Tuesday, March 29, 2011

Obscura - Omnivium [2011]

There are few bands in the realm of death metal that I take a shine to, but I can usually get into a good progressive or technical death outing. Cosmogenesis easily vaulted Obscura to a level of universal notice, swerving with artsy finesse to spare. As such, I've definitely been anticipating Omnivium, expecting nothing but another quality release; luckily, that's exactly what we have. Omnivium outdoes its predecessor in many ways and takes Obscura into new and exciting directions, managing to do so all without altering their unique vision of spacey metal. This is the perfect example of a band changing just enough. This will probably not, however, do anything to change the minds of those who despised Cosmogenesis, but the willing might as well try anyway, because Omnivium is a release that a deathhead should not miss.

Obscura's technical insanity is rarely matched. This is crazy music that might easily scare away many avid death metal fans, so be warned. If Coroner was stationed in space, slowed down the riff speed, and equipped a growling vocalist, this is likely what the result would sound like. Those familiar with Obscura know, however, that they are not about heaviness. In fact, some could (and do) claim that they aren't very heavy at all, which isn't exactly true. Obscura just knows how to fuse jazzy and artsy elements into their metal, and as far as I'm concerned, it isn't boring; not at all. Omnivium extends the use of these elements, adding more softer parts than ever, which include more clean vocals (low key and added only occasionally for atmosphere) and acoustic parts. These never lose my interest or distract me from the rest of the music, only increasing my appreciation for the album even more. Omnivium certainly isn't for those with an aversion for prog.

The album enters with "Septuagint," which begins with an elegant acoustic intro, forshadowing the increased amount of lighter elements to come. This track is a progressive maelstrom of interwoven parts both heavy and artistic, still managing to retain that level of catchiness I expect from Obscura. "Vortex Omnivium" is next, probably the most set on lowering any musician's self-esteem, delivering a fast, over the top showcase of insanity. "Ocean Gateways" takes a slow, drawn out, but ultimately crushing voyage channeling the "water metal" it no doubt draws its title from. A couple tracks later, "Celestial Spheres" arrives, the piece here that provides the greatest lighter relief. This song is the first of Omnivium's second half, where the album truly finds its rhythm and shifts into legendary territory. "Velocity" is no doubt my favorite of 'em all. The sweeping verse and the repeated "this is the end" phrasing gets in my head for days, and the soloing is absolutely incredible, drawing visions of Watchtower in all the right places. The following instrumental "A Transcendental Serenade" is another highlight, never losing my interest even with the lack of vocals. "Aevum" is a fine progressive track, rounding out the album nicely.

For me, Omnivium is just another awesome album. Some might be disappointed with the softer aspects of this release or the longer lengths of each track, but neither leave me cold in the least. The release's middle section (Euclidean Elements and Prismal Dawn) doesn't quite wow me the way the rest of it does, and it doesn't have extremely high relisten value. Luckily, neither of these factors maim the album of its worth all too much. Great work.

   Overall: 8/10 (Great)

Monday, March 28, 2011

Harlet - 25 Gets a Ride [1988]

With a cover like that, with a band name like Harlet, and an album title like 25 Gets a Ride, one might expect a product that sounds like the work of a horrible, sleazy glam metal reject that came too late in the game; however, that's not really what we get here. Sure, there's some glam leanings in the forgettable lyrics (apart from "Faintly Living") and a mild commercial touch, but Harlet sounds more like a cross between early Fates Warning, Queensryche, and Lizzy Borden. It doesn't rise to the level of those US power metal giants, of course, but 25 Gets a Ride does provide a solid entry of quality melodic metal in the one of the best years there ever was for it.

The sound is immediately recognizable as US power; you've get your typically polished production, simple but effective riffing, and last but certainly not least, ridiculously high register vocals. This is the component that was most enjoyable for myself personally, but it might be quite a detractor for some. All I can say is, if you like Geoff Tate or Lizzy Borden, you surely won't be disappointed. He might've restrained himself a bit more in some areas, but overall, I just can't say no to those piercing high notes. The other members do a decent, but never mesmerizing job. The songwriting is also mostly good; occasionally, there will be a song or chorus that just isn't catchy enough, but for the most part, they do the trick. The most well-rounded track here is undoutedly "Lit and Burning" with its awesome lead riff and truly memorable chorus. Other highlights include "Bought 'n' Paid For" and "Take Your Chances" for their slightly progressive leanings.

Harlet came and went with very little (I'd dare say none at all) notice in the 80's and quickly faded into legend, which is kind of a shame considering the promise shown by this capable sole release. They pretty much had all the necessary factors to compete with the more popular giants of the genre, and I sure would have liked to see what might have come next. The production is stunningly clear for such an underground release, and this is insanely underground. I'd say that even most of the craziest powerheads haven't even heard of it. 25 Gets a Ride may not touch the many masterful releases of 1988 (Operation: Mindcrime, Transcendence), but any fans of said albums could do much worse than to acquire it.

Overall: 7.25/10 (Good)

Enslaved - Axioma Ethica Odini [2010]

There's no way I could have foreseen the utter brilliance found here. As mostly fan of progressive, power and thrash metal, I just took a completely blind, impulsive shot in the dark here, convinced by many who seemed to believe this thing holy and frustrated with an absolutely dismal appearing year of music (I missed some releases, however). The reason I'm telling you this is to emphasize the point that anyone and any fan of any genre can appreciate this creative masterpiece, because that was the best impulse acquisition anybody could dream to make; Axioma Ethica Odini is unbelievable.

The album didn't strike me as magnificent immediately; of course, they rarely do, and even more rarely in this genre. Starting off with the clean, sweeping riffs of Ethica Odini, however, a few things did catch my ear and serve as harbinger to how I would feel about it. First off, the simplicity, oh, the beautiful simplicity. In a modern era of nothing but suffocating and numbing overindulgence in guitar tone and fast, complex riffs that leave you struggling to catch up, Enslaved settle for the basics, sacrificing their vain sides for the greater good of the songwriting. Such is the root of why I'm typically indifferent to this style, but they completely got me with a wonderful, almost lighthearted (albeit dark) mood that never ceases to be pleasing to the ear. It really is memorable, too; most bands in progressive black betal will just play ten minutes of incoherent riffs and chanting and call it a song. Not here. There are repeating parts-a-plenty, athough it never gets boring or repetitive.

Another factor that I immediately knew I liked was the inclusion of clean vocals, and I tend to be a sucker for vocal mix hybrids. I usually don't take to them as much as I do here, though, as they provide an essential element to the memorability of the record and its uniqueness. The calm, somewhat low-pitched tone of the vocals (characteristic of post-rock) is used to perfection in slow passages and mindblowing choruses albumwide. Some of these caught my ear the very first time I heard it, which is quite an anomaly among difficultly perceived projects such as this. This is one of those albums that may require a lot of patience and repeated listens to enjoy; I can't emphasize this enough.

It didn't take long for me, though. After a few listens, everything fell into place and I realized how profound and masterfully crafted Axioma Ethica Odini is. The songs (all of them are brilliant highlights; I wouldn't insult any of them  with separate mentions) started infiltrating my mind and really took hold of me. I even found myself singing along to the shrieky black metal vocals in parts. I believe that in some cases, people can't appreciate music not because it can't fully grasp the listener, but because the listener won't let it grasp them. Unfortunately, many will let this divine experience slip away with few listens, if any, because of a general closemindedness or absentmindedness. Don't be that guy, because after nine spins in one day, I can tell you that this is the last thing you want to miss. This is THE album of 2010.

