Consisting of five tracks that range from five to eleven minutes duration, Anno Domini High Definition is an album that gives free reign to many conflicting emotions such as sadness, joy, anger and euphoria. If we try to set off the new record against its three predecessors, one arrives at the conclusion that Riverside have probably opened up a new chapter in their craft and stepped onto a path that is now freer of the clichés and templates of the past. Actually, it doesn’t come as a big surprise, since with Rapid Eye Movement the guys finished their Reality Dream trilogy including the first three albums and ushered in a new epoch, definitely supposing something unheard before. However, the band still remains recognizable by their unquenchable thirst for complex musical solutions and other unexpected moves.

With a dream-like piano interlude, the opening track “Hyperactive” quite justifies its title the moment the powerful guitars and drums sweep you away amid a storm of growing tension and untamed energy. A pretty good and near spectacular beginning that fills the airwaves with some absolutely new and unfamiliar musical scents. The Hammond organ that wasn’t common on their earlier works is placed in a good light here as it perfectly contrasts with the band’s overall more modern sound. “Driven To Destruction” is another brilliantly composed Prog number with tons of fascinating instrumental passages and charming vocal gymnastics by Mariusz Duda switching from peacefully hypnotizing overtones to nearly roaring yells. But what actually works best is the bass guitar performance that is like a beautiful picture puzzle with all its intricate fragments brought together by the hand of a master.

“Egoist Hedonist”, offers yet another portion of the glowing Hammond playing as well as some heavy riffs allowing this time quite a liberal dose of metal. Actually, the band has never used anything heavier than a couple of Metal leads per song, mainly professing love for pure neo-progressive Rock with just a bit of Pop sensibilities and imposing high-tech inclusions, however you’d hardly notice the lack of heaviness while enjoying the band’s luxurious offerings which will please even the most discerning proghead, metal or otherwise

The album’s culmination are the two final epics, “Left Out” and “Hybrid Times”, both of which are probably the most interesting and complex songs ever presented by them. I’m not sure which one I like better, for these two are nothing else but the product of the bands very non-standard visions of how contemporary Prog rock should sound like. Actually, they seem like a “Dr. Jekyll and Mr. Hyde” of progressive music, personifying the chaos and discipline combined in the best way possible. While “Left Out” with its soothing yet lengthy introduction, groovy main part and Depeche Mode-like interlude, smoothly flows into the unshakable strongholds of early Uriah Heep and Pink Floyd, the uncontrollable and enigmatic “Hybrid Times” strikes with an independent will and force, not following any prescribed cannons of the field. Yet it remains a fairly accessible track which may easily become a favorite of the album.

I won’t claim that Anno Domini High Definition is the best progressive rock album released this year, but it’s no doubt the best material that Riverside have come up with to date, repeatedly proving themselves worthy as one of the strongest and most significant artists of this genre to emerge from their corner of the world.

Being the band’s fourth studio offering, Snowfall On Judgment Day is rife with the same hypnotizing elements as its predecessor The Origins Of Ruin. Its python like musical stranglehold will never let you off until your last breath, but the paradox is that you’ll want to repeat this same deadly experience over and over. The six and a half minute opener “Peel” will rip apart the most skeptical of listeners as it transcends thrashy territories, offering riffs as massive and crushing as a millstone, while the exquisite yet hushed piano and keyboards serve as a smoothing vector. Arguably, at times it sounds a lot like guitarist Bernie Versailles’ other band, Agent Steel. Actually, there are quite a few tracks of such an inexorable character, with “Leviathan Rising”, “Fistful Of Sand” and “Another Day Dies” being the heaviest and most devastating. Interestingly enough, this last named track features quite an impressive vocal duet between Ray Alder and James la Brie and is a dead-ringer for “Constant Motion” from Dream Theater’s album, Systematic Chaos. Nevertheless, it easily fits in with the rest of the band’s material.

The other half of the album is more in the realm of melodic traditionalism, typified by the beautiful and contagious motifs such as those heard on “Walls”, “Black And White” and “Keep Breathing”. I think this is where the guys pursue their favourite facets of the music they write, while never forgetting to frame it in a mass of inventive arrangements and instrumental grandeur. “Black And White”, enchanting with a fabulous interplay between the piano and the bass at the beginning of the song, soon evolves into what I consider one of the most beautiful tunes ever brought by the genre as a whole. Going over the eight-minute mark, it reminds me of “Memory” from their previous album and has everything I would ask for in this model of Progressive Metal. From unexpected curves to never recurring musical solutions, to the countless new revelations being made with each new listen, this song is still airy in its feel and easy to grasp despite the complexities. The eleven-minute epic, “Love Kills Us All – Life In One Day” crowns the album in a very solemn way, offering a lengthy introduction in a very much Tangerine Dream style of space rock, with a gradual addition of abruptly played riffs as well as soaring vocals from Ray.

In fact, Redemption’s new album is the quintessential easy-to-follow tutorial for all those just cutting their teeth on the genre, since it offers everything Progressive Metal is renowned for. There’s no deficit of complex, yet truly absorbing structures, irreproachable musicianship and the distinct contributions of each member involved, as well as the masterful songwriting, luxurious melodies and inventive arrangements. To me, it’s unconditionally one of 2009 best gifts from the genre that I recommend with no apprehension to be condemned for this recommendation afterwards.

The twelfth studio album, Utopia obviously gains its momentum from its two successful predecessors, Paradise In Flames and Doom Of Destiny, which presented the band varying their sound with more sophisticated vocal inclusions and symphonic elements. Following the omnipresent symphonic intro, the curtain rises and the title track sees the band in full possession of hurricane-like rhythms, delirious yet well-measured lead onslaughts, beautiful piano infusions and emotive vocal performance from leader and singer Bernhard Weiss. The female back-up choir is slightly veiled yet adds some unique charm to the song. “Last Man On Earth” continues with the shotgun approach of its predecessor, though cutting power a bit and showing even more symphonic splendor. “Fass Mich An” , translated as ‘touch me’, is sung in German but doesn’t break the overall swiftness of the album featuring some weird sonic effects, Bernard’s most ardent singing, and firework soloing from guitarist Marco Wriedt. “Sarah Wanna Die” is another rapid fire number with plenty of lead breaks and another glowing guitar solo.

