I had to start with this. I'm sorry. I couldn't help it.As far as I'm concerned, there are only a handful of truly perfect albums in existence, most of which coming from the "golden era" of progressive and power metal from the mid-to-late 80's (although I can't ignore the thrash classics from 1986-1990). This immaculate period of time gave to us flawless, pristine masterworks of metal such as Fates Warning's The Spectre Within and Awaken the Guardian, Savatage's (not perfect, but still awe-inspiring) Hall of the Mountain King, not to mention Queensryche's Rage For Order and Operation: Mindcrime (neither also being perfect, but still demonstrating catchiness and originality); yep, we got it all. However, the most often unnoticed duo of releases in the same arena as those other notables is the unworldly one-two punch of Crimson Glory's self-titled debut and the infalliable Transcendence (but that's a story for another time).
This, the former of the two, is, simply put, the greatest debut album ever. It is absolutely faultless in the unrelenting, convincing mystique of its power. It perfectly balances its epic structures with sheer powerful displays. It finds the ideal medium between crushing heaviness and a lighter, beautiful tone, all the while secure in its inarguable title of power metal. It puts to record the greatest vocal performance in the history of the known universe while simultaneously representing its best production ever, and this was in ‘effing 1986. Its attention to detail is peerlessly perceptive, and its consistency absolute. It's paradisiacal. Utopian. I could go on. If you were counting, I just used nine different alternatives for perfection in the last paragraph, and I'm just getting started. Did I mention that I like this?
Enough with the generic statements of Crimson Glory's overall worth, though. This deserves much more than that. Like I stated before, the style of music is in a similar vein as that of Queensryche, Fates Warning, and (especially on this release) Savatage, playing US power Metal with the slightest budding of progressive elements. The vocals are insanely high-pitched, the riffs heavy, and the lyrics fantasy-oriented. However, don't let any snobbish, bastard fan of the aforementioned bands tell you that this is a simply an emulation of their works or second rate in any shape or form. The music here is so original, so detached from anything else that even comparisons to its closest relatives seem inappropriate. It's hard to describe what makes this so special. On the surface, this album is one that seems simplistic and easy to pin down, but there are so many little intricacies that only reveal themselves over time. After hundreds of glorious listens over the years (no exaggeration), I still find new things to love about it each time.
The listens required to pick up all those details will be painless for any metal fan, thanks to the fact that this still sounds fresh off the shelves twenty-five years later. Each instrument is completely audible and seems to have its own distinct place in the mix. Not at any point will one struggle to hear a single thing in this elegant soundscape, avoiding the noisy din often marring the otherwise masterful craft of this time, such as Awaken the Guardian, released the very same year. Midnight's vocals effortlessly float on top of the music, and neither ever distracts from the other; and how could they, considering that both intertwine into a unique mystical sound unparalleled by any at the time. In retrospect, Crimson Glory's unbelievable accomplishments only make it sadder that they were forced to sell out atrociously due to a lack of success. It's a mad, mad world.
We shouldn't dwell on that now. I've yet to actually cover the songs yet, and believe me, they will reassure your faith in humanity. But first, to add to an already crowded list of this zenith's perfections, I must also include the amount of songs and album length. That's right, I'm going so far as to praise the elements that can be seen before even hearing the music! With eight songs and a somewhat modest 39-minute runtime, Crimson Glory never becomes boring and only tempts you to keeps listening to it. Over. And over. Again. The time has come to press play. From the very first second you're hit with one of the most badass, epic riffs ever written. "Valhalla" is what Crimson Glory is all about: no bullshit intro, no screwing around, just pure metal, just like we like it. All at least seems normal until Midnight arrives and makes his divine presence felt.
"Winds of Odin guide us
Over violent seas the silent grave
Gods of thunder
Roaring, crackling power
In flashing light, they pound the night"
So authoritative, so capable is Midnight's voice that one cannot help being enthralled by this band's visions of grandeur. Whether he uses his deep, thespian lows or his dog-deafening, dumbfounding highs, he completely dominates the album and every other vocalist of the era. After a melancholic solo, Midnight comes in with one of those reality-defying screams at about 2:45, only to go even HIGHER, as if to say, "Geoff Tate, I will eat your fucking soul!" If you and your stereo somehow survived that first merciless attack, there's only more fun to be had. "Dragon Lady" is perhaps the ultimate cut here, which is saying more in itself than words ever could. Midnight's finest hour and a catchy riff monster, this track is unbelievable. It also showcases the band's unique songwriting talent, busting out a strange structure and an extremely memorable chorus. The lyrics may be cheesy beyond belief, but I think that just enhances it.
Another facet of the band would be revealed next: the ability to write stirring balladic material. "Heart of Steel" begins with one of the most beautiful slow passages I've ever heard. The elegant acoustic guitar rhythm builds up the atmosphere and then the track's value instantly escalates with Midnight's haunting, emotional vocals. If you don't feel something from this, check your heart for a pulse, because you must be dead inside. After about a minute, the song suddenly becomes a heavy, power outing, boasting a great verse riffs and a simplistic, if not catchy chorus. Arguably the centerpiece of the album, "Azrael" arrives next with another light intro, but soon erupts into the darkest, most evil sounding anthem in the Crimson Glory catalogue. I know I'm sounding like a broken record here, folks, but I can't emphasize enough Midnight's effect everywhere on this piece. His performance here in particular is demonic, and if you could imagine how the angel of death would sound, this would be it. Such cold conviction!
"Beware, my eyes'll find you
And see into your heart
And if you hold the evil
I'll rip you all apart
I'll cast your soul to Satan
Die by holy fire
Rise and stand before me
Burning on the pyre, burn!"
Sung like King Diamond, Martin Walkyier, and Jon Oliva combined. Hell yes. After this morbid phantom passes, we somehow still have half the album remaining. "Mayday" begins side two, the craziest, fastest piece of OTT metal here. Never stomping on the brakes once, even the chorus murders with vocals squealing like the lethal engine of the lyrics' focus. "Queen of the Masquerade" takes the most 80's possible style and gives it a Crimson Glory spin. Not even the hard-rockish feel and simplistic verse riff can detract; this is untouchable, through and through, and it features Drenning's most drawdropping solo of his career, save maybe "Eternal World." Nearing its conclusion, the album gets more somber and thoughtful, managing to bust out two darker and slower pieces without really submerging themselves into ballad territory.
"Angels of War" creeps to life with a dated sample, but comes full force with its brooding verse. By chorus time, you find yourself just about ready to drown in the catastrophic epicness of it all. Finally, the cult classic closer "Lost Reflection" is ready to scare the living crap out of unsuspecting victims everywhere. It seems like a ballad, but its growing tension and insanity reach such an unsettling level that it can no longer be one. I don't worship this one as much as many others do, but one cannot deny the originality and convincing horror put on display here, creating what's probably remembered to be Midnight's grandest moment.
Such sadly concludes one of the best testaments of perfection's existence. Only Crimson Glory themselves would manage to top this gothic portrait in the realm of all power metal, and even now I still find myself questioning my long-held opinion that Transcendence is the greatest album of all time. But, nonetheless, how could you go wrong with either of them, when both have NOTHING wrong with them? It should be wildly apparent by now that I am a huge fanboy of both this band and this album, and I can't lie; the sentimental value here goes on for miles, ever since I first heard it at age ten (200+ solid listens since and still counting). However, bias aside, I can't help but feel that all my praise is completely deserved. If this isn't deserved, I don't know what is. This is a desert island disc if there's ever been one. Hail!
Overall: 10/10 (Absolute - never has that word felt so right)
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