even after my initial listen all the way through, but Haven has proven to harbor the trademarks of an expensive, well made perfume: underneath its initial sharp top notes are long lingering, pleasantly fragrant middle and base notes. Now thirty plus listens later, I feel confident about contextualizing its place in the band’s discography, and in deeming it their greatest album since The Black Halo —- a distinction I wouldn’t throw out without careful consideration. It is obviously far more accomplished than Silverthorn, with Karevik’s distinctive input in the songwriting directly translating into songs being written around the vocal melodies, the proper order of things in the Kamelot universe.

 

But perhaps more important than that is just how impactful his expansive vocal range is, urging the band to return to writing in largely major keys, with Karevik technically able to operate (with seeming effortlessness) in higher registers. Khan devotees (of which I consider myself to be) may balk at that statement for what it implies, but its the flip side of what is a rather uncomfortable topic for many Kamelot fans, namely, Khan’s degrading vocal range over the years. A few years ago, before Karevik was even announced as the successor, I wrote something for this blog called The Legacy of Roy Khan, a tribute of sorts as to why he was truly brilliant, and to why his void would be deeply felt by the band. Towards the end of the piece I briefly mentioned Khan’s declining range, but skipped over it perfunctorily, so as not to dwell so much on the very real difficulties he faced as a performer (a great deal of which was documented through live show recordings thrown on YouTube). It simply didn’t seem right to focus on it given the nature of the piece.

 

 

Yet its Karevik’s performance on Haven that drags this shadowy topic back into the light, as well as revealing a larger truth about the band in general —- that Khan’s declining range provoked a fundamental change in Kamelot’s sound and songwriting, a change that became habitual and they’ve yet to fully withdraw from. We can trace back Khan’s lowering vocal range to as early as The Black Halo, where he began to transition away from singing mostly in upper registers to settling into a comfortable mid-range with a few exceptions (“Serenade” and “Moonlight” come to mind immediately as that album’s upper register standouts). On Ghost Opera, this continued in large part, with Khan operating in a slightly lower register, even on a song like “Anthem” that required him to hit a few highs (studio effects on those vocals were noticeable, whether or not they were covering something up is entirely debatable). Where a song like “Up From the Ashes” should have had lead vocals that zoomed upwards through its soaring, arcing chorus, Khan hardly wavered from his mid-range delivery. Instead the band used layers of backing choral vocals to take care of the upper register work, a choir assembled of Gate Studios’ vets Amanda Somerville and both Robert and Cinzia Hunecke Rizzo, frequent choir contributors to Rhapsody, Avantasia, Edguy, etc, and all singers capable of filling in those high notes.

 

Even more noticeable than on the albums was Khan’s live performances beginning on the Ghost Opera tour. I myself attended their September 9th, 2007 Houston concert and despite my giddiness at seeing the band live for the first time, I was surprised to hear them down tuning for older songs in addition to new ones. They avoided included anything in their setlist from The Fourth Legacy, nothing all too surprising by considering its age and the vast amount of songs they had to choose from, but it was very telling in what the band viewed as the easy exclusions. When Poetry For the Poisoned was released in 2010, the common discussion from fans was just how dark the album sounded —- and it wasn’t just something felt in its admittedly depressing lyrics, but in its even more down tuned approach. Guitar tone alone wasn’t simply what was affecting us all, it was that such a change in tone was prompting Youngblood to think about songwriting differently —- heavier, chunkier riffs and rhythms to work better with Khan’s new register, slower tempos better suited to such sonic changes, and Palotai providing suitably darker atmospherics to work as adhesive.

 

 

The band as a songwriting unit had downshifted their approach away from their classic symphonic power metal approach of the late nineties / early aughts, and when fans would wish aloud for a return to a “classic” Kamelot sound, they were knowingly or unknowingly yearning for Khan to sing in a higher register again, something that could cause those tempos to pick up the pace once more —- they were hoping to go back in time in other words. There was spectacular work on those last two Khan era albums, by him in particular —- he still sounded great as a singer, and his vocal melodies and lyrics were always on point. But the tour supporting Poetry was the all too visible sign that Khan’s actual voice was deteriorating, and that he was incapable of even mid-ranged performances at times. The damning evidence is still on YouTube for anyone to relive (and I hated doing so for the purposes of pure research), and when he abruptly quit the tour it was hardly surprising despite our initial shock… for everyone who was paying attention, the end was in sight.

 

Both Youngblood and Palotai, as the surviving core of the writing team spent those final five to six Khan era years growing accustomed to the changes in the band’s sound, too accustomed it would seem. When they wrote for Silverthorn the tendency to down tune, rely on chunky riffing, and mid-paced tempos lingered on with a few exceptions. Its unfair to fault them, as the machinations of a creative process are hard to alter immediately, and the human tendency to rely upon developed habits is hard to shake. Nevertheless its one that they will have to, because in Karevik they have a vocalist whose natural register is higher, and who operates in that space with an ease that always seemed to elude Khan. If you’ve heard Karevik in Seventh Wonder, you’ll have heard him deliver vocals that seem to effortlessly dance across the top of major chords, deftly moving with an almost R&B influenced sense of alliteration and cadence —- he’s inherently poppier than Khan, less operatically inclined.

 

 

With a vocalist like Karevik, Kamelot can make its way back towards a sound that resembles its classic era, one replete with all the trimmings of their trademark symphonic power metal stylings that many of us have missed so much. The good news is that with a big chunk of the songs off Haven they’re well on their way. The bad news is that this flip side to the legacy of Roy Khan continues to plague a portion of their songwriting, in specific moments hampering the best use of Karevik’s abilities. Consider the not awful but rather clunky “Citizen Zero”, where the sludge-y tempo prevents the verse sections from developing into anything interesting, its down tuned riffs and overly aggressive approach resulting in heaviness that seemed forced and frankly boring. This faux-heaviness disrupts the structure of “Liar Liar (Wasteland Monarchy)”, wedging a bright, uptempo chorus in between two slabs of formless verses composed of floating keyboard atmospherics and meandering, un-melodic riffing.