The ballad “My Father’s Eyes” allows some brief respite, offering up a beautiful multi-layered chorus amid a massive wall of guitars and keyboards. The solemn movement and hardly audible growling choir of “The Monsters Crawl” throws in some versatility to the performance albeit this term doesn’t quite agree with the band’s one-dimensional style. “Eyes Of A Child” starts with a thick guitar onrush which is carried on further into the song, backed up by magnificent vocal lines and all sorts of soloing. The short yet imposing bass lick towards the end of the track is especially good. “Heavy Rain” is measurably fast, yet can’t compete with the album’s overall vortex-like movement. The chorus of the song is quite spectacular due to its strong melody and mellow singing keyboards. “For You I Will Die” is my least favourite and was also somewhat confusing since I had a difficult time getting used to its numerous spastic breaks and brusque techno-style synths. Thankfully, “Underworld” resumes the album’s normal course, bringing back speed, stability and their signature ‘in your face’ melodic style. Working up to the finale of the disc are two bonus tracks, “Taste My Blood” and “20 Years Anniversary Song”, both of which are truly Axxis born and bred, though perhaps would have been more appropriate for the band’s earlier, rawer and more guitar-oriented works.

While I agree with some critics that Bernhard’s voice is a matter of taste, I for one find it irreplaceable and the very moving force which makes Axxis what it is. I’m glad that the man still finds enough motivation and strength to unite the guys around his composing talent and create one solid album after another. No doubt, Utopia is easily one of their strongest offerings and a mandatory purchase for their fans. For all others, it’s about time to finally stop searching for yet another utopian Melodic band for your collection and give these Deutschlanders a well-deserved chance

The opener “Bogeyman” is an ideal trap for any fan of drop-dead catchy riffs and rousing choruses striking home right on the spot. The title track which follows proceeds on same crushing tide, leaving no doubts that U.D.O. will never compromise their principles of hammering out easy to grasp yet highly ardent material. The rest of the tracks are almost equally catchy and instant in their impact even if they don’t offer much diversity in song structures and rhythms. My favourite piece would most probably be “Doom Ride” thrilling with yet another ‘balls to the wall’ style chorus variation and simple yet devastating lead guitar firepower. Admittedly, the “gold mine” once discovered by Accept still provides an inexhaustible supply of ideas and Mr. Dirkschneider doesn’t even have to lift a finger to find another proper theme for a song. This musical commonality is also found in their use of balladesque pieces, showing tracks like “Stillness Of Time” and “Whispers In The Dark” as another pair of direct successors to great tunes like “Can’t Stand The Night” and “Winter Dreams” from the Accept discography.

Of course, I wouldn’t name U.D.O. the most original metal act out there, but their ability to stay true to their style without being stale or tedious is admirable. And if you’ve been a loyal fan of the band during their long and almost spotless career, then you should pick up Dominator without a moment’s thought. Even if it’s not as perfect and grandiose as Holy or Mastercutor, it guarantees a good use of your money at the very least.

Two years have passed and what we get with Dreamland of 2009 just doesn’t quite agree with my conception of the direction I would like to have seen the band moving in. Instead of fortifying the Traditional Metal citadel so successfully seized at the start of their career, they fell upon the ideas of modern Power Metal and had a stab in something that is pretty close to the bands like Nocturnal Rites and Thunderstone. Of course, it’s easier to pull down than to build, and as a result the new songs sound as if the guys just don’t feel as motivated any more. Not that this new material is unlistenable, but I just don’t sense the same spark of inspiration in most of the songs, however hard I try. To my mind, some other groups in Sweden, like Her Whisper or Saint Deamon, can do this style far better these days.

I have no doubt this kind of Power Metal calls for some profound sense of melody as well as absolutely impeccable and luxurious arrangements. Regretfully, there is an obvious deficit of both. I don’t know whether someone put a jinx on the band’s ability to compose striking and memorable tunes but I only find several tracks meeting my personal requirements. For instance, I do like the fiery title track and also the highly energetic “Shortest Straw”, since these two offer some pretty interesting guitar licks and even a few growls and screams, thus relieving the overall generic sound of the material. Ironically enough, the album’s two-minute final instrumental “Time To Exhale” comes as the most unexpected and interesting bit here. The collaboration between the bass and plucked guitars is incredibly fascinating and spectacular. If only the guys had been able to keep this level all the way through my reaction to the album would have been quite different.

As a rule, I’m very well-disposed towards Power Metal from Sweden. Moreso, I believe this country offers the best younger representation of the genre at the moment. It is suffice to name Bloodbound, Saint Deamon, Dragonland, Harmony and Her Whisper among others to see that it’s not just empty praise. Alas, Dreamland with their third full-length offering Exit 49 just failed to convince me they deserve equal honors for the time being. I admit it’s not a bad thing to aim for changes and constant progress, but only if you are certain the risk is justified. It sure seems like it’s time for this band to get off this highway and take the exit back to their origins instead.

No sooner had I thoroughly enjoyed listening to Rockwolf, that I discovered their previous album Metal Casino, which erased any remaining doubts about the status of the band. To my surprise, the latter just knocked me down with a feather! Quite possibly, The Order is that rare bird that fills you with an irrepressible urge to experience its merits from A to Z, and I’m sure now that my next look into them will be their debut Son Of Armageddon.

But let me get back to the subject of this review. Nearly every song on Rockwolf has it what it takes to hold you completely electrified all the way. Powerhouse pulsating rhythms, diverse guitar tones, screaming born and bred classic solos, and enough catchy tunes to make you plainly hum along and boogie to the music. The nearest comparisons to them would be The Order’s compatriots of Gotthard and Shakra, but there are also many other moments to remember the classic heroes of the genre. “Love Ain’t A Game To Play” and “Angels In Disguise” sound like something Phil Lynott (Thin Lizzy) and Matt Sinner (Sinner, Primal Fear) could have come up with had they ever been able to jam together. “Endlessly” is a weighty, wistful ballad with a number of unexpected turns and tempo accelerations reminding simultaneously of Kingdom Come and Robert Plant’s solo work. The title track presents sticky dirty-sounding plucked guitars which wouldn’t be out of place on an early Def Leppard album. The groove is purely mesmerizing and the culminating solo lick throws you into ecstasies to say the least. “Miss Paradise” is an evident nod to Queen‘s ragtime eccentricity and sounds like something from A Night At The Opera or Jazz albums. Even the bonus cover track for Duran Duran’s “Wild Boys” isn’t stripped of some originality, though a few people could certainly find it a bit much for their tastes.