   Overall: 10/10 (Absolute - ...embrace the opposite)

Sunday, March 27, 2011

Artillery - My Blood [2011]

Time has come again. My Blood continues on the promise of When Death Comes, not taking any chances, but also not taking any risks, a quality about it that eventually detracts from the overall product. It's a stunted evolution. Artillery's philosophy seems to be, "why mess with perfection?" And really, who could blame them when they consistently have so much success? I just think they could give a little more. This should make the truth pretty clear: if you didn't like or just weren't satisfied with Artillery's 2009 comeback, My Blood will do nothing to change your mind. The only differences are minute and few and far between. This is the same middle eastern influenced riff monster that was and has been so technical and so outstanding for so long. (If you've forgotten my "formula of a general Artillery riff," refer to my When Death Comes review. In short: 110% of insane, technical thrash badassery). For those who did enjoy the last release, you're in for a hell of a ride. The question is, have they taken it too far?

As always, the performances are ridiculously pristine. The Stützer brothers must have discovered the formula for the eternal flame, because they never cease to scorch all over every moment with furious, inventive riffing. The two keys to their success are: 1) sheer technicality and 2) unprecedented heaviness. When the guitarwork isn't insane, it's melodic and powerful all the same. As such, Artillery is never too heavy to be catchy, and never too catchy to be heavy. Adamsen is completely at home with his role in the band, putting on a vocal performance that never lacks power. Screaming, chanting, and rhythmically howling when need be, Adamsen sounds convincing even while singing sometimes admittedly juvenile lyrics (brought to a new low with the cliched "Thrasher"). They don't really detract frohm the album, though, as one comes to expect such lyrical themes in classic thrash such as this.

Things kick off with "Mi Sangre" (get it?). Artillery's longest song ever, it clocks in at about seven and a half minutes and takes the band's Egyptian vibe to a whole new level. This is probably the highlight of the album, infused with ignited leads, expectedly catchy components, and plenty o' riffs to die for. Speaking of riffs to die for, one doesn't to look too far ahead to find them in lavish abundance. "Monster" is clinic from start to finish, easily one of the bands heaviest rampages yet, even if the chorus isn't very inventive. "Death is an Illusion" adds some melodic flair with its almost power metal chorus. "Ain't Giving In," a track way back from the coveted Mind Factory demo, is a power ballad from hell, delivering simple but effective lyrics and a new set of parts that cannot be removed from memory. "Warrior Blood" is a searing battle anthem with lethal riffs and a vocal performance that shows Adamsen means business. "Concealed in the Dark" powers back with a sinister mid-paced chorus.

The biggest problem with My Blood is its refusal to progress past the style previously used so many times before. Unfortunately, a distinct formula is showing through, and the album grows tiring all too soon. However, I still enjoyed it for all its worth, and it should be a safe bet for any Artillery fan or any fan of melodic thrash metal. Hopefully we'll be in for a revolution next time. Oh, and the bonus track remakes from Fear of Tommorow on the digipak edition kill.
  
   Overall: 7.25/10 (Good)

Saturday, March 26, 2011

Artillery - When Death Comes [2009]

Artillery... Just hearing the word come up in common conversation gets my heart racing, my mind going, and my blood pumping. Most of those reasons would be greatly influenced by their 1990 anomalous masterpiece, By Inheritance, an unbelievable collection of timeless rampages and jaw-dropping riffs. So, when you're reviewing a newer release by the same band that made your all-time favorite thrash album, one has to be careful about being over judgmental and critical of the smallest flaws. Fortunately, I found absolutely no need to do that. When Death Comes is simply superb fun from start to finish. Obviously, it's no By Inheritance, but that wouldn't be possible to recreate in this day and age, anyway. People need to accept that these bands will never recreate their masterpieces. If one enters this release with that mindset, I'm certain all he or she will find here is an outstanding display of thrash.

This is thrash only the way Artillery can play it. There's no mistaking an Artillery riff; from the very first note, you know who it is. Basically, nothing has changed in the guitar department, thank god. Immediately one recognizes riffs that would feel right at home on the band's 1990 opus, and all possible anxiety I had that this might be another disappointing comeback dissipates. Here's the makeup of a typical Artillery riff: 25% Egyptian, 10% melodic, 40% technical, and 35% INSANE. Add that up, and you've got a perfect 110% on the pure heaviness scale. Now multiply that by about 30, and you've got a full-fledged Artillery album. Well, I can tell you now, When Death Comes is a full-fledged Artillery album.

Okay, okay, so an album would be nothing if it was just a random collection of riffs with no regard to songwriting. Well, worry not, friends; we have ten doozies. No filler, all killer, if that old adage is even in use anymore. Cutting it down to the more specific highlights, one only has to press play. The opening title track is the perfect way to kick this festival off. With riffing the most similar to BI of all the songs and an awesome chorus that I can never get out of my head, this gets one in the thrash mood right away. Look ahead to "Rise Above It All", which does exactly as its title proclaims with the insane display of soloing about halfway through, seeming to go on and on just for the fun of it. Couple that with Adamsen's convincing snarls and we've got another winner on our hands. "Delusions of Grandeur" is the semi ballad of the album, which in general tends to be thrash suicide with most bands. Artillery, however, knows how exactly how to do it. I can't help but sing along to that insanely melodic chorus every time. Also, Adamsen shows his great ability to really sing on this one.

Finally, "Damned Religion" arrives, my favorite on the album and quite possibly the very definition of the term badass. That riff during the verses makes me want to start destroying anything unlucky enough to be in the nearby vicinity. This thing rivals the sheer energy of the break in "Back in the Trash", something I previously thought to be impossible. All in all, When Death Comes is just freaking awesome. I almost feel guilty just trying to narrow down the highlights to meager few, because they're truly secreting out of every filthy, heavy corner of this album. The performances are tight, the songs are killer, and the production is perfect. What more can one ask for? I believe the biggest concern fans had coming into this release was how Adamsen was going to perform as Ronsdorf's replacement, but as far as I'm concerned, he lives up to the legend, doing both the fans and the band no disservice. The killing spree will only continue...

   Overall: 8.5/10 (Great - 3300% on the riff etiquette test)

Stratovarius - Fright Night [1989]

Before Stratovarius would go on to become one of the most overrated bands of the 90's, they started out as a scrappy little traditional act that emulated the talent of era the best they could. Unfortunately, the best they could wasn't very good at all. Fright Night is a mostly pathetic, cheap, generic ripoff of everything else that was already falling behind the times in 1989. It mostly just sounds like a garage cover band of Iron Maiden attempting to create their own material for the first time; obvious choruses, repetitve song structures, and pointless solos that seem to be there just to show that Tolkki can do it (sadly for us, no one told him that he couldn't sing). Yep, this is one of those debuts that makes you wonder how the hell a band that started like this could go on to make some great material.

First of all, I normally don't go out of way to criticize the physical product, but look at that cover art. Wow, someone must have spent two minutes looking through a stock folder of crappy free artwork to find that. Then there's the song titles. Three with the word "night"? Future Shock? False Messiah? Darkness?! Anyone should be able to sense that something isn't quite right here. Somehow, the music lives up to the titles. Every minute oozes with mediocrity and boredom. In particular, Tolkki's vocals are completely dismal. Although he would get better all the way up to Kotipelto's debut with the band, he really hadn't learned the ropes by this point. For the entire album he sings in mid-range (but more like no range, if you get my drift), sort of just sneering and talking his way through it. The words he's "singing" aren't exactly golden, either. The ultimate lowlight, the ridiculously overlong title track, contains the most stupefying lyrics of all.