 

The worst offender might be “Revolution”, as much an example of what not to do in a Kamelot song as there ever has been. No need to comment on the presence of the overused Alissa White-Gluz, whose aggressive vocals are indistinguishable from any other harsh vocalist (male or female), particularly when the biggest problem is the forced faux-heaviness of the guitar riffs. Youngblood is a supreme talent, one of the defining musicians of the genre and someone whose artistic legacy is already secure. He’s better than this quite frankly, and he of all people should know that we listen to his band for the melodies, not the riffs (this isn’t Melechesh!). This is the song that should’ve been left on the cutting room floor, or perhaps been singled out as the Japanese bonus track (more on that later). The last song to suffer from echoes of the past is “My Therapy”, where Karevik’s skillful treatment of the vocal melody (particularly in the chorus) saves the song from relatively lackluster verses fragments set to beds of uninspired riffs.

 

 

The path towards a future golden era for the band begins with the eternal classic “Fallen Star”, a supreme and glorious a moment that echoes the height of the Khan era in both melody and lyricism. Karevik’s piano accompanied solo intro to the song sets the tone and signals the approach —- that his vocal melodies will serve as the driving force and everything will yield to his will. In the mid-song instrumental bridge, Youngblood’s guitar solo echoes the vocal melody slightly by playing off its motifs, something he is peerless at. Karevik’s lyrics are evocative, with an almost Khan-like air of poetic imagery: “You are my reason to stay / Even if daylight’s a lifetime away / May the kings and the queens of the dawn / Remember my name / As dark as the fallen star”. The vocal melody guiding these words is cascading, rising and falling gently like a sloping hill, its shape infusing the lyrics with its required blend of romance and melancholy. It might be the best overall Kamelot song in a decade, a gem that matches the brilliance of songs from their classic era albums, and perhaps their best album opener ever.

 

Continuing the brilliance is “Insomnia”, an uptempo song built off Palotai’s inventive, swinging keyboard figures and finished by a multi-layered Karevik vocal performance that is simply astounding. On the chorus, he soars above himself, setting his lead vocal underneath waves of his own layered vocal arrangement, apparently fit to serve as his own choir. Those familiar with Karevik’s layering work on Mercy Falls and The Great Escape will feel as if the styles of the two bands are merging here, the multi-layered vocal flurries of Seventh Wonder meeting the dark symphony of Kamelot. And as if to further justify his inclusion in ground level songwriting, consider just how much he improves “Veil of Elysium”, arguably the spiritual successor to Silverthorn’s “Sacrimony (Angel of Afterlife)”. If you hadn’t noticed the similarities between both songs, take a moment to listen to them back to back and notice just how much more developed the song sounds now with Karevik able to expand on the chorus. Rather than being forced to shoehorn lyrics on top of a space reserved for a vocal melody, on “Veil of Elysium” he weaves the vocal melody around the phrasing of his diction, their very consonant structure providing the poetic meter within: “One day I know we will meet again / In the shade of a life to die for”. He also finds the time to serve up a particularly Khan-like piece of simple lyrical beauty, “Now winter has come and I’ll stand in the snow / I don’t feel the cold”, his treatment of the last line at the 1:04 mark being a prime example of his nimbleness as a singer.

 

 

The gorgeous, Troy Donockley’s pipes-assisted “Under Grey Skies” is a gem of a ballad, built almost entirely off Karevik’s vocal melodies, with help from the welcome Charlotte Wessels (Delain). She’s a breath of fresh air for the band’s choice of female collaborators, possessing a voice that is lighter than Simone Simons and more at home when set atop such cozy, acoustic guitar-plucked balladry. Some may find the lyrics here a little too cloying, but Karevik wisely avoids cliche diction and couches his romantic subtext in a stanza sung by Wessels, giving some respite to anyone who feels uncomfortable about having a guy sing them lines about kisses n’ stuff (if you feel guilty right about now you’re likely one of them). As a duet its a triumph, my favorite parts arriving towards the end when Karevik and Wessels trade off soaring layered vocals, singing under and around one another. Youngblood’s mid-song guitar solo here is note perfect, building off the vocal melody motif and extenuating it to sublime effect.

 

The highlights continue on the second half of the album, with “End of Innocence” proving itself to play along with the unusual coincidence of bands producing great songs under that particular title. I’m most struck by how well Youngblood manages to balance a dose of heavy guitar riffs without overpowering the melodies worked up by Palotai and Karevik. The MVP here might be Palotai, who answers the heaviness of the guitars with jaunty, symphonic keys that usher along a melody that works as a flamboyant counterpoint to successfully balance things out. Once again, Karevik knocks one out of the park with his choice vocal inflections and change-ups on the recurring chorus line, “And why must a hero die young / Not to be gone and forgotten” —- each time he gives it a new flavor. We’re treated to some Middle-Eastern flair in “Beautiful Apocalypse”, a song that took me a few listens to come around to. What sold it was Karevik’s simply stunning transition from gritty and tortured to smooth and sonorous (and back again), best exemplified at the 1:10 to 1:43 mark. Its one of the most dexterous things I’ve ever heard him accomplish.