In summary, The Order and their new disc has become my Hard Rock discovery of the year. So far, 2009 has gone like a house on fire, and not in the metal circles alone. If anything, the new releases from House Of Lords, Gotthard, Shakra, Jorn and The Trophy will please almost all Hard Rock fans and I have no doubts The Order will perfectly fall within this list also. Rockwolf could definitely become your new favorite Hard Rock record, not only for the time being, but also for many years to come. Hats off to a great job, guys!

Honestly, I expected that the upcoming new release I Am The ReVolution wouldn’t throw me for a loop the way its predecessor UniVers did back in 2007 (it was actually my number two of the year), since I got into good training with this music over the past two years and literally learned every song by heart. If I used to have difficulty admitting that Voyager are a metal band from head to toe, I just stopped paying any attention to it. In fact, I’m now quite comfortable with the state of things that there is metal and there is Voyager, as it gives the listening process a keen feel of singularity, a taste of forbidden fruit if you like. And I knew for a fact that I was simply doomed to fall for the new material the moment I heard the first sounds of opener “Land Of Lies”. It just couldn’t be any other way with these dynamic rhythms, slightly muffled yet impressive guitars and Daniel’s serene and highly fascinating manner of singing. Maybe the fact that it sounds galaxies away from what today’s Melodic Metal bands offer in general takes some time to get used to, but soon you will not only lose track of time but also forget your own name, so beautiful and unearthly are melodies and arrangements presented here.

Similar to the UniVers material, there are no weak songs on I Am The ReVolution at all. Any of the songs has a huge potential to become your favorite, depending on what mood or state of mind you are in at the moment. Thus “The Devil In Me” disposes to sad meditation about the imperfection of human nature while “Close Your Eyes” makes you look at the bright side of things, claiming that time will heal all your wounds and scars. Pondering on the subject of death and life, the relatively speedy “Total Existence Failure” and “Straight To The Other Side” learn not to fear inescapable “gifts” of fate and live a full life while you still draw breath. Once again Daniel Estrin offers some vent to his eccentricity, including fragments of German and Russian speech in these two tracks. I’m not sure about the German excerpt, but the Russian one features the lines from “Duma”, a legendary piece by classical Russian poet Mikhail Lermontov. Last time it was Alexander Pushkin with his immortal “Yevgeny Onegin”. Marvelous romantic ballad “In My Arms” brings in the scent of dying love, involuntarily making you re-live the experience if you’ve ever had one. The most musically complex and progressive “Times Like These”, “On The Run From The World” and “I Am The Revolution” are just permeated with the spirit of rebel against this life’s dictatorial principles, literally calling you out to make a “little coup” in your worldview. Actually, this is a very philosophical and many-sided album that will certainly make you contemplate life’s deeper meanings.

In like manner, the musical decors are very well-thought and timely convey the general feeling with lots of bridges, interludes and splendid solo bits. I would especially mark the work of the guitar combo consisting of new 18 year old guitarist Chris Hanssen and his female copartner Simone Dow. Instead of surprising you with an exceptionally virtuosic commandment of their instruments, they prefer holding on to a more restrained yet delicate manner, enchanting the listener with Gilmour meets Oldfield spells. Equally good is the maestro Daniel Estrin himself with his keyboard set, impressing not only with well-crafted background accompaniments but also with lots of unexpected high-tech effects and solos.

Comparing the new album with its predecessors, I’ve come to the conclusion that with UniVers and I Am The ReVolution Voyager have attained the zenith of their genius. They should simply keep doing what they do, not taking much note of how innovative or ingenious it is. As long as they cope with this task, not only will they retain their appeal to their fans, but they can expect their fanbase to keep on growing from album to album. If you still haven’t entered the wonderful world of the big “V”, then don’t hesitate to do so as soon as possible. The revolution has begun!

All told, House Of Dreams is already the second album released by the singer under the aegis of Frontiers Records and supported by a company of co-writers including Jim Peterik (Survivor, Pride Of Lions) and brothers Tom And James Martin (House Of Lords, Khymera). As a result, we get well-crafted yet still somewhat familiar sounding songs, meaning there is hardly anything new here, but rather a collection of mid tempo and somewhat more energetic tracks supported by thumping bass, solid riffs and the occasional keyboard flourish. Of course, you’ll also find the prerequisite ballads, largely relying on piano, half-symphonic elements and sweetly humming rhythms and singing solos. In effect, this album is like a soundtrack to the breezy bicycle ride along the beach, when you can finally remain tête-à-tête with your cheerful mood and reflect upon small mercies of life. Surprisingly however, those nostalgic for Rainbow’s characteristically Hard n’Heavy heritage won’t necessarily find much here suitable for their tastes, as there is only one track sounding more or less in that vein; the driving number “Gutters Of Gold” . As I have always preferred my AOR with a heavier edge, it would probably be my favourite song on the album. The rest of the tracks are still not bad at all and will at least hit the spot of many in their target Classic Rock demographic.

To sum up, House Of Dreams could be a fine solution for those who are still fascinated with the formulaic yet charming melodic Rock of the early 80’s but not stripped of some modern production values. If you feel like taking a break from your daily dose of Metal, or are looking for something to match your cheerier than usual mood, this music could make for a good companion.

When I first saw the new album’s artwork I thought to myself, “Man, it’s gonna be just as ruthless and powerful as the debut”. To put it mildly, I was quite mistaken. On Sunless Skies, the guys still offer up the heavy riffs seasoned with tasty melodies and exceptional piano flourishes but do it with much less madness and vigor, bringing forth a greater feeling of elegance and restraint instead. I can’t say that the new songs hook me as much as the material from their debut, but that was two years ago and Progressive Metal, as a whole, has made a giant stride since then. However, I would still like to thank them for presenting a piece that stands a great chance to become my favorite tune of the year. This would be the eight-minute plus “Poltergeist”, a thrashy potent number with strong rhythms and a killer melodic theme, which also unexpectedly finds its continuation in the closing two-minute acoustic piece “For The Last Time”. If the entire album were as impressive as its finale, then it would undoubtedly have been a strong candidate for the best Progressive Metal release of this year.

Yet I don’t want to say the album is missing any other good songs. In fact, there are plenty of memorable tunes, huge riffs and highly inventive arrangements to be found. For example, “Aurora” definitely surprises with its fluid transitions from pure neo-romantic verses to more standard metal bridge and chorus parts, while “Quantic Enigma” freely juggles with flamenco guitars, Hammond organs and even Modern Metal features. Likewise, the solemn Evergrey-ish riffs and incredibly beautiful solo elements of “Sons Of The Sunless Sky” and opener “Crown Of Thorns” speak volumes about the band’s top status in today’s Progressive Metal world. But once again, all of them can’t hold a candle to the previously mentioned epic “Poltergeist”. The main problem is that some of these other tracks just fail to remain equally interesting throughout their duration. Sometimes there is a very promising start with a huge riff and fascinating melodic theme but things suddenly go downhill in the bridge or chorus parts, causing one’s attention to drift away.

