White Lion - The Best of (1992)

Before the rather aesthitically appealing Mike Tramp joined Freak of Nature, he was in a glam-rock band called White Lion. Like many rock bands of the 80s their lyrics focused on the good things in life - sex, parties and rock and roll, with the occasional bit of political commentary thrown in. White Lion originated in Copenhagen, Denmark, when Danish-born Mike Tramp teamed up with American-born Vito Bratta. They had reasonable success - mainly with the songs on this album which is, of course, going to showcase the best of their music. Less of the sex, more of love and rock & roll! (And, of course, the social and political commentary). They are noted for their dyed-blond poodle haircuts, pretty boy eye shadow and the delightful fashions of the 80s (leather jackets, fringed jackets, tight jeans, lether pants etc) . Watching the videos is a little like stepping back in time!

It's a best of album, so it's not the most exciting of sleeves - a lion head, inked in exquisite detail, above wings, beneath the band logo, looking rather like an elaborate door knocker. Inside there's not much of anything - just a track listing and a photograph of ephemera, which includes a rather cute white lion plush.
The album opens with "Wait". Taken from their 1987 album "Pride" (which I own on cassette tape), this track peaked at #8 on the charts in the USA. It is a sweet love song, with Tramp's melodious, but raw-edged vocals adding a hint of pleading.

It's so dated, it sparks something in me, that gentle hint of nostalgia - the memory of long car journeys plugged in to my walkman; of lying in the grass during my lunchbreaks, lost in a world of music; of day-dreaming that one day I might find a poodle-haired musician of my own to make my world a brighter place...

Then we rock on in to the cruisy "Radar Love". This is a cover song, originally performed by Dutch band, Golden Earring. It's rockin' good fun with a bitchin'ly competent guitar solo. A great driving song, play it loud in the car!

More relationship angst, it's time to mourn a "Broken Heart" - starts with heartbreaking loss, then moves into a determination to move on and find something new:

"...I know that things will get better, I know the sun will shine again..."

This would be a good song for a teenage girl suffering her first break-up. Was I such a girl? No, in my teenage/High School years I never dated.

Let's have some real glam - "Hungry" is a song about carnal desires. Filled with all the typical glam-rock metaphors such as "loaded gun". It's fun, frivolous and contains such delightful lines as:

"...baby take off your leather and show me all your lace..."

After that nod to the glam-rock conventions, it's time to show their political side, with the melodious "Little Fighter" - a tribute to the Rainbow Warrior - the Greenpeace ship destroyed by the French Intelligence Service whilst at harbour in New Zealand in 1985, with one activist casualty.*  Filled with determination and passion - this is a love song to a ship, but a ship with a purpose and a mission. This is one song that cannot fail to inspire you.

"... rise again little fighter and let the world know the reason why..."

And now we have a rather impressive array of power and guitars merging into a symphonic intro into the glory and might of "Lights and Thunder". Heavier on the drums, sophisticated structures. Cruising vocals, a gentle and immense purr - like a lion would purr**.

This is followed up with the anthemic*** "All you Need is Rock and Roll". A competent, but repetitive number with skillful guitar solo and a twiddly bass line. Surprisingly long considering there's only about 5 lines to the entire song. But what a guitar fade-out! Very dramatic. Ah, we are back to the days of the long-haired guitar heroes. Not that Vito Bratta ever really made the "guitar hero" list.

Probably the track that made White Lion at least marginally famous, "When the Children Cry" is a gentle, bittersweet ballad beginning with gentle plucking and the taste of tears. Tramp's voice is at its most beautifully broken. It was true in the 80s - and it's even truer now:

"... all that we have broken, you must build again..."

This song never fails to choke me up a little inside.

Another lovesong laden with loss and longing - "Love Don't Come Easy" - nice rhythm, easy to sing along with, nothing special but very likeable. As a follow-up to "Children Cry" it's a bit anticlimactic however. Somewhat repetitive and rather along the line of 'state the obvious'.

Drum and baseline usher us into the cruising, maudlin chords of "Cry for Freedom", another politically slanted piece about the futility of war and the loss of life. Heart-renching with a superbly anthemic chorus. Here again, Tramp's choked, raw voice really adds to the mood. A glorious track.

Another live track, "Lady of the Valley" rips on into the rock and roll with a gloriously enthusiastic guitar riffs, before fading down into a slower beginner and then rising again in passion to crash into a mellow chorus. This is a song of mourning and loss. The lyrics give it a slightly fantastical, maybe almost primeval/pagan air, which makes you wonder who the lady of the valley actually is:

"I have brought my fallen brother and I've laid him, yes I've laid him at your feet..."