 

A different kind of Khan influence creeps up on “Here’s to the Fall”, where Karevik sounds so eerily similar to his predecessor (particularly to open the song), that I wonder if Khan didn’t drop by the studio at any point to lay down some vocal fragments. This is of course the ability that won Karevik the job and was more frequently heard on Silverthorn, but here he uses it to great effect until the 3:10 mark, where the Tommy Karevik we’ve been hearing all album long pops up again in his more Seventh Wonder influenced mode. If Khan did drop by the studio, I’ll find out eventually, I don’t know how but I’m still not entirely convinced there wasn’t something sneaky going on (I’m only partially joking)! Normally I’d prefer an acoustic guitar/vocal pairing with keyboard embellishment  (think in the vein of “Glory” from The Fourth Legacy) rather than solely keyboards/vocals, but Palotai does a nice job here of creating a moody atmosphere that actually works. I mentioned the Japanese bonus track earlier, one “The Ties That Bind”, a hooky, tuneful yet heavy-riff fueled song with a chorus that doesn’t quite arc fully, yet is infinitely better for the album proper than “Revolution”.

 

 

If like me you received the expanded edition of the album with a second disc full of alternate renditions and instrumental tracks, you’ll have probably indulged in the piano version of “End of Innocence” and the acoustic guitar version of “Veil of Elysium”. These songs, so uptempo and electric on the album are hushed here, left to operate only on the strength of their defining characteristic: their vocal melodies. Its a further testament to Karevik’s contributions to this album, that his melodies are strong enough to be the actual skeleton of a working song… one can call it practically Khan-esque even. And a final thought on Youngblood himself, who deserves individual praise alongside Palotai and Karevik for trusting his collaborators enough to breathe new life into his band. I’ve always regarded his style as being directly influenced by Chris DeGarmo (among others surely) in that during their respective classic eras they both wrote in crisp, clear melodic lines with razor sharp precision, anchored by a mindset that was unconcerned with any sort of “heavy factor”.

 

The difference was that DeGarmo eventually got off that train and ventured into lighter, jangly, less riff-based directions —- whereas Youngblood found himself having to forcibly get heavier, chunkier, and less melodic as a result. Both of them are tremendously gifted songwriters and guitarists, and in their work one attribute directly correlated with the other. They both operate best when writing and performing in what I call the DeGarmo gold standard, that thoughtful mix of melodic writing filtered through crisp riffing and clear open chord sequences. It may be too far gone for DeGarmo to ever bother returning, but Youngblood can easily find his way back to that standard. The first step is realizing that he now has a vocalist capable of hitting the highs needed to bring Kamelot’s sound back to its classically infused, symphonic metal roots… a return to their primordial musical waters so to speak. They’re halfway there with Haven. Karevik is the savior of the band’s sound, I suspect they’d surely be lost without him. Behind Bruce Dickinson, I can think of no better or more important replacement vocalist in the history of metal.

 

Serenity: The Refined Elegance of Austria’s Finest

I’m increasingly more aware of how rare it is to stumble upon a band that can utterly transfix my wandering attention span the way Serenity did about a month ago with the release of their spectacular fourth album, War of Ages. The band hails from Austria, a country far more regarded in metal circles as a purveyor of death and black metal bands, most notably Belphegor. Serenity then must be the black sheep of their countrymen, as they specialize in a style of progressive power metal informed by the obvious influences of Kamelot, Sonata Arctica, and maybe even a touch of Avantasia’s latter day hard rock epic strut. This is not to say they are merely the sum of their parts, as Serenity have an identity all their own within the fundamentals of songwriting styles and lyrical concepts — but their influences are a good touchstone and filter for prospective listeners.

 

It might be hard to ignore the extent to which the Kamelot influence has affected Serenity, down to styles of album cover art, logo design, and band photography. Even the way guitarist and co-primary songwriter Thomas Buchberger prefers an emphasis on understated riffs, elegant melody, and reigned in soloing brings to mind the style of Kamelot guitarist Thomas (!) Youngblood. Vocalist Georg Neuhauser doesn’t sound like Roy Khan per say, but he at times reminds me of a mix between current Kamelot vocalist Tommy Karevik, Sonata Arctica’s Tony Kakko, and Scorpion’s Klaus Meine… a blending that is refined into one of the smoothest vocal deliveries in modern power metal. So yeah, the influences are hard to ignore… but they’re not hard to accept, at least for me anyway. I try to look at it pragmatically, that all bands have influences and starting points, everyone is trying to be uniquely derivative (particularly in a genre like power metal), and only the best will succeed in forging their own identity — a feat which usually takes more than a few records. Serenity succeeded in achieving that by their second album, 2008’s Fallen Sanctuary, which speaks volumes about the level of their abilities as songwriters.

 

 

Yes of course I emphasized songwriting, because while the musicianship Serenity display is of the excellent proficiency you’d expect from a European power metal band, the Buchberger/Neuhauser songwriting partnership is the critical heart of Serenity’s success. For anyone who felt/feels that something could potentially be permanently lost from the brilliance that was the Khan/Youngblood songwriting legacy — I’m telling you that the Buchberger/Neuhauser combo strikes right to the heart of the style of music that you and I both love, crave, and sadly can’t seem to find enough of. I’m talking about crisp, melodic, melancholy, triumphant, elegant, and yes actually HEAVY power metal that is written with a head for ambition, an ear for tunefulness, and a writer’s heart for great lyrics. And even though War of Ages is the album that sucked me in as a new fan of the band, I’ve become addicted to the other three albums in their discography as well. And one of the more brilliant examples of all of these aforementioned attributes combining to supreme effect can be found on the bonus track (!) of their 2011 Death & Legacy album, “To India’s Shores”.