All that being said, Sunless Skies is still much better than most of the albums brought out by others of the Italian Progressive Metal scene this year, and, along with the new releases from Astra and Mind Key, puts in a claim for the right to be safely called the best of the genre’s offerings from this part of the globe. If you still haven’t heard Pathosray but are eager to know what Progressive Metal in Italy has accomplished, do yourself a favour and check out Sunless Skies. Who knows, maybe it’s just what the doctor ordered.

Logically enough, the new album, called 16.6 (Before The Devil Knows You’re Dead), treads pretty much the same musical ground as its two predecessors, Seven Seals and New Religion. However, the charming melodic arrangements, similar to those found on the previous albums, are quite frequently carved up with bolster and rawer infusions, recalling more of the pure aggression and energy of their earlier work such as Devil’s Ground in particular. A pretty winning combination if you ask me, as I really like the way they combine the old with the new on this latest release. Nevertheless, one should be quite an open-minded and seasoned listener to normally take the course of the album, since its more conventional numbers are set against some pretty extravagant tracks, such as a bit inappropriate yet nice AOR ballad “Hands Of Time” or the daring Modern Metal piece “Soar”. Unfortunately, I foresee some disappointment from those fans who would like the band to move along a less winding path.

Riff-wise, there are quite a few retrospective moments, implemented, nevertheless, with a strong sense of more contemporary embellishments. Thus, the riffs heard on “Six Times Dead” and “Killbound” are catchy and heavy as hell, though simplistic and clichéd they may seem at first listen. Likewise, some of the solos, such as the great neo-classical twin harmonies on “Riding The Eagle” and the short sparkling bits on “Smith And Wesson” are similarly mesmerizing. Actually, the latter track is my favourite on the album as it’s simply impossible to resist its overly optimistic mood and strong rhythms in spite of the overly cheesy lyrics. Once again, the guys couldn’t do without a few heavy ballads, of which “Black Rain” and “Smoke Without Fire” are especially good. While the former depicts exceptional equilibrium between the mellower and more aggressive/ faster parts, the latter is more even-tempered yet boasts a really great melody reminiscent of “Every Time It Rains” from their last album.

Also, it can’t be left out that the band’s lineup is now bolstered by another great name in metal, belonging to no one else but Magnus Karlsson, the brains behind the Allen/Lande project and the mastermind of such groups as Last Tribe, Starbreaker, and The Codex. I really hope he isn’t just another “passer-by”, for the band’s composing department would definitely win with his continued participation. I don’t know whether he just passively recorded his guitar parts composed by Matt and Ralf or had a hand in co-writing the new songs, but it seems like he did, as there are quite a few melodic touches throughout the album characteristic of his own, easily recognizable catchy style.

Perhaps Primal Fear aren’t capable of working miracles any more but they can still be a great starting point for any newcomers to the modern Power Metal genre. And their new album 16.6 is, without a doubt, recommended to anyone wanting to get to know this band. After all, this is high-quality German steel we are talking about, even though it tends to show some features borrowed from Scandinavian school. One way or the other, you will hardly regret investing your precious time and cash on it.

Even if Saint Deamon is just another Power Metal band, they still sit at the top of the metal Olympus, right there with Masterplan, Ride The Sky, Nocturnal Rites, Bloodbound, Harmony, Tarot, and such. Most of the emphasis is certainly placed on songwriting and arrangements rather than on Power Metal pomposity or instrumental pageantry. The songs are pretty simple in structure, yet exclusively rich in sonic décor, with luxurious guitar harmonies, ruthless lead punches, strong rhythms, unexpected turnabouts and, of course, highly contagious melodic lines. If you happened to hear the debut, you will recognize the band’s style immediately, for this is Saint Deamon through and through with Ronny and Toya’s joint talent of composers literally blazing here with every move taken. Suffice to say that Ronny co-wrote such an epochal metal anthem as Primal Fear’s “Seven Seals” whilst Toya participated in the creation of some immortal songs for Sinner and Ride The Sky. Moreover, both of the men had their fingers in the pie that was the Football World Cup metal hymn “Glorious” featuring such world’s leading singers as Ralf Scheepers (Primal Fear), Tobias Sammet (Edguy), Edu Falaschi (Angra) and Timo Kotipelto (Stratovarius). Consequently, the masterful songwriting is probably the very cherry on the cake that make Saint Deamon such a tempting case.

Thus, whichever song from the new album you pick, it’s likely to captivate you off the bat with its unspeakably infectious tunes, juxtaposing here with gorgeous arrangements and enough heaviness to keep your “metal fire” burning throughout the disc’s duration. The songs differ from each other in tempos and melodies, ranging from mid-tempo blasters (“Deception”, “The Only One Sane”, “Fear In A Fragile Mind”, “Fallen Angel”) to pretty fast and the album’s heaviest numbers (“Eyes Of The Devil”, “The Deamon Within”) to beautiful yet quite ponderous half-ballads (“Pandeamonium”, “A Day To Come”). “Eyes Of The Devil” is most probably the model piece that could serve as an apt introduction for the uninitiated, as it owns all of the features peculiar to the band. Along with the thunderous riff accelerations and abrupt free falls into more serene heaven, there is some threatening fatality in the melodic theme that permeates through the entire track and holds the listener completely rapt. The solo parts are electrifying to say the least, and the song itself is a powerhouse showing to all naysayers that Power Metal is far from being the spineless fluff they tend to associate it with. Also very good is the title track that throws in some Hard Rock/AOR sensibilities into the mix with its sing-along chorus, solemn bass-based verses, mesmerizing keyboard licks and fascinating solo from Toya. Of the tracks that vividly remind me of why I liked the debut so much, I would call “The Only One Sane” with its moderate gallop and all-band choir effort, and the show stopper “Fear In A Fragile Mind”, harbouring one of the greatest melodies in the album’s entire arsenal.

To sum it up, with Pandeamonium Saint Deamon have definitely made a successful attempt to clear the high bar set by the debut, proving once again that contemporary Power Metal is not the genre that should be overlooked by so many prejudiced metal fans. Want to make sure? Then seek out this album immediately. I can hardly believe you will dislike it, even if Power Metal is just of occasional interest to you.