"Feel the night, conceal your fright
It came from your right
Look what you found lying on the ground
Shiny ball you don´t know anything at all"

Other deep concepts explored on this soul-searching journey include witches, night terrors, and apparently, nights that are just so darn black! Of course, I could care less about those downfalls if the actual music around them was good, but that's the thing; it just isn't. Tolkki's guitar playing shamelessly steals Yngwie's at every turn, reaching the peak of ridicule during instrumental "Fire Dance" (didn't Rainbow cover that territory already?) I'm pretty sure there isn't a single original concept, riff, or song present in these bland forty minutes of music here. The only songs I find enjoyable to any degree are "Witch-Hunt" and "Black Night," because at least they aren't afraid to rock out every once in a while. Unless you enjoy boring, generic metal, just take a pass on Fright Night; it isn't worth your time.

   Overall: 4/10 (Poor)

Stratovarius - Twilight Time [1992]

Coming off the heels of the mostly worthless Yngwie worship of Fright Night, Twilight Time -or II- represents Stratovarius's first steps into modern power metal. No, this album won't have a lot of soaring choruses or catchy parts as it is still mostly a crunchy, 80's type of record, but there's a few flickering embers of what's to come to be found. The sour aftertaste of the debut can still be felt throughout this thing, but it doesn't completely ruin this album as it did that one. However, another similarity between the two is the amount of filler tracks.

First of all, there are quite a few highlights here. The Hands of Time is a wonderful track that I would rank among the greatest power metal songs of all time. Built around an awesome (if somewhat dated) keyboard intro, an excellent verse riff, and the epic, inspiring chorus, this is just about the best Stratovarius has to offer. The title track kills as well, with its slow, winding passages and nostalgic feel. A welcome improvement on this album is the fact that the longer songs aren't horrible and boring. Madness Strikes at Midnight is a good example of a lengthy track that manages to hold your attention throughout thanks to its interesting buildup.

Unfortunately, Twilight Time really falters after its midpoint, sinking fast until it's really hard to care anymore. Let's see here: first we have the weird The Hills Have Eyes with its overlong intro, then Out of the Shadows and its predictable structure, and finally, the forgettable ballad of Lead Us Into the Light. Oh, yeah, and that instrumental Metal Frenzy is pointless, as well. So basically, what we have here is half a good album and half tripe. Couple that with the fact that the generic air of Fright Night is still somewhat here and problems really start to arise. Once again, this is a release for hardcore Stratovarius fans only. Trust me and just stick to Dreamspace.

   Overall: 6/10 (Fair)

Suidakra - Book of Dowth [2011]

I often don't care to involve myself with bands that possess a mountain of releases so abruptly in the discography, but hearing of the supposed glory of Suidakra's newest release, I figured it was worth checking out. From what I can tell, Suidakra comes from a long line of bands that attempt to pack numerous styles into one homogeneous sound; and luckily, just as comparable bands like Enslaved and Agalloch have as of late, they triumphantly succeed here. Book of Dowth finds a compelling balance between crushing heaviness, medieval narrative, and artsy folk. The genre is arguable, to say the least. Is it medieval power metal? Black? Death? Folk? The debate could go on forever. I'll just refer to it as what it is: good music.

There's an underlying concept to the whole project, a factor that nearly always enhances an album's entertainment level. It's about stuff like "stones of power," "magical books," and "evil warlords," which could easily take away from the release if they weren't executed so well. The lyrics are eloquently written for the most part, never pushing the pretentious envelope or taking a path too cheesy. Still, those alone aren't the biggest part of Book of Dowth's success. The music overcomes the story and fits all the carefully crafted pieces into one shaplely, concise puzzle. Even though there's a sense of variety and a tendency to catch one off guard, nothing ever feels out of place or distracting. A perfect example of this was my initial listening of the album. After the first two similar songs, I suspected a no surprises, typical affair of heavy epic metal, but no! "Biróg's Oath" completely eradicated this conjecture with a catchy anthem complemented by female vocals and folksy acoustics.

Next, "Mag Mell" totally slayed by offering up a light-hearted rendition of power metal, utilizing yet another vocal style with a voice that could be compared to Hansi Kürsch. Then, without missing a beat, the album effortlessly returns to the heavier style it stormed in with. Although the tactic is risky, Suidakra reaps the rewards; I didn't find myself distracted or bothered by any of the album's elements for the full duration (a scant forty minutes for some, a full release for me). With my personal preferences, of course, I tend to favor the tracks with a heavier gratuity of clean vocals and catchiness. "Stone of the Seven Suns" fits that description perfectly with its awesome chorus, easily my favorite of the release. I don't mean to imply that the heavier songs are without merit, either. I particularly favor opener "Dowth 2059" and closer "Fury Fomoraigh" for their take-charge attitude. The album also begins and ends with short instrumental pieces to add to the atmosphere.

Against all odds, I enjoyed Suidakra's latest effort quite a bit. Some possible turn offs for listeners could be the lyrical content, the fact that the style changes with each song, and the mixture of only slightly similar vocal styles, but none of these possible detractors bothered me too much. In fact, when it comes to releases such as this, I tend to want those varieties. Book of Dowth sorta falls out of my realm, but even though it isn't exactly my cup of tea and I probably won't be rushing to listen to it all the time, there's a quality here that cannot be denied. The music is simple. It's probably nothing you haven't heard before, but that's not the point; you just rarely hear it done this well.

   Overall: 7.5/10 (Good)

Shaman - Origins [2010]

Angra has always been an exceptional force in power metal, blending the conventional catchiness of the genre with little nuances of their folksy Brazilian culture. So when three members split after the release of Fireworks, it wasn't surprising that a beast of similar style and quality rose from the ashes. Shaman has admittedly been a perplexing beast in the past, however. When Andre Matos ditched again, it seemed as if this band would give in to extinction. That's when Origins arrived. Origins is undoubtedly the highlight of 2010 in power or progressive metal, and a remarkable release that a fan of the genre shouldn't live without.

First of all, let me just say that if you like Angra, buy this now. Don't read the rest of this; just buy it. The similarities are inarguable and noticeable immediately. The guitarists are fast flying when they need to be (Lethal Awakening, No Mind), acoustic and sentimental when the time is right (Finally Home, S.S.D.), and melancholically neo classical in the parts in between (Inferno Veil, Blind Messiah). Vocalist Thiago Bianchi is the perfect hybrid of Angra's Andre Matos and Edu Falaschi, capable of both the former's piercing highs and the latter's low, growly delivery, all with that charismatic Brazillian accent one never grows tired of hearing.

Bianchi's performance takes the already mesmerizing choruses, which are uplifting and memorable without being too "singalong," to the next level; and my, this is catchy! Insanely catchy, almost ad nauseam, but since I just can't stop listening to the damn thing, how can I complain. This is an element assisted by the concept going on here, and though I don't care enough to really look into them like I might with The Detached, they are adept all the same. The more compelling benefit of having a concept is the perfect flow and the ease with which Origins is experienced. I never get bored with any of the songs or feel any urge to skip any. Sure, there's a couple that don't touch the catchiness of the rest (like Rising Up to Life), but even those tracks have enough variety to justify their inclusion. The "Ego" suite (Pt. 1 and Pt. 2) is the ultimate highlight of the album. I love the beauty of Pt. 1 and how it complements the energetic and introspective Pt. 2, leading to another highlight chorus.

"Please ignite the sky so I can find myself!
Give me some insight, so light can prevail
I've found my foe...
This man behind my Ego will and must go!"

Origins is, without a doubt, an astounding achievement in every way necessary. I'd dare say that this bests anything Angra has ever done, and quite convincingly. None of their albums, even the mighty Temple of Shadows, rival Shaman's consistency or cohesion on this release. There are no overt flaws, and if one can get over Bianchi's acquired taste vocals and a somewhat muted production quality, a fan of any style can find hours of joyous entertainment with this monument of power metal. Who knows; you might just find yourself.