 

[youtube http://www.youtube.com/watch?v=-suCXuj3B0U?rel=0&w=560&h=315]

 

 

As a lyricist, Neuhauser faces the same hurdle Khan did in being an English-as-a-second language writer, but he seems to make a similar effort in the care and choosing of diction, in the use of imagery, and in not burying either his narrator’s voice or his own in piles of metaphors that many lyricists in metal tend to do. It rings of confidence in his writing abilities, and coupled with the fact that Serenity seem hell bent on their songs being narrative voices for historical figures of the past musing on philosophical topics of their own lives or time periods… a great deal of confidence is needed for sure. Don’t let the historical figures thing put you off. The approach isn’t nearly as academic as it might threaten to sound on paper (although Neuhauser has apparently finished a doctorate’s in history, so its an informed voice at work here). I’ll be honest, I don’t really find it all that much of an influence over me when I’m listening to these songs. Historical names aren’t mentioned, you aren’t bludgeoned over the head with dates, places, times, or events… the lyrics at work here could be about anyone’s modern day struggles, relationships, or inner turmoil (okay the new record does have song called “Legacy of Tudors”, but its so good that I’ll just allow the indulgence).

 

 

For the War of Ages album, the band made what I can only refer to as a savvy game changer of a decision. Enter into the Serenity lineup one Clémentine Delauney from Lyon, France, as the co-lead vocalist to pair alongside Neuhauser’s powerful voice. This isn’t a gimmick, as they have experimented with a handful of female guest vocalists for select tracks on previous albums — and while the songs and performances have been good (particularly a duet with the always excellent Amanda Somerville on Death and Legacy’s “Changing Fate”), the types of female voices they’ve attempted to pair with Neuhauser never seemed to measure up or alternatively, contrast well with his rich, distinctive tone. I know these women have their fans, but I’ve never been overly impressed with Charlotte Wessels, nor Ailyn from Sirenia, and while Somerville’s duet was excellent, her voice is as strong and full of character as Neuhauser’s and to me it seemed that when they would join together both voices would be fighting for space with no one winning out.

 

Delauney however, had been singing with the band as their live backing vocalist for a considerable time prior to her finally being invited into the band as a permanent co-vocalist — and her vocal intersections with Neuhauser are noticeably more developed and experienced in terms of tone, delivery, and pure resonance. I think the band suspected this would be the case, and must’ve thought to themselves that their ideas of duet vocals would work better in the future if they had a consistent set of voices pairing up. Smart thinking — because honestly I think she’s an exceptional vocalist, possessing a soprano voice that is effortlessly melodic, rich, and deep yet capable of being ethereal, light, and even fragile when the song calls for it. She utilizes all those strengths on the epic opening track of the War of Ages album, “Wings of Madness”, where her vocals float above Neuhauser’s in the emotional chorus — only to swoop down to darker depths on her own solo verse (her eerily drawn out vocals there remind me of the haunting abilities of Sinéad O’Connor). I’m told that she penned around half of the lyrics on the new album as well, which means that she’s had a direct hand in crafting vocal melodies alongside Neuhauser and I really love that… Because when you’ve listened to a ton of power metal, you can spot the difference between a singer writing the vocal melodies as opposed to an overreaching guitarist, or bassist attempting to dictate what the vocalist does (hello Timo Tolkki and Steve Harris!).

 

 

[youtube http://www.youtube.com/watch?v=k2QH9L42OY0?rel=0&w=560&h=315]

 

 

 

I’ve been checking out the tour dates for the band and they’re disappointingly slim, even for Europe… (I have no delusions about the band getting to launch a full tour in the States — I’ll post a very grateful retraction if that ever happens). I’m not sure what the problem is, but I could venture to guess that these guys have day jobs, and that they try to fit Serenity in whenever they can. That’s understandable and to be expected given the state of things in the industry, but I hope they can do more then just a ten date headliner tour of clubs in Europe. But if that doesn’t, or can’t happen then I’d just have one word of advice for the band if they ever happened to read this: Write more songs, record more albums, document your art with a sense of urgency and ambition. You know its an uphill battle if you’re hoping to headline arenas or chart singles, there are very few Nightwish success stories in your chosen genre. So instead, strike while the creative irons are hot and get this stuff on tape. Build your artistic legacy.

 

And if you’re a fan of music like this… well, I’m going to do something I almost never do, which is admonish you to actually buy the official physical release or legal download. Look, I love death and black metal as much as the next guy or girl, but for all the hundreds to thousands of death and black metal bands Austria has coughed up and choked on, she’s only given us one Serenity. Bands that make metal like this are rare, and I fear, growing rarer — so if you love this style of metal, actually show your support for the artists that are essentially underdogs in attempting to create it. I shelled out something just short of fifty American to grab this band’s catalog and I look forward to handing over more of my money in their name in the future. Its really hard to think of something else I’ve bought lately in my everyday life that I feel that good about.

Kamelot – Silverthorn: Is It the Start or End of an Era?

Here we are, on the eve of the American release of Kamelot’s long anticipated new album Silverthorn, their first with new vocalist Tommy Karevik of Seventh Wonder, and only their third album in their career without the vocals of longtime frontman Roy Khan. Speaking of whom, for those of you who had read my article a few months back discussing the loss and legacy of Khan from the lineup, you’ll know that I expressed a healthy degree of skepticism about a Khan-less Kamelot — even though I have become a great admirer of Karevik’s work in Seventh Wonder. I said then that we wouldn’t be able to accurately determine the failure or success of Kamelot’s decision to partner with Karevik until we could listen to a complete full length. For a band that had suffered the departure of a major songwriter such as Khan, it could really be the only true test. I’ve only had Silverthorn for just under a week, but have had it on heavy rotation daily in that short amount of time. I figure for an album that I’m placing a tremendous amount of weight upon (some might say unreasonably so), it was only fair that I give it more than just the standard multiple listens.

 

I’ll start this off by declaring rather simply that this is the best Kamelot album on offer since 2005’s masterpiece The Black Halo. Karevik’s input as a new primary songwriting force alongside band leader/guitarist Thomas Youngblood and keyboardist Oliver Palotai has rejuvenated the Kamelot sound both into fresh sonic territory, as well as back to its classic Khan-led period.   Gone are the murky, downcast tones of predecessor Poetry for the Poisoned, and there is a togetherness, a continuity that 2007’s Ghost Opera sorely lacked. Those were good albums that had their share of gems apiece, but were slightly marred by a spotty collection of songs that either overreached musically or seemed undercooked melodically. But Silverthorn is not wholly immune from that lingering condition, as there are some tracks that seem unfulfilled and what one could describe as borderline filler, namely the albums title track, its lengthy album concluding trilogy epic “Prodigal Son”, and yes, its lead off single “Sacrimony” (of which in an earlier review of the track itself I hoped would prove to the weakest song on the album).