Their newest album, Ageless Decay is the group’s fourth studio release and the first one featuring Mike Dimeo (Riot, ex. Masterplan) on vocals. And while I can’t say I’m a big fan of their previous records, it’s surely a different case with this new material. Firstly, I like the fact that I find it difficult to draw any evident parallels with other Power Metal bands from their country, since Ilium really manage to sound like none of the others, while at the same time remaining a Power Metal band from head to toe. Secondly, despite having in their arsenal such a weighty force as Mr. Dimeo, they place a strong emphasis on the instrumental facets of their music, which is very impressive with tons of lead passages, spectacular soloing, Maiden-esque virtuosic bass work, and unpredictable, I would even say unconventional melodic digressions. And finally, the overall atmosphere is quite dark, with most of the tunes being based on the minor rather than major scales, which adds a shade of inimitable dramatics and melancholy to their songs. The only glimmers of happiness are heard on the rather predictable and generic “Fragmented Glory”, which is probably the sole “black sheep” track which I could do without. For the most appealing tracks I would choose “Omnipedia” with its slightly dirty guitar tones and infectious solos, while “Nubia Awakes” blazes with gorgeous Eastern melodies and rich vocal work from Mike. Last but not least, I would also select the closing eight-minute epic “Idolatry” that is literally a fountain of emotions conveyed by frequently changing paces and spectacular instrumental interplays.

Reminding me at places of early Iron Maiden, Axel Rudi Pell, Icarus Witch and Nostradameus, Ilium, nonetheless show their own character and will surely suit the tastes of the majority of Power Metal fans and especially those who are fed up with the bands like Rhapsody Of Fire, Hammerfall, Dragonforce and others of this ilk. I believe that Ageless Decay should open a new chapter in the band’s history and usher them right to the vanguard of the Australian metal elite. So, should you ask me now what names I recall when it comes to Power Metal from Australia, I will definitely put Ilium among the top of the list.

Fortunately, their next work, this year’s gem Black Clouds And Silver Linings, has come as one massive annihilating counter strike upon all the unbelievers. Dream Theater have proven once again that they are quite rightfully considered the kings of Progressive Metal. Having finally realized that songwriting should be the main priority to get into the good graces of their listeners, they have composed six mind-boggling pieces whose melodies and dynamics keep on living and resounding long after the final chords of the album’s majestic, nearly twenty-minute finale “The Count Of Tuscany” have faded away. Arguably, I don’t find any real lows with the new repertoire despite the fact it doesn’t offer anything drastically new. It may be repetitive at times, and perhaps a bit self indulgent, but even these supposed faults are easily nullified by the extremely memorable and emotive melodies which this disc abounds in.

The ever-changing rhythms and smooth transitions from the darker to lighter tones are so captivating that you are likely to be reminded of their era that was ruled by classics such as “The Miracle And The Sleeper” and “Finally Free”. Moreover, there is enough room for heaviness too, and the tracks like “Nightmare To Remember”, “The Shattered Fortress” and “The Count Of Tuscany” confirm it in full with their mighty leads, ominous atmospheres and intense pacing. But once again, none of them would be so good but for the beautifully memorable melodies cropping up here and there. For instance, “The Best Of Times” starts with the enormously mesmerizing pianos, violins and acoustic guitars but then goes beyond this tranquility morphing into the burning lava of dense riffing and growing rhythms. However it doesn’t forget to cascade down into the beauty and reverie of the starting theme time and again. It’s nearly impossible for me to single out a track or a part that I enjoy most of all. You just literally hang onto every note and line heard from your speakers, devouring one gorgeous lick after another. Yet the unforgettable motifs of the mentioned “The Best Of Times” and dreamy half-ballad “Wither” will probably be most responsible for luring me back to this album for many years to come.

Maybe Dream Theater aren’t capable of doing anything else but stealing their own thunder any more, yet they do it so fervently and impeccably on Black Clouds And Silver Linings that you just take it for granted and forget all about the fact the moment you get caught up in the music. I’m not sure yet whether it’ll hold out as my album of the year (currently it is), but there is no doubt that it will end up somewhere in my top five. And one more thing, don’t miss out on purchasing the 3-CD edition of the album, consisting of the new release, a disc of covers including such immortal classics as Rainbow’s “Stargazer”, King Crimson’s “Larks Tongues In Aspic Pt.2” and Iron Maiden’s “To Tame A Land”, and a third disc of an instrumental version of the album, along with a marvelous expanded artwork booklet. This purchase is worth every penny.

Like most other Doom Metal albums, Darkness Walks Beside Me calls for certain suitably fitting conditions during the listening process. Consequently, I don’t suggest you try to grasp its sonic deepness while frying fish in the kitchen or hoovering the house. Instead, nestle yourself on a couch, turn off the lights and close your eyes. The absence of anyone else or any other distractions in the room is welcome too. Only in this way will you be able to feel this album’s ample gamut keenly, immersing yourself completely in the all-pervading gloom offered by this disc. In contrast to other Finnish bands, Black Sun Aeon doesn’t cause me to draw any easy parallels to the country’s Death Doom scene, and, except for some vague similarities to Swallow The Sun and Moonsorrow, there are far more moments that call up Sweden’s Catatonia or Britain’s Paradise Lost.

Concept-wise, Darkness Walks Beside Me is broken down into 9 chapters, with each of them being a “real” song and telling the listener its own story of various human emotions and circumstances, and skillfully bringing them to life. The music is a perfect accompaniment and conveys its themes in a orderly, well-finished manner. Thus, “A Song For My Wrath” is equipped with raging heavy leads and wicked snarls occasionally interrupted by mellower acoustic breaks and highly melodic clean singing from Mikko. “A Song For My Demise”, starting with extremely beautiful and hypnotizing half-acoustic prelude, is, nevertheless, the most invigorative piece on this album and holds on to a bit faster pace than the rest of the songs. The leads are massive, crushing and pushing, which nearly puts this track into the Melodic Death category. Actually, most of the songs stick to one template and, along with lots of sorrowful, doomy parts, present some pace accelerations and pretty energetic sections, which helps this album avoid the monotony which is so common for the genre as a whole. “A Song For This Winter” is probably my current favourite track, as I just can’t help admiring its cold, oppressive anguish, well-crafted, low-tuned plucked guitars, tom-tom-like drumming and mighty lead onslaughts, creating an extravagant feel to its otherwise dark mood.