   Overall: 9.5/10 (Incredible)

Tuesday, March 15, 2011

Watchtower - Control and Resistance [1989]

It's difficult to put to words the effect of an album that is so influential and important to its genre. It's especially hard to do when the release you're dealing with is Watchtower's "Control and Resistance". Like an unsolved riddle that's still yet to be decoded after decades of close investigation, Watchtower's sophomore outing has been mystifying and enthralling constantly since it was unveiled over twenty years ago. What makes this thing so irresistable yet puzzling all at once? That's a question not answered easily, which is fitting, because Control and Resistance is an album not easily listened to. It's a record that's so technical and inaccessable that musicians still haven't caught up in the present day. I've grown up with the thing, so I'm no longer really phased by its uninviting, caustic aura, the one element that may detract for some. I say, bring it on!

This seriously sounds like a band formed in an asylum and crafted the project of four truly twisted minds; you've got schizophrenic rhythms and riffs, ridiculously on-the-nose, cynical lyrics, and then they're all spouted by the head maniac himself, Alan Tecchio, sounding like the tortured screams of a burning man. The only factor inconsistent with this fully credible theory is the undeniable professionalism with which it is all put together. Sure, any of those factors individually might make for a neat gimmick on another thrash album, but on Control and Resistance, it's all blended together in a near perfect blur of futuristic technical mastery. There isn't a note I'd change today. Really, how could you change art? That's what this is, a piece of elegant art metal.

To think, I haven't even covered any songs yet. This thing kicks off with probably its craziest song, the almost scary Instruments of Random Murder. With no repeating sections and a violent lead riff, this track sets the stage for the entire album, and that stage is one fraught with anarchy and emotional insecurity. Still, the apocalypse rumbles on, and next we have the uncharacteristically short The Eldritch. This song features a creepy atmosphere one can't but like. Mayday In Kiev begins with a bass line that screams Rush worship, and Doug Keyser is fully up to the task. This has got to be one of the few technical albums where even the bass is precisely mesmerizing in its insane complexity. Coupled with Jarzombek's jazzy, supernatural leads, this has to be one the most technical albums ever.

The strange coincidence within that statement is that Control and Resistance is really not even that fast. Take for example the next two songs on the album, long epics The Fall of Reason and the over the top title track. They build upon slow structures that only eventually burst, yet you never doubt their advanced, difficult cohesion. In fact, I'd argue that the slow, moody moments are the highlights of the disc, showing off the band's artistic patience. Never do they seem even slightly urged to bust into a fast, stupid "thrash for the sake of thrash" riff. Everything is carefully composed and painstakingly played. Although I don't like any of the last three tracks as much as the first five, they're certainly no slouches either. Life Cycles is especially notable for its almost balladic chorus.

Watchtower's crude, raw debut Energetic Disassembly may have laid down the technical thrash foundation, but Control and Resistance walks all over it. With a greater attention to detail and focus in crafting memorable songs, Control and Resistance is a pretty much flawless example of the genre. Although I've grown to prefer the more accessable (and wonderful) Think This, also released in 1989 (by Toxik), this album's legacy has not diminished to this day. Thankfully, it isn't one of those albums that has grown dated, and it is still totally capable of living up to the reputation given to it by Watchtower's fans. Though it seems more and more like we're never going to get the supposed third release, at least we can spend time spinning this to remind ourselves why we want it so bad in the first place. Pure chaos.

   Overall: 9.5/10 (Incredible - a shadow strikes...)

Lord Bane - Age of Elegance [1994]

Lord Bane's Age of Elegance is one of those cult prog "classics" that doesn't deserve its warm recognition in any way. All the elements are there: an extremely small press run so that it won't get heard by enough people to exploit it for the garbage it really is, an endearing musical direction people will find themselves attached to for no real reason, and a vocalist that, at times, manages to channel the greatness of Midnight. However, this is not Crimson Glory; let me make that painfully clear. Lord Bane lacks almost everything that made Crimson Glory such a great progressive power metal band. First of all, the power. Age of Elegance is plagued by slow, prodding songs that lack any projection or heaviness. In fact, most of them barely even reach mid-pace, the worst offender being the ridiculously overlong "If Broken Hearts Could Kill (You'd Be Dead)." It's not the only one, either; even the decent songs often stretch to seven minutes or longer, and the music here just isn't suited for that. In simpler terms, the main problem with this album is that it's just boring. The absolutely terrible muffled production job certainly doesn't do it any favors, either.

If you're not familiar with the aforementioned Midnight, then you are one sorry individual and you are in dire need of Crimson Glory's first two releases. His legendary vocals were characterized by a thick thespian accent and mesmerizing, glass-breaking highs. Lord Bane's Shawn Ames is almost capable of at least imitating him, but aside from "Queen Ann", he never really does. He just stays in his aggravating comfort zone for most of the album, which is mid-range with a scratchy, thespian-gone-wrong tone in his voice. The talent is there, but he puts forth no effort whatsoever. He goes hand-in-hand with the band itself, because they do the same thing. The music is so limited and restrained, taking a slow walk on a road that always leads to nowhere. There are approximately two real "power metal" songs here, and guess what? Those are probably a couple of the worst tracks on the album. "Like the Lion" is completely average in every way, with a chorus that is so boring and uninspired it's almost a shame calling it one. "Promise of Prophecy" is terrible, however, with an apparently inept sense of melody that prevents one from ever remembering anything from it. This has to be the least memorable song I recall hearing, as even now I couldn't tell you a thing about it.

There aren't many actual tracks here (which is probably a blessing), making it kind of inappropriate calling so many of them "one of the worst", but that's how I'd have to describe them. The first and last are pretentious short pieces, trying to put off some grand epic atmosphere that ends up a joke (further worsened by the transparent title choice of Age of Elegance). The seven tracks crammed between them range from awful to relatively decent, and I've already named off the worst so let's focus on the few bright spots. True opener "Fawns" is okay, even if it is hampered by the horrible production job and nonsensical, artsy lyrics. I must admit that the slow verse has some charm and the vocals are pretty good. A couple of bad songs later, we hit "Moriah", one of those extremely sslllloooooowwww songs (if you see my point), except I actually like this one. I think it's aided by the dark atmosphere and the looming, if simple, chorus. Finally, there's the album's highlight, "Queen Ann", a good, hell, maybe even great song. Good vocals, a sense of coherency, and finally some actually decent songwriting grace this single flash of potential, the way the whole album should have worked out. Sadly, it didn't. Don't waste your time or money with this. Just stick with Crimson Glory.

   Overall: 3.5/10 (Bad)

Monday, March 14, 2011

Stratovarius - Fourth Dimension [1995]

Dreamspace was a rare great moment in the Stratovarius catalogue. It was heavy, dark, and creative through and through, not afraid to take risks and not embarrassed to reap their rewards. Naturally, such an album is difficult to live up to, and it was. Very difficult, apparently, since the band wouldn't release anything close to that caliber for nine years. The band's next effort, Fourth Dimension, finally brought Stratovarius into the European power metal realm, a region fraught with over-population and shameless song-stealers. After listening to Dreamspace and then Fourth Dimension, it's hard to believe this is even the same band, because this album is one of the most boring and derivitive recordings I've ever experienced.

First of all, the biggest detractor is the production. In a word, it's terrible. It sucks out all the crunch of the guitars and instead makes them sound like musical pillows, strumming away softly and forcelessly; it sucks out the bass and drums and leaves them by the wayside, forcing you to search aimlessly for some lower end stuff to carry the highs; it sucks out any enjoyment one might find during choruses when all you can are the awful, muffled background chants that accompany them; but most importantly, it just sucks. The entire album is shrouded in this cold-sounding veil that it just never emerges from. Gone is the interesting dark environment of Dreamspace. Here is the cold, emotionless stream of robotic mediocrity.