 

A couple comments about two of these three troublemakers: First of all, until its last few minutes “Prodigal Son” is a bit of an all over hazy mess, and makes me wish that Youngblood would let go of the need to come up with these types of self-contained “trilogies” that he’s been doing in a fruitless attempt to equal or better their great “Elizabeth Trilogy” from the classic Karma album. “Elizabeth” worked because it was in essence three separate equal-length songs of varying degrees of awesome. “Prodigal Son” suffers in that it seems as though kernels of potentially good ideas were stitched together with atmospheric keyboard orchestration to create an illusion of cohesion. It didn’t work, you can see the seams and to be blunt about there’s nothing particularly epic that stands out overall. Moving on to the title track “Silverthorn”, we come upon the most blatant instance of filler on the album, a bland chorus that unless I’m mistaken is essentially a watered down retread of “Moonlight” from The Black Halo (seriously, even in the way the choirs are arranged, go listen to them back to back). Its not a sin for bands to recycle familiar motifs or styles from older works but filler is filler and its gotta be called out. Finally its worth singling out the two pointless instrumentals that bookend the album on opposite sides — lets lose those for the next record guys, because unless they’re gonna be as great as the very lovely violin-y intro track “Solitaire” from Ghost Opera, I don’t want to hear them.

 

[youtube http://www.youtube.com/watch?v=pQVTk-z3Jw8&w=560&h=315]

 

 

What makes Silverthorn work however are the inclusion of solid, rocking, classic-Kamelot-styled tracks such as “Ashes to Ashes”, “Torn”, the pompous “Veritas”, and the gorgeous emotional swell of “My Confession”. Speaking of these as a group, they’re not all that far removed from the dark stylings of the past two albums, heavy chug-a-chug rhythm sections, richly dark keyboard arrangements and all. What makes them sound fresh and popping with energy is Youngblood’s purposeful shift back to a more cleaner, uplifting guitar tone and melodic approach that really harkens back to the best of their Khan era work. This singular element was sorely missing from most of the recent albums and its presence all over the majority of this album is smile inducing. “Ashes to Ashes” is an awesome mid-paced crunchy stomper, where Karevik’s nimble vocals provide clever nuance in a chorus that is sneakily catchy — this is the headbanger of the record. The hooky, multifaceted “My Confession” works not only because of the addictive keyboard riffs of Palotai, but the brightly soaring chorus guided by one of Karevik’s best performances that reaches into high registers yet never wavers in its smooth delivery.

 

 

But here’s what I’ve been really wanting to talk about, namely, what makes Silverthorn shine, the true gems of the album. There’s a handful here that start off with the hauntingly perfect “Song for Jolee”, which turned out to be the first song that Karevik and the band collaborated on, as well as being the driving force that led to his invitation to join to the band. This might sit right alongside Kamelot’s Khan-era ballad masterpieces, its that great. Delicate keys tinkle out the fragments of a melody over a bed of orchestration, and Karevik’s emotive vocals usher the song along in a sparse, elegant fashion, with deft, nimble melodies that are built upon the melodic twists and turns provided by the lyrics themselves — in other words, nothing sounds forced. Honestly I don’t know if Khan could do it any better, and while I hesitate to have to compare the two vocally, this is the first moment on the album where Karevik’s vocals sound completely his own. This isn’t to say that he’s ripping off Khan, but there are moments throughout the entirety of the album where he does sound strikingly similar in terms of phrasing. I’ll give him some leeway because for starters their voices are relatively similar, and secondly because the nature of Kamelot’s songwriting is going to naturally bring about memories of Khan. On “Song For Jolee”, Karevik establishes his voice as its own, and fans of Seventh Wonder will recall touches of his work in that band’s ballads.

 

The cascading refrain of “Falling Like the Fahrenheit” is perhaps the albums most rewarding moment; a rich, layered vocal that is impressive not only for guiding its effortless melodies over rather tricky words, but for the way that it seems to soar purely on the strength of the vocal phrasing — the sombre, stately pacing of the music underneath hardly shifts in tempo in transition from verse to bridge to chorus. The album’s most sublime moment however is the following track, the instant classic “Solitaire”, where a bracing, surging verse section launches you forward into the album’s most urgent, epic, melodically triumphant, and lyrically beautiful chorus — a moment where Karevik’s lyrics nearly match the sheer brilliance of the mighty Khan: “Sometimes when I’m out of reach / And sometimes when I’m there / That is when our souls agree and join in solitaire /Sometimes when my will to love has gone away / That is when I hear your name”. The joyous guitar riff that follows those words is Youngblood circa 2000-2005, a moment of indulgence in the sounds of the band’s past that now sound refreshing and vital.