Despite the fact that this debut won’t likely shatter anyone’s views on contemporary Doom Metal, I hope it will grab your attention for more than one or two surface spins, as everything here obeys the laws of quality and perfection. Perfect sound, perfect selection of songs and perfect tempo variations for an album in a genre that doesn’t usually surprise with much variety. I’m sure that you won’t regret investing your time and money in Darkness Walks Beside Me, since it’s going to become a perfect choice on days when you are in a mood for some haunting and gloomy music.

In fact, this album is a more than worthwhile purchase on the basis of two songs alone, “Judas Must Die” and “Napalm Nights», both of which have an excellent chance to eventually become classics of traditional style Heavy Metal. These two not only make me shiver with excitement every time I’m exposed to their incredible combination of massive kick-ass energy and great melodies, for they combine all the best qualities of the genre and are nothing short of perfection. That being said, I’m certainly not claiming the rest of the material on the album to be average or not worth any attention either. On the contrary, vocalist like Nils Patrik Johansson (also of Astral Doors, Wuthering Heights, Space Odyssey) turns all the songs into pure gold, with his gritty range similar to that of Ronnie James Dio, Tim Aymar, Russell Allen and other giants of this field.

In addition, it is the songwriting that also makes this disc even more appealing. The band’s leader and guitarist Lars “Chriss” Christmansson was definitely a student of many a legendary 80’s icon since his passion for such landmark works as Heaven And Hell, Defenders Of The Faith, and Holy Diver simply shine through on nearly every tune or riff. For instance, the weighty and dramatic power-ballads “Heavy Cross To Bear” and “Behind The Curtain” are presented in a serious vein of “Children Of The Sea” or “The Mob Rules”, whereas the more vigorous “Phantom Rider” and “Space Scam” rely more on the mind-boggling guitar histrionics that can also be found on such classics like “Jawbreaker” “The Sentinel” or “Holy Diver”. However, the riffs and compositional structures employed on Dark Hours seem more refined and intricate and are well suited for today’s standards. The same can be said about the exemplary sound production, which further bolsters the high quality of this release.

In summary, if you are one who still keeps an eye on the traditional metal scene and don’t mind an occasional flashbacks of past legends, Dark Hours must definitely find its way into your collection. I, for one, enjoyed it far more than the last offerings from metal “gods”, like Priest, Maiden or Sabbath (read Heaven And Hell), and this fact tells its own story if you like!

What makes this band particularly worthy of praise is their ability to mix the complex, aggressive and beautiful. It becomes evident from the very first moments of “Over The Hills”, which is seemingly flowing, yet also volcanic in its essence, with explosive heavy guitar sections and opportune rhythm changes. While the keyboards mostly compliment the leads and the battery with ominous atmospheres they are still far from being just a background element and occasionally contribute a stellar solo or imposing pattern overshadowing the other instruments. The vocals are also damn good. Not even once does Titta Tani sound boring or uninspired skillfully jumbling smooth, crystal clean parts with raucous overtones a la Russell Allen or Mats Leven. In this respect, a very model track is “Memories Remain” where Titta presents an impressive performance supported with the combined choir efforts from the rest of the band. Nonetheless, as much of a metal singer as he is, the man has also proven to be a dead ringer for Freddie Mercury, which is more than obvious on the closing emotive ballad “Never Say Goodbye”.

Their compositions are measurably intricate and rich in details putting together the main melodic themes of the songs. The top task seems to induce as many emotions and musical memories from the past as possible and only then to impress with technicality. That is probably the very feature fixing a distinct boundary between Astra and Dream Theater. For that matter these guys are apparently way closer to their fellow countrymen DGM and Britain’s Threshold, though there is still a solid block of individuality found in nearly every track here. “Save Another Day”, for example, sees the band successfully flirting with some funky and jazzy additions with the backbone of the song obviously hovering somewhere between the realms of Hard Rock and Melodic Metal. No less inventive is “Simple Mind”, evocative of Kilroy Was Here era Styx. The song is a good demonstration of the band’s joint vocal work and has a typical lustrous vibe of a classic 80’s rocker.

Production-wise, From Within lives up to the best of present-day efforts and boasts a tasteful sound and flawless mix of the instruments. I think this record will primarily appeal to fans of melodic prog metal as well as classic hard rock. I must congratulate Lion Music on taking another brilliant band under their wing and this album is recommended without a shadow of a doubt!

And so, the two opening tracks, “Dreams Of Madness” and “Dominion 5”, which set the tone for the rest of the album, had me initially quite puzzled. The first association that leaped to mind was that of Nocturnal Rites meets Masterplan meets Heed, and I really needed some time to get used to the newer, more serious sonic image of the band. But I’ll be damned if I didn’t really like what I heard from my speakers! Devastatingly ponderous modern riffs mixed with imposing solos and powerful vocal lines, as well as a large diversity in rhythms used on each song made me think of anyone else other than this band. However, the deeper I submerged myself into the dark waters of Tabula Rasa the more I realized that it was in fact Bloodbound, just cloaked in some new threads. Vocalist Urban Breed was as godly as ever with his velvety yet raging baritone elevating the melodic parts of the album and very reminiscent in this respect of Nocturnal Rites vocalist, Johny Lindquist. The charming yet sufficiently heavy ballad “Night Touches You” showcases the man’s abilities in full, showing him as one of the most charismatic and emotive frontmen in the genre.

Even if the guitar combo of the Olsson brothers sounds at times as if they have been listening to a lot of modern Melodeath and Thrash Metal, they still throw in enough classic trademarks to help identify the Power Metal act we used to know. Thus, their virtuosic solos are still inexpressibly melodic and provide a necessary contrast to the more jack-hammer like leads. And even though the collaboration between the guitarists demonstrates far more aggression this time, it’s still as highly tuneful and inventive as before. The more distinctive pieces on the album are probably the twin title tracks, “Tabular Rasa” and “Tabula Rasa Pt.2 (Nothing At All)”. While the former is an excellent reminder of the band’s older traits, the latter stuns with its strokes of novelty and freshness. However, both show the two sides of the band to its best advantage and contrast with each other perfectly.

Honestly, I don’t think this disc has at least one unnecessary track as all of them are part of one huge inseparable structure that surprises with its integrity and fluidity. I, for one, think this is their best creation, and for fans of Melodic Metal it’s definitely a must-have purchase. Even those that weren’t too impressed with the band’s previous releases should give the 2009 edition of Bloodbound a fair chance before passing them by.