I hope you like boring, melodic, powerless songs that you've heard a thousand times before by a thousand different bands, 'cause that's what you're going to get! Seriously, this is completely uninspired. The fact that people call this stuff great and later albums like Infinite weak doesn't make much sense to me, because the music, singing, and songwriting are all about the same. At least those later albums have decent production and throw in a different idea every once in a while. Fourth Dimension settles for the bare minimum 100 percent of the time, reusing riffs, choruses, and solos at will. "Hey, guys, it's been, like, two albums since we've used this rhythm. Nobody will notice! Oh wait, we can't favor one over another...Let's just copy this entire song!"

What kills a number of the decent songs are the fact that we've heard better versions of them before. The worst offenders are Against the Wind, with its Helloween carbon copy chorus, Winter, with its Dream Theater worshipping buildup, and the absolutely atrocious 030366, which is a near exact rip-off of Queensryche's Screaming In Digital. Heard enough? No? Okay! Let's go back to Against the Wind. That rhythm during the chorus? It's exactly the same as part of the instrumental Goodbye off of Fright Night. Another fun coincidence? Both of those albums suck.

I can't even comprehend this album's positive reception on any level.  There's hardly a single redeeming factor here that would lead me to listening to this again. After hearing so many better albums in the same style with better production and songwriting (you know, ones that don't use the same song structure every song), it's impossible to appreciate whatever it is that we have here. I still have doubts when I manage to enjoy a song (like the only good ones, Distant Skies and Nightfall), because I can't help but wonder if I can only enjoy it because I haven't heard the song it's ripping off yet.

And, no, the vocalist change doesn't help much; if anything, Kotipelto only emphasizes the abysmal changes that have taken place here. I actually like him, but I don't think anything could save this release. I hate this, but if you're into this kind of stuff, you'll probably like it, because everyone else seems to. I guess I'm just weird. Please give Elements Pt. 1 a chance! Seriously, at least that's varied and has progressive tendencies. This is a seminar of cliched pain that just wears its listener down with overlong, boring songs that keep getting longer until the very end; and believe me, the end can't come soon enough. It makes me feel dirty just writing about such a repulsive entity. Trust me, just walk slowly away from Fourth Dimension. Having three is enough, anyway.

   Overall: 2.5/10 (Abysmal - "NO NO Make it stop!")

Stratovarius - Episode [1996]

The Stratovarius catalogue is a very perplexing thing. I mean, this has to be one of the most inconsistent bands to ever walk the face of the planet. First we got Fright Night, which was an extremely mediocre stab at Yngwie-style 80's metal. Next was Twilight Time, a big improvement and Stratovarius's first step in the modern power metal direction. Afterwards, Dreamspace and its dark brilliance descended upon us. Then, as if that hadn't even happened, Fourth Dimension, their first full fledged European power metal album, unleashed its unspeakably awful quality into the world like a plague. After that atrocity, I had no idea what to expect, if anything. Episode is a lot like Fourth Dimension, except for one crucial detail: it doesn't suck.

My slim hopes that this album wouldn't be terrible were raised within the first few seconds of Father time. Guitar! Real guitar, real riffs, a real production! Maybe this will actually be pretty good! And luckily for me, the victim of many unfulfilled promises, Episode is. It may not be completely great or outstanding at everything it does, but Episode does manage to be a solid effort from beginning to end. The lows are fewer and the highs are higher than on most of Stratovarius's albums, so there's really no risk of a traumatizingly awful moment like in Fourth Dimension. Episode is also much better about not ripping other bands (or themselves), so that's yet another improvement.

The biggest one, however, is the new production. Everything is distinct and the cold, distant air of Fourth Dimension is gone. The riffs now hit us with full force and even, dare I say it, heaviness! Everything about this album is better; seriously. The keyboards are lower in the mix and the tone is much less distracting than before. Vocals are performed better and the clear sound really brings out all the positive qualities of Kotipelto's voice. I think it's underrated how important the production of an album really is, because it affects virtually every aspect in it. Of course, the production also doesn't make an album, and Episode has plenty of good songs to complement its newfound sound.

Eternity is probably best here. Like many of Stratovarius's most successsful tracks, this one has a slow buildup that eventually erupts into an epic, bombastic chorus. Uncertainty is an oddity for the band; using a simple, heavy verse riff along with Kotipelto opting for a low range vocal performance, it almost has a modern rock feel rather than power metal. What's also odd is that something that sounds so terrible could end up coming out so good. The almost progressive Night Time Eclipse is another highlight, portraying a mood of wonder while slowly pacing itself. Finally, closer Forever, the sole ballad of the bunch (!), is pretty much brilliant. Sometimes this gooey acoustic ballad nonsense seems pathetic coming from Strato, but they really pull it off here.

I gotta hand it to Stratovarius: Episode is a pretty damn good album. After the putrid Fourth Dimension, (I know how many times I've said that, but I can't emphasize it enough) I didn't think this could be possible, but it's a reality. Sure, a lot of tracks aren't as memorable as others and it's still a bit too long for my tastes, but how much can you ask for out of this limiting genre? This is probably Stratovarius's fourth or fifth best album, (wow, that actually makes their discography sound good, doesn't it?) and it's not a bad place to start if you're interested in the band. Polaris is of similar quality and wouldn't be a bad choice, either. Just stay away from the self-titled album and Fourth Dimension and you'll be fine; I wouldn't wish those on my worst enemy.

   Overall: 7.5/10 (Good)

Stratovarius - Visions [1997]

For once, Stratovarius manages to come up with a suitable followup to an album with this album. Episode was a really good release that made a complete turnaround from the travesty before (I'm running out of words to decribe that mess). I think I've gotten far enough into the discography to stop discussing the root albums, so I'll just get on with it. Visions is basically trademark, capitalized European Power Metal at its simplest, most explicable form. Everything you'd expect is here: the upbeat guitar riffs, the (almost desperately) catchy choruses, keyboard orchestration, soaring, Kiske-like vocals, ect. I don't just bow down to Stratovarius or any band that just settles for the mean, however, so naturally I expect a bit more.

First of all, let me just say that the production is excellent. This is perhaps one of the best mixes I've ever heard, especially for 1997. Everything is perfectly clear and every instrument is given a lift by it. The biggest improvements are in the keyboard and synthesizer tones, which have taken a huge leap forward. In the past, Stratovarius was often plagued with poppy keyboard intrusions in perfectly decent, forceful metal songs. That's no problem here, which Black Diamond quickly demonstrates in its song-carrying synth parts. The bass also seems to be getting more attention than ever before, because it is used more and and its actually audible for once.

Obviously, that facet of Visions is not anything I find fault with, thankfully. No, the real problem here is the amount of songs that completely fail to move me or stick in my memory, a problem that would just get worse on Destiny. Visions too often uses cliched power metal staples, opting to not bring any new ideas to the table like Dreamspace or even Episode did. There are so many songs that sound too alike, using 4/4, repetitive drumming, and Helloween sing-along choruses. The end result is more of an hour-long of samey songs than a varied piece of work. Sure, it's coherent, but at what cost? My interest, that's what. I find that my apathy climaxes during the ridiculously overlong title track, an obvious attempt to go "epic" that utterly fails. More pointless tracks are the obligatory instrumental Holy Light and payoff-free ballad, Coming Home.

The album is not free from rewarding tracks, though. Opener Black Diamond is a refreshing, modern power-piece, and a love song that isn't a ballad (gasp)! The most creative song here is the quasi-ballad, Before the Winter. This one has a rather wondrous, beautiful feel, complemented by Kotipelto's brilliant vocal performance. Another reason why this song is so good is the fact that it doesn't try to stick some nonconforming chorus in the middle of it. Best of the album, for sure. The last somewhat standout track here is Abyss of Your Eyes, with a Queensryche-like lead riff and an intersting pre-chorus. Unfortunately, that's about it; the second half of Visions, like the second half of so many other Stratovarius albums, is devoid of memorable or necessary tracks.