 

 

One final note about Karevik, as I’m sure that most of the reviews online and in various media will focus on his vocals, and perhaps not so much on what he brings to the table as a songwriter in terms of vocal melodies and the quality of his lyrics. Those were the aspects of Roy Khan that really solidified my love of the band and were the things that I feared Kamelot would suffer from the most. Having been a recent convert to the great work Karevik has done in Seventh Wonder, in particular through their latest album, The Great Escape, I found that I was relatively pleased with his contributions to Silverthorn, albeit more for his choices in vocal melodies rather than sheer lyrical poetry. Don’t get me wrong, he delivers good lyrics overall, and in addition to the great lines of “Solitaire”, there’s a really excellent couplet in the chorus for “Song for Jolee” worth mentioning: “One look in the mirror to see / Whats real and fake, Jolee”. That’s Khan-esque in its simple, elegant, and evocative nature. But he does hit and miss throughout the album, for instance I didn’t find the lyrics of “Sacrimony” to be the best they could have been, and perhaps it was the rushed way that song was put together that resulted in that (it was reportedly the final song written for the album). All said, it was a fine effort by Karevik for the first time around, and knowing what he has done in Seventh Wonder gives me confidence that he will be even better on the next album. He might never replace Khan in that regard, the void is too great, but he seems to understand the level of quality that Kamelot fans demand, and maybe that’s all we should be asking of him as a lyricist, and as a vocalist.

Kamelot’s Silverthorn: First Listen of the Lead Single “Sacrimony”

So yea, I realize that “Sacrimony (Angel of Afterlife)” has been in Kamelot’s recent setlists throughout the summer festival season and that there are recorded live versions floating around YouTube. I also realize that they’ve been of godawful sound quality and it was really hard to make heads or tails of what this new song and lead off single from the Silverthorn album actually sounded like. But today marks the official release of perhaps the most highly anticipated metal single of 2012 — and Tommy Karevik’s Kamelot studio debut — and I’ve been listening to it periodically throughout the day to form an impression.

 

Those of you who had read my recent article on The Legacy of Roy Khan know that I had voiced my concern about how a Khan-less Kamelot could potentially suffer without his tremendous songwriting input. It was worrisome because with all due respect to Thomas Youngblood, the early Kamelot records without Khan’s songwriting presence were mediocre at best. Word was out that Youngblood and keyboardist Oliver Palotai had already been working on 6-7 songs as early as January 2012 — would they even bother to wait for their new vocalist’s input?  I loved what Karevik brought to the table in Seventh Wonder in terms of his rather skillful ability to create memorable and soaring vocal melodies and arrangements and I wanted this injected into the new Kamelot material.

 

Well it was good news that was recently provided to us by Kamelot France as revealed in their interview with Youngblood:

 

KF: Last January 2012 you revealed that 6 or 7 songs were already co-written with Oliver; when and how did Tommy step into the process?

Youngblood: Around February, we started sending him ideas for songs. Song for Jolee was the first one, then Solitaire and so on. He worked closely with Sascha (Paeth, producer) in Wolfsburg on the vocals and lyrics. For the most part he did all the lyrics along with Sascha. I did some lyrics and we all worked together on the concept and storyline.

 

That comes as bit of a relief, and one hell of a smart decision because upon the very first listen to “Sacrimony” its clear that Karevik’s input is all over the vocal melodies for the song, particularly its surging, arcing chorus. The song is a juxtaposition between slow crawling verse sections marked by stop start riffing and atmospheric keyboard soundscapes that leap up into a swoopingly fast chorus section. Karevik is eventually joined by Amaranthe vocalist Elize Ryd who appears on a tension raising bridge section, the songs most brilliant moment — their two voices in succession pushing the chorus to a greater height. But then there’s a passage in the middle of the song preceding the solo section in which The Agonist’s Alissa White-Gluz delivers a raspy-grim vocal that just comes off as fairly pointless.  A strange outro concludes the last half a minute or so with a plucked guitar figure alongside the distorted voice of a child singing “Ring Around the Rosie” — its fine but I find it to be a less than satisfying way to end a song… though I guess you could call that nitpicking.

 

My overall take on “Sacrimony” can be summed up by saying that if this ends up being the worst song off the Silverthorn album, then Kamelot will be in good shape, and I certainly hope that is the case. Its not a bad song per say, I really enjoy the chorus and in particular the sweeping drama of the bridge that precedes it. Its everything else in the verse sections that come off as slightly clunky in that aggravating way that suggests had more time been invested in working on the song, it perhaps could have been molded into something far smoother. Kamelot doesn’t do abrupt and jarring all that well, one of their trademarks is flow and smoothness. It should be noted that in the very same Kamelot France interview Youngblood noted that “Sacrimony” was the last song written for the album, the bulk of it apparently composed in a day, with Karevik adding vocal melodies over the top later. Its clear when listening to it that perhaps they didn’t leave enough room for him to weave in more fluid verse melodies. One can only hope that the other songs didn’t suffer the same fate.

 

[youtube https://www.youtube.com/watch?v=LvWT-7l6vJU&w=560&h=315]

 

 

Kamelot: The Legacy of Roy Khan

 

 

 

Timing can be a tricky thing. I had been thinking a lot about Kamelot recently, and the reality of their future without their now ex-vocalist, the mighty Roy Khan. I had to admit, as a fan of the band I’ve harbored worries —- the loss of a vocalist is a shakeup that few bands can endure with continued creative and commercial success and this is amplified in the case of the vocalist being very distinctive. So I had begun to write a piece on my doubts, and the reasons for them and had planned on it being published just before Kamelot announced their new vocalist. Of course, on the day I planned to publish, Kamelot lifted the curtains on the identity of Khan’s long speculated upon replacement: namely Seventh Wonder’s own Tommy Karevik. Well, I’m proud to say that I called it (among others certainly), Karevik had long been one of the candidates on most fans shortlists, he was certainly my favored choice and its not exactly a surprise that he’s been given the position. It makes sense, he seems to fit in with the band vocally, and he did fill in for Khan on select shows in 2010 to proven success. I feel a touch more confident with the band going forward with Karevik, in that they’ll be able to release something that is not a jarring stylistic departure due to a new vocalist being radically different (i.e. Blaze Bailey and The X Factor). My confidence is restrained however, by my speculation of the larger possibility that Kamelot’s future will be defined not by what they have gained, but by what they have lost.