OK, now I could speak on and on about their previous merits, marveling at one and all endlessly, but let me cut to the chase instead and give you some hints of what you can get by obtaining Archangels In Black. The bottom line is that the new material could be of interest to a much wider metal audience as not only does it consolidate the band’s former achievements in conventional Power Progressive Symphonic Metal, but it also incorporates some newer components, like interesting thrash, death, and even blackened infusions. Of course, they are still far from dominating the band’s trademark sound full of highly contagious motifs, habitual classical piano roulades, and all sorts of shredding and soloing from both the guitars and the keyboards, but they are right to the point here, if you ask me. But once again, don’t expect to be too much surprised if you already heard Dominate, for Archangels In Black is nothing else but the logical continuation of what the band accomplished with their previous release. While not all of the songs are equal in their impact on me, none of them sound bland or uninspired. For you to form a more appropriate judgment of Adagio circa 2009, remember such albums as Dead Reckoning by Threshold, When Time Fades… by Suspyre or Fallen Sanctuary by Serenity. I don’t want to say Archangels In Black is similar to them in every known aspect, but all of the four releases are the treasure-trove of today’s Progressive Power Symphonic Metal standing out due to a much more daring if not illogical songwriting and wide employment of various novelties. And these are the very things that separate all those bands from inveterate prog masters like Dream Theater or Vanden Plas.

Speaking of illogicality I mainly get at the fact that the new songs are written in a much more compact and easier to grasp style, which evidently conflicts with all the cannons of songwriting in Progressive Metal. You won’t find any intentionally prolonged tracks with lengthy instrumental passages and frequent thematic changes here. Nor will you be exposed to unnecessary guitar wankery or dragged out intros and breaks. In actual fact, this is simply a collection of very well-matched songs ranging from 4 to 6 minutes yet putting so many fascinating things you involuntarily begin to think that these tracks are longer than they really are. The secret is quite simple: they merely cut down the length of instrumental investments making them more concise, memorable and opportune. Actually, I find most of the songs pretty appealing and artistically impeccable, yet “Undead” and “Twilight At Dawn” have a certain pride of place among the others. Thus, “Undead” is so inimitable in its conversion from the classical piano introduction to the dark half-thrashy verse with blackened shrieks and monstrous riffs it’s simply impossible to resist the temptation to spin it again and again. Its guitar and keyboard solos sequentially changing each other are quick yet very impressive. Likewise, “Twilight At Dawn” will hardly leave anyone indifferent with its murky melody, wicked leads and spiteful tone. The dreamy break in the middle followed by the imposing “roll-call” between the leads and the solos is especially good!

To me, Archangels In Black is not the best thing ever done in this style, yet it’s definitely one of the most daring and even innovative by today’s standards. So far it’s in my top 5 of the year and I’m nearly sure it will remain right there within the next nine months. Now, try to guess whether I advise getting this album or not.

Being the band’s sophomore album (and the debut for Powerage Records), Purification doesn’t at all sound like a creation of novices. Instead it demonstrates a full-grown act with a thorough mastery and enough potential to surprise even the most seasoned public. This is pretty justified as the guys have been playing together since their schooldays. The Classic Rock magazine has already proclaimed Lethargy “the next great rock band” and it is not far from truth I must say. Although there’s hardly anything unheard before on Purification, it sees a band willing to stay off the beaten path and introduce something a bit different into the chosen style.

The songs vary in pace and heaviness from ponderous half-bluesy numbers with thick highly amplified guitar tone to impressive rockers with all sorts of distortion and unexpectedly changing tempos to highly emotive and melodic balladesque pieces with dreamy strings, abstracted solos and beautiful vocal harmonies. The song structures are not monotonous or too simple and employ different rhythmical switches and breaks to warrant this disc a repeated listen from time to time. The solos by Andy Hunt are interesting and inventive. So is the spectacular work of bassist Marc T. Jones, who is more than up to the task of making his instrument far more conspicuous than in other bands of this ilk. Vocalist Phil Humphreys also keeps his end up managing to sound like Chris Cornell (Soundgarden, Audioslave) and Harry Hess (Harem Scarem) simultaneously.

Even though it wasn’t of much interest to me in the beginning I gradually took to most of the songs while writing this review. Moreover, such pieces as “Innocence Serene”, “A Lost Adoration”, “I See Man’s End In His Construction”, “Inertia” and awesome title track are nothing short of excellence and can easily rival any known hits in this sub-genre. If these Welshmen go on at that rate they will make Classic Rock’s prognosis come true in no time at all.

Of course, I still could have a good laugh at the cheesy lyrics and earnestness these guys are bursting with while doing their stuff, but the music itself is so well-crafted and sincere it pushes anything else to the back burner. In most of the songs the guys hold on to the simple yet reliable formula easily hooking you with the help of memorable tunes, powerful charismatic singing from the band’s leader Martin Steene and a whole lot of infectious rhythms and riffs. And I should say they really get away with this little scheme, for there is hardly at least one track that doesn’t have what it takes to be a model Power Metal hit.

Sumptuous leads never ceasing to catch you off guard with another unexpected move live their own intense life and not just provide required musical decoration. Heroic verses and fanfare choruses perfectly falling in with martial rhythms are destined to run in your mind for ever once you’ve heard them. A vocalist not afraid to occasionally depart from vibrating a bit raspy tenor to slightly veiled Death Metal snarls adds considerably to the emotional impact of this disc. Even keyboards chiefly playing the most passive role here sometimes make themselves more than conspicuous and carry you along with their sorcery. And while each song in this album’s arsenal is worth mentioning, I would call “The Battlefield” and “Doom Riders” as my personal favorites. While the former features the most contagious verse and refrain bolstered up by the great arrangement and damn excellent collaboration between the leads and drums, the latter acts like witchcraft of sorts casting a spell on you with its demonically beautiful guitar “permutations” and somewhat irregular rhythms. But both are downright great metal pieces, to my mind.

Thus, to my great surprise, I was absolutely taken aback by what I initially almost forced myself to give a try. And without any exaggeration, To The Grave laid it on the line that these Danes have grown into a serious force capable of joining Hammerfall, Crystal Eyes, Grave Digger, Helloween, Paragon and some others on the podium of the Power Metal Elite. Keep up the good work, guys!