In the end, Visions is yet another Stratovarius album that just isn't enough. Maybe if it had a few more good songs, maybe if it was heavier during the non artsy ones, maybe if it was shorter...Well, that's a lot of maybes, and by now you should see what this album's problem is; very vividly, I hope. Unfortunately, Visions is actually a step higher than most of Stratovarius's albums past this, as this was the start of a rapid descent into mediocrity. Now, this album isn't really that bad, and although I can't reccomend like I can some of the others (Elements Pt. 1, Polaris), I'll say that it may be worth checking out if you're into the genre. I still can't see what others see in these 90's Strato albums, but maybe you will. I'll stick to the more consistent stuff.

   Overall: 6.5/10 (Fair - a miss, but not by much)

Stratovarius - Destiny [1998]

Another year, another Stratovarius album, and another step on the incremental decline. Visions was one level down from Episode, and Destiny is yet another level down from that. This is the album that prompted my series of down to Earth reviews of Stratovarius albums, since everyone seems to believe that their 90's albums are the greatest things to ever exist. The truth is that most of them are completely average and that some are even bad. The fact that many believe this to be their best album is a complete joke, because Destiny is barely any better than Infinite, which is considered a major downfall. I hate to sound like a power metal hater, because that's mostly not what I am; I just hate it when a band keeps releasing the same album every year when that album isn't even that good anyway.

Destiny is basically just Visions Pt. 2, except that it's a lot worse. Why, you ask? A more appropriate question would be where to start. First off, I can tell something's wrong right from the beginning. Two ultra-long tracks? Uh oh. If you've heard Visions or read my review for it, then you know that Stratovarius doesn't know how to do epic songs. Nothing's changed here; Destiny and Anthem of the World are totally boring and pointless throughout. I deem the latter to be worse than anything on Infinite, a horrible environmental message that goes about nine minutes too far. Even worse is the fact that these songs are the first and last tracks of the album, making Destiny feel like an eternity despite the fact that it is one of Stratovarius's shorter albums.

In between those lackluster time-wasters, the rest of the tracks are not much better. No Turning Back is trademark Stratovarius: reusing the exact same idea yet again, with simple, repetitive verses that lead to an even more boring chorus. There's nothing novel or nostalgic about this; it's just done to dirt, over and over again. Rebel follows suit, another freaking identical song with the same structure, same bad, typical power metal lyrics, and same over-the-top cheesy chorus. How people make it through albums like this without getting bored is beyond me, and it's barely halfway over. Years Go By is the obligatory power ballad, complete with that same verse you've heard a million times before that leads into that same old chorus. Dull, uninspired, pointless... All these words come to mind. God, just let it end!

Highlights? Fewer than ever before, although the scant amount of them really are good. S.O.S. is beyond excellent, presenting the album's only good lyrics. Kotipelto actually sounds like he gives a damn for once, chanting his way through the awesome, buoyant chorus. Playing With Fire is good only in a classic, bad 80's way, as this thing screams hair metal in every way. Somehow it's a highlight.
The only stab at creativity here is the unique Venus in the Morning, actually breaking out some progressive and strange sounding stuff. I have a feeling that this is one of those that's only good because there's nothing else here like it. Ballad 4000 Rainy Nights is decent, but I liked it much better when Queensryche did it eight years before (Seriously, Another Rainy Night? Come on.) The rest is completely weak and lifeless.

Why am I even surprised anymore? This seems to happen every time with Stratovarius; they get one good album with good ideas and then reuse that album and those ideas with less and less success with each subsequent release. The fact that Destiny is only slightly below par for Stratovarius is pretty sad, because the material here is mostly worthless. This thing gets worse every time I hear it, and I wouldn't listen to Destiny again. It may not be Fourth Dimension bad, or even bad in a complete sense, but it just goes on and on in an interminable fashion. From the very first second it starts playing, you just want Destiny to end, and you shouldn't want that from a good album, obviously. When will people wake up and realize that there is virtually no difference between this and what fans deem to be the worst albums? Never.

   Overall: 5.5/10 (Mediocre)

Stratovarius - Infinite [2000]

Here we go again. You're probably wondering why I should even bother with this one, as most seem to know how misguided it is (unlike Destiny and Visions, which everyone seems delusion about). Yep, this is "good" old European power metal right here, taken to a whole new ridiculous level of cheese. In other words, it's a normal 90's Stratovarius album. To answer your question, I choose to bother with this one because I'm both a completist and one who wants justice to be done. Justice, in this case, is ensuring that no one else gets victimized by this worthless crap. At least their previous albums had highlights and good monents in there; this is basically awful from beginning to end, or at least so boring that it's pointless to listen to.

Opener Hunting High and Low just personifies everything that's wrong with Infinite. This song is the template for every one of the others, so you'd hope that it could be somewhat decent. Guess what? It's bad. Really bad. Besides being identical to practically every other song Stratovarius has ever done, it also manages to be even worse than those with its horrible lyrics and groan-inducing chorus. Anything this melodic and desperately sing-along bores me to no end. Maybe this would have been a good song if it, I don't know, had a good vocal performance to back it up, but Kotipelto just makes it worse. Apparently he's given up on even acting like he gives a shit about this band, as he doesn't seem to be slightly trying here. No emotion at all.

And just think, that's only one song. For all the others I could pretty much put 'insert Hunting High and Low review here' and be done with it, but unfortunately, I'm forced to suffer through finding the exact words to tell you why every song on this album sucks. Oh, I almost forgot, you know those epicly long Stratovarius "songs" that I love so much? Well, just like on Destiny, we get two more! Lucky us! Mother Gaia comes early on to steal away our hopes of there being a decent song on the album. It's basically an eight minute ballad with no repeating parts that goes absolutely nowhere. The mid-section piano part with Kotipelto's lounge singing is completely and utterly putrid. Then the title track closes out this cadaver of an album, and keeping with the tradition of Stratovarius title tracks on the last three albums, it drags on endlessly and lifelessly.

There are more straightforward power tracks in the bunch besides the opener, providing little jolts of the scant quality to be found here. Most of them aren't really good, just settling for being extremely average, if that's even possible. Once again, they're exactly as you would expect: you know, pretty much the same. Same structures, same choruses, just with different lyrics of equally pitiful quality and enough subtle differences in songwriting for them to register as separate tracks. The guilty party includes many, Phoenix being the frontrunner and Freedom being the runt of an already small litter with it's pathetic, nauseating anthemic chorus. You really can't go wrong here; there's plenty of equally mediocre songs to chose from  for those who will accept low grade, zero effort crap. For those who like good music with purpose and quality, walk the other way now; you won't find either of those here.

   Overall: 4.5/10 (Poor - another one off the factory line)

Stratovarius - Elements Pt. 1 [2003]

Ha, I bet I caught you off guard here, huh? I'm sure you were expecting me to barrate yet another awful Stratovarius album for it's humiliatingly mediocre quality, especially the often hated Elements Pt. 1! Well, no; absolutely not. I consider this album to be absolutely brilliant. In my opinion, nothing besides Dreamspace in their entire catalogue is anywhere near this good. It's their best. On the surface, Elements Pt. 1 seems very similar to some of their previous, horrific material. There's still a few tracks of straightforward power with over-the-top choruses and typical keyboard saturation. However, there's so much more here than that, and I feel sorry for all the listeners who quickly dismissed this as another piece of Stratotrash. With some patience, I'm sure anyone could enjoy the music they have presented here.