 

 

Roy Khan’s emotive and expressive vocals are by this point well-known to most of the metal community at large. His smooth delivery, subtle accent, and near perfect inflection and timbre were one of Kamelot’s defining attributes during his tenure with the band. He wielded attributes rarely found in power metal vocalists: richness, texture, depth, and a touch of melancholy. Soon after being introduced to the band through their sixth album Epica, it became apparent to me that there was more to Kamelot than just a great voice; there was intelligent and articulate songwriting at the heart of their music. In this I saw the continuing evolution of a stylistic legacy that the once mighty Queensryche had long ago abandoned. Khan and band founder/guitarist Thomas Youngblood were to me the second coming of the untouchable Geoff Tate/Chris DeGarmo songwriting team that had penned so much of the classic music that I loved in the ‘Ryche. The jump in songwriting quality from Kamelot’s first two albums with original vocalist Mark Vanderbilt (as well as the first Khan vocal-helmed album Siége Perilous), to Khan’s songwriting debut in the masterful The Fourth Legacy was simply immeasurable. Soon after hearing more Khan-Youngblood classic albums such as Karma, and Epica sequel The Black Halo, the deficiencies of many other bands in the genre grew to disproportionate sizes in my eyes. Many of the power metal bands I was listening to in earnest prior to discovering Kamelot now seemed dramatically inferior in comparison; their lyrics trite, subject matter shallow, and musically lacking. I was finding it harder and harder to enjoy many of them to the degree that I once did. In my initiations with Kamelot’s discography, I discovered that Khan’s role as a songwriter and lyricist was a huge factor in the quantum leap that Kamelot took from being a Crimson Glory-soundalike to a truly remarkable, original, and fresh force in modern power metal.

 

Khan’s songwriting legacy within Kamelot is deep and full of nuance. By becoming Kamelot’s lyricist he brought to the songs a poet’s gift, the ability for the band’s songs to shine beyond the music. As for his newly found songwriting partner Thomas Youngblood, he pushed the guitarist to rethink and expand his vision of Kamelot’s sound, right down to fundamentals such as tempos and song structure. His talent for creating vocal melodies and imagining the surrounding harmony arrangements with all their intricacies and subtleties melded with Youngblood’s natural talent for cranking out melodic yet powerful and tastefully restrained riffage, and as a result pushed the guitarist’s budding creativity.  Conversely, as seen on The Fourth Legacy album, Youngblood had a more straight ahead metal oriented songwriting approach than that of Tore Østby (Khan’s former Conception band mate and primary songwriter), and this urged Khan to get inventive in terms of how he’d develop and place vocal melodies, as well as adapt the phrasing of his smoother than most delivery to faster, heavier, more aggressively oriented metal. These results were often beautifully intricate, such as in the spectacular “Nights of Arabia” and “The Shadow of Uther”, where the verses and chorus feature alternating vocal tempos and styles to supreme dramatic effect. A further nod to creative expansion was introduced within the band’s repertoire in the form of spare, haunting, acoustic ballads. There Khan’s ability to carry a song’s melody on his vocal chords alone was put on full glorious display, as in “The Sailorman’s Hymn” and “Glory”, both moments where Khan’s lyrical storytelling abilities were allowed to blossom while Youngblood proved that he was as capable of delicate, spacious, finger-plucking as he was flashy, furious soloing. The two band mates meshed together on that album and challenged and improved each other, and it was only the beginning of a jaw dropping body of collaborative work.

 

 

[youtube http://www.youtube.com/watch?v=4_5X3FwzVeI&w=560&h=315]

 

 

I keep mentioning Khan’s superlative abilities as a lyricist, and in truth the quality of lyrics don’t seem to be something that most metal fans fixate upon in general for reasons that are easy enough to understand. Most average metal bands get by on rather clunky, clumsy, and often lazy lyrics that work in a utilitarian way at best, while the appreciation of the music itself takes center stage. With Kamelot, Khan’s crystal clear vocals placed up front in the mix naturally put the spotlight upon his lyrics and he connected to listeners with his innate ability to tell stories, create interesting narrative perspectives, and offer elegant poetic verse and inventive phrasing. I’m not the only one who noticed, on the Amazon.com page for the Epica album the prolific reviewer LordChimp wrote: “Khan — in addition to being a prime singer is an outstanding lyricist, full of evocative colors and depth and beautiful diction”. Well put, and he’s not the only one who’s noticed: Kamelot fans have been vocal about their appreciation not only for Khan’s poetic voice, but for his ability to craft detailed concept albums with intricately woven stories, and imaginative narrative perspectives —- and never having it sound forced, or crammed in just for the sake of fitting it all in somehow.

 

 

[youtube http://www.youtube.com/watch?v=jn4nzFmyNfw&w=560&h=315]

 

 

They’re referring to moments such as in the ballad “Wander”, where Khan paints a memory of a meeting between the concept album’s tragic protagonists in a setting that is depicted by simple, evocative phrases: “I recall one summers night / Within the month of June / Flowers in mahogany hair / And smell of earth in bloom”. The disconsolate narrator reflects upon the bittersweet agony of this memory in the gently soaring chorus, “Silently we wander / Into this void of consequence / My shade will always haunt her / But she will be my guiding light”. Those last two poignant lines, juxtaposition the path of the two protagonists lives in a starkly elegant manner, and serve as foreshadowing within the greater context of Epica’s Faustian storyline. In the album’s watershed song “Lost and Damned”, Khan twists and bends the verse lyrics to fit over accordion, piano and strings played in loose waltz-like rhythms only to dramatically plunge headlong into one of the band’s most bracing, urgent choruses. The lyrics deliver an appreciable musing on the workings of fate without having to clonk us on the head and actually use the terms fate, or destiny: “Don’t ask why / Don’t be sad / Sometimes we all must alter paths we planned / Only try — Understand / I want to save you / From the Lost and Damned”. Against the Faustian backdrop of the Epica storyline, this song is not only a pivotal moment of action for the album’s protagonist, Ariel, but a brilliantly executed set piece within the story. It is literally Ariel standing in front of the object of his affection, as she weeps, speaking the lyrics out to her, and we know this simply due to Khan deftly penning “Helena don’t you cry / Believe me; I do this for you / Heed my decision now / I will be gone tomorrow noon”. I could sit here listing countless other examples of similar literary devices and dramatic technique found within Khan’s lyrics across his entire spectrum of work with the band, but it’d take forever and this isn’t meant to be a literature lecture —- just one fan’s passion about what the guy brought to metal.