Ballads Of A Hangman runs a hell of a chance to become my favorite Grave Digger album as there are simply no songs that fail to hit home. Whether it’s the pensive dreamy intro “The Gallows Pole” or the stormy lead squalls of the title track, we deal with top-notch German steel confirming once again that it is still able to cut and chop like a double-edged axe. The leads are punishing yet exceptionally catchy while the band’s unchallenged leader Chris Boltendahl’s raspy vibrating tenor never seems to be lacking in harshness and aggression. For that matter, I have always thought of the man as an excellent would-be vocalist in a thrash band, but it doesn’t mean he chose the wrong genre. Quite the opposite, actually as he is one of the most charismatic and unique singers Traditional Metal has ever seen. Another surprising thing about Chris’s vocal charisma is that it’s full of some unexplainable sorcery that captures, bewitches and enslaves you. Just hear him performing a duet with female vocalist Veronica Freeman of Benedictum on the moving heavy ballad “Lonely the Innocence Dies”. Listening to it is nothing short of bliss.

Thus, Ballads Of A Hangman is also rife with potential mosh pit favorites, and I bet it would be a grandiose show if the band’s live set-list consisted of these new songs alone. Name any track and I’ll say it’s my favorite. “Hell Of Disillusion”, for instance, just can’t leave you cold once you hear its crunchy cutting leads and highly contagious sing-along chorus. “Funeral For A Fallen Angel” stuns with its vigorous acoustic guitar rhythms, yet quickly morphs into an uncontrollable galloping pace of mesmerizing riffs, solos and melodies. “Pray” is destined to become the most memorable track on the album. Though simple it may seem on the part of musical execution, its chorus melody is just something to die for.

Once again, Grave Digger have shown that many a good tune can be played on old fiddle. People can go on and on about the stagnation of conventional Heavy Metal, but as long as we get great albums such as Ballads Of A Hangman, all this talk is but the babbling of a doubting Thomas. Listen to Grave Digger instead, and the contrary will be proven in no time.

The first three songs sound the same and use the same mid-tempo rhythms and boring three-chord tunes. The last two songs are also nearly the same, and you don’t even notice when the former ends and the latter starts. These two are actually ballads laying a claim to be called heavy ballads due to a little bit of acceleration in the pace and some heavier guitars sandwiched in between the slower parts. The solos sound as if they had been extracted right from albums by The Beatles or The Animals. All this makes it rather impossible for me to be able to tolerate Page 26, or ever want to deal with any possible subsequent pages.

The last straw is that the promo package doesn’t even contain any information about this album except for the line-up of the band and the date the guys entered the studio in order to record it. No release date, no song titles, let alone any booklet with lyrics. Now go figure whether it’s worth efforts to even try to begin as a band in the today’s modern and sophisticated metal scene with a shabby package like this.

While Anthems Of Hate is an album bolstered up with a healthy dose of aggression, thick guitar leads, and some really good instrumental sections, I can say that the songs themselves are nothing else but run-of-the-mill and forgettable. It’s too bad because the guys seem to be capable of doing much better as can be shown by several great contributions from the guitar duo of Daniele “Alien” Ciabocco and Daniele “D. Mad” Antonini. However, the less than stellar vocal performances are a little too much at the forefront, bombarding the hapless listener with various snarls, screams and distorted squeaks, at times nearly all at the same moment. Furthermore, track number 7 “The Holy Inquisition” sounds as if they simply forgot to mix and master it, and falls very disagreeably on my ear as compared to the rest of the songs which have a fairly decent production.

However, in spite of my general negativity towards this release, there are quite a few interesting moves thrown in which show some promise. For example, I like the way the guys play with various rhythms, genre changes, sonic effects and synthesizers. It’s occasionally a bit too excessive, but I do think they should be able to bring it to a higher level in the long run. For the time being, I still wouldn’t suggest buying this release without first checking out their myspace samples.

At the same time this is a well recorded and mixed collection of simply constructed, short instrumentals plying a psychotic voyage between 60’s and 70’s rock music styles and played exclusively with guitars, bass and drums. As the words “novelty” and “inventiveness” are entirely alien terms on this record, it is chiefly based on pure enthusiasm that the musicians show while trying to tie up the well-known Blues and Rock’n’Roll tunes with Hard Rock sounding leads, unexpected rhythmic changes and brief jazzy breaks. Sometimes, there’s even a feeling they have intentionally disregarded any new musical trends which have appeared within the past thirty years.

As a fan of heavier and more energetic music, I mostly found this self titled album not fitting my tastes and can hardly imagine wanting to get back to it in the future. Of the ten tracks, I can only put up with a pretty enjoyable bass lick a la Queen found on the Hard Rock bluesy number “Don’t Cut The Tree”, interesting R&B vibe on “Stop The Funk” and the band’s own rock-ish transcription of Mozart’s famous “Turkish March” called “Rock March” here. Maybe, there still exist people who take pleasure in such opuses, but personally I would like something far more challenging and creative on an instrumental album than just a bow of reverence before the shadows of the past.

This time, guitarist and chief composer Henrik Flyman has rallied a strong supporting lineup around his flag. Besides powerhouse vocal machine Apollo Papathanasio of Firewind fame, who already got in on the band’s previous album Third Act, the new album features Mind’s Eye mastermind Daniel Flores on drums, bassist Johan Niemann, notable for his work in Therion and Demonoid, and the legendary Tony Carey doing keyboards and Hammond organ, whose style of playing here will definitely remind many of his best days in Rainbow.

Fade To Black is perhaps the most memorable of the band’s four albums. As a composer, Henrik was clearly very inspired and there are plenty of proofs to be found throughout this disc. I may not have been quite impressed with the somewhat generic opener “Lights Out”, but the following pieces, “In A Dungeon Close To Hell” and “The Darkness Within”, certainly appealed to me. Whilst the former is especially good at blending the catchy onslaughts of double guitar leads along with Modern Metal vibes and organic textures, “Darkness Within” flirts with a nice sing-along chorus, while slowing things down to a hypnotizing murky verse which creates an impressive contrast to the faster sections.

“Hollow Souls” is yet another highlight. While not blazing any new trails, it nonetheless stands out with its fabulous Hammond Organ which is masterfully woven into Henrik’s Ritchie Blackmore sounding guitar accents with neo-classical embellishments and sporadic growls also fitting the song nicely. Of all, the songs, “Different Shades Of Black” is probably my favourite. I like the way its rhythm guitar flashes smoothly flow together with simple yet harmonic bass chords and half-whispered mesmerizing vocals from Apollo. The rest of the album offers similar pleasantries and is also well worth exploring.

I think this album will mainly be of interest to those who still appreciate the style of classic Metal with the mighty vocal performance a la Dio or Tony Martin, but are also accustomed to and welcoming of Modern sounds and all sorts of progression, like unpredictable instrumental passages and solos as well as a good sense of theatricality filling every track here with its own charismatic personality.