Okay, let me give you a thorough explanation. First off, let me apologize for being the hypocrite you're surely calling me now. "But I thought you said you hated their long songs! How can you favor the album with the longest songs out of all of them?!" Okay, okay, so I've been less than kind to the lengthy Stratovarius tracks in the past. However, those sucked. I hate to be so blunt, but that's the truth. On here, the songwriting is so much better, leading to much more coherent and enjoyable pieces. The orchestral accompaniment adds layers of depth and even beauty, almost making the use of long songs necessary. Prime examples are the wonderful Fantasia and the truly epic title track, two songs that actually don't feel overlong despite the fact that the former closes in on the ten minute mark and the latter far eclipses it.

Of course, an album can't just survive on a couple of standout progressive tracks and some orchestration. Let us take a look at the metal enclosed. Opener Eagleheart is the most out of place track here, no doubt an attempt at a video song. Still, I can forgive it and its oversimplification as it has a nice charging verse. I can probably only enjoy this one because of the album that follows it, but at least I can enjoy it at all, unlike Hunting High and Low. Another one of the three main chugathons arrives soon after, the bombastic, energetic Find Your Own Voice. Kotipelto's vocals absolutely soar over the highlight chorus, completing this utterly wonderful song. The last traditional song, Learning to Fly, is also a great one with a memorable verse, although it's not quite as good as the former. That's a lot of great songs, and to think, I've saved the best two for last!

Soul of a Vagabond is one of the epic, orchestrated songs that makes up about half the album, and it is legendary. Starting with the infamous Heaven and Hell bass gallop, the track slowly ascends to its angelic chorus while perfectly using every instrument they can find to complement its broad soundscape. Since this is a one time outing in which Stratovarius eradicated all of their previous limits, even the lyrics here go above and beyond. It doesn't take much longer for this unworldly track to find and meet its match in the unbelievable Papillon. Introduced by an a capella verse, this song finds realms of beauty that very few other power metal bands have ever seen. Kotipelto unleashes the most emotive, breathtaking performance of his career, turning this from amazing to supernatural. Has to be heard to be believed.

Now do you see why bands can never change? Because right when they do, their bastard fanbase can't accept the change, so they flame the final product for no other reason than the fact that it's not the same exact album for the millionth time. I mean, God, here's a band with an honest attempt at exploring new territory, and what reception do they get? Luke-warm; no, not even... More like bone-dry cold. Well, I'll have fun enjoying this extraordinary album while you Stratovarius fans enjoy those crap 90's albums. Visions? Destiny? Fourth Dimension?! This is miles beyond any of those releases, and I'm glad that I'm not brainwashed by the ideals of what good power metal is supposed to be so that I can see that. I hope those who are enlightened enough will join me, because I'm pretty damn alone in my appreciation of this album. It may not best Lost Horizon's A Flame to the Ground Beneath, released the same year, but what does? Support it so we don't get another self-titled album, please.

   Overall: 9/10 (Outstanding - every dog has his day)

Stratovarius - Elements Pt. 2 [2003]

Oh, my God! Can it be? Yes, apparently it can. For the first (and to this point, only) time in Stratovarius's career, they have fashioned two good releases in a row. Surely this is a trick and not reality! Elements Pt. 2 may not be the absolutely wonderful breath of fresh air that Pt. 1 was, but it's still quite enjoyable, and yes, good. I know I sound like a broken record here, but the following is unfortunately true: you can never trust Stratovarius. After all, the last time they put out a really good album, Dreamspace, they put out Fourth Dimension right after it. I can definitely ensure you that this album is nothing like Fourth Dimension. However, the strange thing is that it isn't a lot like Elements Pt. 1 either.

First of all, the orchestration and progressive elements of Pt. 1 are mostly gone. They still remain in small parts and interludes, but for the most part, this is a mostly typical power Stratovarius album. I'm sure many raging Stratofreaks were overjoyed at that news, but obviously I was a bit disappointed. Luckily, this is a really good typical power Stratovarius album, right on par with Episode and Polaris. Not including the other Elements release, I'd say that this has the most highlights out of any of them. Sure, there are a couple of mandatory skippers, but mostly, it's smooth sailing. The production is clear as usual and an unusually stunning cover clothes this thing, so those are just bonuses. It's also one of their heavier albums.

Alpha and Omega kicks this thing off, which is appropriate because it sounds the most like something from Pt.1. And let me tell you, the quality of the song is up to those levels as well. This stirring track is the only one on the album that truly reaches the realm of beauty the last one did. Wonderful lyrics, wonderful prechorus, wonderful song. I Walk to My Own Song is the video song of Elements Pt. 2, but this one is made better than usual with its memorable chorus. Awaken the Giant is Stratovarius's heaviest song across the board, and it's a just a really good one across the board, definitely reminding me of Metal Church's A Subtle War during the war-siren chorus. The final really outstanding track here is the epic Dreamweaver, a well woven tune with interlaced progressive elements.

Anything not named is probably a decent song, just not really exceptional enough to single out and discuss. There is, however, one song that's just Infinite-bad. For those of you who don't know Stratovarius very well (the lucky ones), that means "extremely terrible and abysmal". Luminous perfectly fits that decription; this one's pain. An instant-skip, that's for sure. Otherwise this is a solid album, definitely recomended for European power-heads. If you're not into this genre, Elements Pt. 2 certainly won't change your mind about it, as it still uses enough Helloween trademarks for flower metal haters to scoff at. I still much prefer Pt. 1, but you really can't go wrong either way. Now the self-titled... That's a different story.

   Overall: 7/10 (Good)

Stratovarius - Stratovarius [2005]

Wow. Just wow. Remember that thing I said before, "you can never trust Stratovarius"? Well, this album is the best reason for that exact fact. It would be exactly like Stratovarius to follow up their first string of back-to-back good albums with their worst; no, not only their worst, that really wouldn't do it justice. This is more specifically one of the worst albums I've ever heard. The fact that the awful Fourth Dimension wasn't this band's worst album is shocking enough; that comes second to the actual experience of their self-titled release. This is pain in its purest form, its simplest definition; I mean, it's almost an accomplishment to manage to make something this unsatisfying and horrible. If this was some sick, cruel joke played by Timo Tolkki in his obviously screwed up state, then congratulations, you cruel bastard! Mission frickin' accomplished.

I guess this is some attempt at sounding dark or serious or something like that, but it fails horribly. It's a dark experience, all right, but not in the way that they surely intended. The abysmal modern production and attitude cast a black pall on this thing that it never manages to escape. The most comparable things I can even think of are the embarrassing pop-metal albums Ozzy keeps making now. Yes, that's exactly it: this is some shelved Ozzy album with Kotipelto's vocals that the record company bought and released with the Stratovarius name on it! It really sounds nothing like Stratovarius at all besides the only decent track, Gypsy, which still only barely succeeds thanks to its desperate use of previously utilized ideas.

You might think, "well, at least it will have good production, right?" Wrong, as you would be if you thought anything about this album is going to be good. It's noisy, loud and bloated, yet again bringing the word "modern" to mind, as well as Death Magnetic. When all instruments play together, the sound has a tendency of cutting out. Obviously, this isn't acceptable and it just adds a bit more darkness to the dreary, black cloud mood, which is filled with too much angst and too little quality. The bass in particular is unbearable and makes everything sound fuzzier; I'm almost certain I can hear Kotipelto try to strain his voice during these parts, too. That's another thing entirely; this is Kotipelto's least inspired vocal performance ever. He just sounds bad half the time, worst being his tone-deaf delivery during the grating chorus of Fight!!!