 

 

[youtube http://www.youtube.com/watch?v=UwCnOCYhHuI&w=560&h=315]

 

 

When Steph Perry of Rocknotes interviewed Khan back in 2009, she mentioned to him “In the song “Temples Of Gold”, there’s the lyric “little did we know that they were life itself, the days passing by”. That’s just pure poetry. You don’t even need a song behind it“. Khan responded,

 

The lyrics have always been really important to me. There’s so many bands that, I don’t know how they feel about it themselves of course but there’s a lot of bands that I feel don’t put enough into the lyrics. They focus on the music and song and everything’s great but the lyrics seem to be lacking something. There’s other bands that have brilliant lyrics too and much better lyrics for that matter. In our genre I feel there’s a lot of lyrics that definitely could have been more worked on let’s put it that way. I guess it’s just that I like to play with words, I like to say things in ways that make people stop and think. It’s very important to me. I really like writing lyrics. It doesn’t always take that long though, even though people may think that [laughs].

 

His comments regarding his dedication to his craft speak volumes, and he is diplomatic about his perceptions of the lyrics found in other bands’ work, particularly within similar genres —- perhaps too diplomatic. He schooled them all, and ruined Stratovarius for me (sorry Kotipelto!). I consider Khan’s role in Kamelot as vitally important, he was half of the driving force that helped to shape the sound, style, and vision of the band’s work. Their last two albums, Ghost Opera and Poetry for the Poisoned, while not on the same peerless level as their conceptual predecessors, were still packed with memorable songs of sweeping drama, and Khan’s trademark ear for vocal melody and unforgettable lyrics. He never dropped the ball in that regard; where it counted for artistry’s sake, in the studio and forever documented on record.

 

 

 

 

Unfortunately he seemed to struggle with the toll a punishing live schedule was taking on his vocal chords as well as the effects of age (older songs had been noticeably tuned down live to compensate for his diminishing range), and performances had been slightly spotty in his last few years on the road. He seemed to be making a resurgence in the spring/summer of 2010, where his documented live appearances sounded fresh and revitalized, but soon after the hammer was dropped: Khan went on hiatus, citing burnout and exhaustion, and a little over six months later his statement confirming his resignation was officially released. By this point, the stunning shock had worn off and it didn’t come as a surprise, just a profoundly depressing acceptance. There was a curious footnote to that statement,

 

I am eternally thankful for everything you and KAMELOT have given me and equally sorry that it has to end here. The good news is; God was there after all…”     – Roy Khan

 

 

Many of Kamelot’s songs dealt thematically with universal themes such as love, death, hope, despair, and faith —- in particular the loss and search for faith. Its been interesting as a fan to go back through the albums, and see that particular theme crop up over and over, in a way that I had not noticed before. No one will ever accuse Kamelot of being a religious band, certainly not a Christian band, but it does seem that Khan was quietly embedding a great deal of his personal struggles into his lyrics, even on up to his final album with them, as seen in “Once Upon a Time”: “I won’t stay to stand in line / Or wait for God to shine all over me / I wait for the storm”. His former band mate Youngblood was unable to adequately explain his former singer’s religious awakening, but did credit it with leading the singer down his path to leaving Kamelot. In a recent Q&A by the guitarist on the band’s Facebook page, he unloaded a stunner about Khan’s present activities: “Before making the final choice on the new singer, we did correspond via email. I know he’s in good health, working in Norway. When he quit Kamelot he also chose to quit the music business and seems to be very happy.” Never say never, but that sounds to me like the end of a music career, and while I suppose I’m glad the guy is apparently happy, I find it tragic in the sense that he still has a world of talent that will potentially remain untapped. I was at least hoping for a Conception reunion, a solo album, a guest appearance, anything! Sadly, its a quiet end to a deafening career.

 

 

Some Kamelot fans grew nervous (and some irate) that Fabio Leone, the band’s choice as a long term touring fill-in could even be considered as Khan’s replacement, and while I admired the guy’s effort when I caught the band live, I quietly agreed with them. Enter Tommy Karevik. I’ve been listening to The Great Escape by Karevik’s previous (and apparently still current) band Seventh Wonder. It and its immediate predecessor Mercy Falls have been striking a chord with me that I’ve been unable to get from them in the past. I’m not sure why, maybe its my subconscious projecting its hopes about a Karevik-fronted Kamelot that’s doing it… regardless, I’m enjoying them, though not loving them. Karevik was apparently chosen on the grounds that he is also a primary songwriter for Seventh Wonder, and a lyricist as well. While I can see some skill in his lyric writing in these songs, its a far cry from the sheer quality that Kamelot fans are used to, or at least this one anyway. He has a pretty good voice, and as I mentioned before, his takes on Kamelot songs when filling in for Khan live were strong. Its unfair to compare him to Roy but to be frank about it, he has huge shoes to fill. A great, passionate new album that showcases his writing abilities in a way that pushes Kamelot forward is the only way to step out of Khan’s immense shadow. I hope he and the guys pull it off, I don’t want my admiration for the band to diminish, and as for Roy Khan himself, I hope he makes a return to music, in any form. If he doesn’t, I’m glad I got to see him live, and glad that he stuck around long enough to build what can rightly be called a legacy.

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