That reminds me, I haven't even really gotten to the songs yet. Opener Maniac Dance is about as good as it's title suggests. Starting off with a worthless poppy dance rhythm, the song then erupts into... Well, that same worthless poppy dance rhythm. The chorus sounds like something Pink would have done, and by this point, I'm already praying for the end. I declare this the worst song I've ever heard, a true abomination that deserves to be eradicated on sight. Now, then, moving on, we've got another wonderful Stratoballad, a song which is a type of song so overdone and reused that I've given its own word! However, at least previous Stratoballads had some enjoyable quality or catchy part; The Land of Ice and Snow is a pathetic homeland anthem that would be more suitable as a football team's fight song. "In the land where packers roam!" Now that I can see.

Oh, boy, we get to hear a few more epics on this one! As if we needed more proof that the actually decent long tracks on Elements Pt. 1 were just flukes, we get a whole bag of losers in this one. The worst comes first. Back to Madness is a terrible amalgam of bad ideas that wears on endlessly. When the opera singer comes in about midway, I seriously began to wonder where the hidden camera must be. Someone hates me and this is their ultimate revenge. Zenith of Power is seriously bad, and near the end it starts repeating the chorus over and over again. By this point, I'm considering ramming my head into a spike to avoid living in a world where attrocities such as this are deemed acceptable. United is basically the same song and it has the same effect on me. This will make athiests pray for salvation.

As far as tragedies go, Stratovarius's self-titled album is perhaps second only to the holocaust, and it's pushing for first. The fact that a group of musicians would put forth their efforts, come away with this, and then let it reach consumers is scary. The album itself is scarier. What makes this anomalously awful release even more difficult to comprehend is the place it has in their discography. It actually falls right in between two of the better albums made by the band, so surely it can't be this terrible. Unbelievably, it is. Somehow Stratovarius managed to move on (sans Tolkki) and release a really good album after this, and I can't see how that was possible after hearing this travesty. It must have been like moving on after a family member's death. Stay far, far away from this. Some people will tell you this isn't that bad. They're lying. It's not even for hardcore Strato fans; I won't joke like that. This is a nightmare.

   Overall: 0.5/10 (Abysmal - a new low for humanity)

Stratovarius - Polaris [2009]

Stratovarius's 2005 self-titled release was the worst album I've ever heard by far. It was absolutely abysmal in so many ways that it was hard to write an appropriate summary of that album's utter failure to convey any emotion or effort in any sense. After such an unspeakable release, what was there to expect from this new album? I faced a similar dilemma after hearing the dreadful Fourth Dimension, and that was answered by the good, solid Episode. So isn't it just right that their very worst album would be answered by one of their best? That's just what Polaris is, as, despite all odds, this really is good, and there's a lot that makes it that way. It was painful being forced to go through this entire catalogue, but at least it ends on a good note. Well then, shall we?

First of all, the production of Polaris is wonderful. By far the best of any Stratovarius album, the sound generates this very approprate spacey feel. The atmosphere is what truly carries the music within it, and Polaris uses its environment perfectly, crafting every song with a light, playful air, a refreshing change from the horrible faked seriousness of the self-titled. The result is an album that has all its songs (and its heart) in the right place. Polaris is probably one of the most consistent albums they've ever released, too, as it goes the entire fifty-five minute runtime without losing too much steam once. There are a lot of tracks that aren't really all too exceptional, but they're also not boring and manage to hold your attention for just enough time to get to the highlights...

And what good highlights we have here! King of Nothing is an awesome, epic fist-pumper that culminates in the spectacular soaring chorus. Semi-ballad Winter Skies is pure excellence all around, probably the best song here. Floating on dreamy verses and feeding off the elegant atmosphere, this song always inspires awe. Another ballad, Somehow Precious is a also another great track thanks to its slow moving, ambient passages. The two part Emancipation Suite is rather nice as well (although it borrows heavily from their previous song Babylon in its epic buildup). Finally, we have the closer ballad, When Mountains Fall, which greatly succeeds despite the fact that it's an obvious attempt yo recreate Forever. It's a really good obvious attempt, though, almost reminding me of the arcane beauty of Elements Pt. 1.

If you noticed that I named just about the entire second half of the album, then good for you; here's a star. That is another good quality about Polaris, admittedly, as most second halves of albums fail to live up to the first ones, especially with the consistently inconsistent Stratovarius discography. I wouldn't call myself a Stratovarius fan, as such a title would bring shame and humiliation onto myself, but if half of their releases were this good, then I might. Polaris is just about the best a band such as Stratovarius can accomplish at this late date in this dated, overplayed genre. It's a nice collection of good songs from a bunch of old guys that doesn't feel too forced in its nostalgic display of archaic, familiar-sounding songs. If they can continue at this speed, then we'll have another good release on our hands soon. There; everyone's happy.

   Overall: 8/10 (Great - they never fail to surprise me)

Metal Church - Hanging in the Balance [1993]

After already proving to all that would listen (which was tragically too few) that they were a special thrash metal band with their previously released elegant masterpieces Blessing in Disguise and The Human Factor, Metal Church ascend even higher, challenging the thrones of the immortals with this perfection-defying, moving piece of  music known as nothing other than Hanging in the Balance. How can I even describe in so many words the impact this album has upon its listener, its crushing yet beautiful riffs, and the profound emotional statement it manages to transmit to your inner soul? The fact is, no man or god can, and I’m sure that even the band can scarcely recall the place they must have been in to write such a stirring monument.

I don‘t know if any other album has ever had a more convincing opening half than this one. Gods of Second Chance doesn’t sound like anything else here, and yet it turns out to be the perfect first track. A bass-driven and rather slow churn, it isn’t reminiscent of thrash (or Metal Church) at all, thus beginning a theme of making a goldmine out of the most unlikely-to-succeed ideas and situations. As a result, Metal Church never become the victim of their own artistic prowess, with the overall product being somehow accessible despite their unrestrained brilliance. Riffs and rhythms pound with an eternally memorable buoyancy, and the crystal clear production really brings to life the energy and feeling held within. Not once does Kirk Arrington resort to copy-and paste, faster-than-thou thrash drumming; every tap of the cymbal is with purpose, and his performance helps carry the songs to the promise land.

Then, as if it all wasn’t enough already, Mike Howe unleashes his unworldly presence upon us all and we have no choice but to follow his haunting growls to the grave. Like a mix of the most powerful Halford, Bruce Dickinson’s energy, and an elusive flavor all his own, Howe’s top flight vocal delivery manages to find some vacancy in the deep-carved anthems and fill them with a voice that utterly dominates. Most captivating of all are his lyrics, perhaps the element you would least expect to keep you coming back to an album, but they do just that. Expressing hardships, abuse, war, and the misguided nature of youth, they tackle serious concepts without treading in the ridiculously on-the-nose, Mustaine political nonsense waters.

The other two earth-shattering highlights of the album are soon to follow after that spotless opener. Losers in the Game has a heavy structure with a lighthearted subtlety, recalling you to the better times long past. The merciless verses give way to a ludicrously catchy chorus, but this just adds on to the wonderful nostalgia of the piece. Commercialism isn’t always a bad thing. Skip ahead to Waiting For a Savior, and we’re delivered the absolute peak of what music can accomplish. This is a ballad replete with genuine emotion through and through, complete with probably the most meaningful message ever portrayed in any song.

Once we find our way to the album’s end, we realize that Metal Church had what so little others had: hearts that were in the music and truly felt that their product held their inner thoughts and feelings within. The truth that it's not even a real thrash album doesn't take away from it all. At the end of the day, I find Hanging in the Balance to be an absolute necessity to live. The fact that a band playing at such an insanely high level had to disband because of a lack of popularity is probably the ultimate stigma of humanity’s existence. Nonetheless, at least they left us with a pure miracle of an album, a euphony of timeless tracks and emotional resonance. What more could we ask for?

   Overall: 10/10 (Absolute - With clear cut emotions...)
    

Crimson Glory - Crimson Glory [1986]

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)