"Tell Me" is another song of love lost - teenage love that has turned to ashes. A bittersweet ballad of farewell.

And then the final song of farewell - "Farewell to You" which is a pleasingly mellow, catchy song that works well for any occasion - the last song for a party; a goodbye to your reckless, rock and roll years and also a pleasing way to conclude an album. White Lion, you will always have a place in my heart - rock may come and rock may go.

"It was easier to say hello, than to say goodbye..."

This is probably one of the best choices of White Lion albums for those that are not huge fans - the songs are light on the sexual connotations and lyrics have more substance, with a sense of hope and purity that is somewhat lost in the more cynically-fueled Freak of Nature. Here is a band that is young, and feeling optomistic about the future, despite the pain and suffering caused in the presence. Alas, by the time they had evolved and grown into FoN the pure naivety had been lost in favour of a darker slant and realisation that things were not going to get better, that hope would not necessarily lead to triumph.

This is an album that proves that despite the poodle-hair, the eyeliner, the tight pants, White Lion were (are?) a band with sustance, and beliefs that went far beyond sex, drugs and rock n roll.

Some of these songs bring a tear to my eye, others are mere frivolities. I feel an 8/10 is a fair assessment.

Some of my favourite White Lion songs that don't (for some reason) qualify as "Best of" are "Broken Home" and "'Til Death Do Us Part". I suggest you look them up. The first is heart-breaking, the second beautifully romantic.

* I was only 8 at the time and have vague memories of the event but I guess it wasn't of too much interest  to an 8 year old girl into My Little Pony, Sylvanian Families and collecting erasers, stamps and dinosaurs.

 ** if they could, but lions can't purr.

*** that is to say - stadium rock anthemic - the sort that gets everyone jumping up and down and shouting along. Like Kiss' "God gave rock and roll to you" but not as good.

Nuclear Blast Allstars - Into the Light (2007)

This is an intriguing concept for a compilation/celebration album. It is not a "best of" collection, as each song has been crafted for this production, however each features a different vocalist - a "Nuclear Blast Allstar". The band includes Victor Smolski on guitars, bass and sometimes keyboards (can you say multi-talented?) and Andre Hilgers on drums for most of the tracks. I guess this means that this album is essentially Rage with guest vocalists and occasionally other guest musicians as well. Smolski wrote most of the music, and Peavey Wagner writes the lyrics for a number of the tracks.

The cover is beautiful - depicting a castle atop a rocky isle, floating in the clouds. All is eerie and digital, with light illuminating the top of the tower. Inside the booklet begins with an introduction from Smolski and then the following double page spread feture the lyrics on the right and the vocalist on the left, along with  a brief passage talking a little about the band, the song and singing the praises of Nuclear Blast Records.

The first track, "Dirty Wings" is vocalised by the lovely Tobias Sammet, of Edguy. The heavy structures are classic Rage, stronger, more bass-ic than Edguy's complex manouverings. Sammet's voice is its typical pure and slightly raw self. The song is not overly stimulating or exciting - just energetic power and strength.

With slamming guitars and raging drums, we roar into "Terrified" with Peavey Wagner (Rage). With some slower moments, and Wagner's strongly accented vocals, more shouting than singing. Aggressive more than frightened, I'd have to say.

"Ruling the World", feating Toni Kakko (Sonata Arctica) is another aggressive and raw number.

Slower, more haunting, starting with piano; steadily becoming heavier, dirge like. We enter "Death is Alive". Mats Levens voice is soaring and echoeey, melodious then raw, accompanied by the haunting vocals of Jen Majura. Levens does backing vocals for Lions Share, which may be why he sounds familiar. He has also performed with Abstrakt Algebra and Therion.  Majura's voice is strong, relatively low and somewhat angelic - in the avenging angel kind of way!

Racing and raging, we rip into "Bloodsucker". The raw, aggressive and ferocious vocals provided by Marcel "Schmier" Schirmer of Destruction. Classic speed/thrash. Fast, heavy bass, brutal vocals and lyrics.

Slower, guitar rolls like dust blowing in the wind; sand swirling and turning across the golden wastes. Then the electronic noises roll in, the bass grows louder, more ominous (with a few twiddly bits and intricate guitaring). We are "Slaves to the Desert" with Hansi Kursch (Blind Guardian), his voice low and deep and only later gaining the rasping edge we're more used to from him. This is a more intricate, technical song than BG, with a modern feel.

Heavy, but quite melodic, with the occasional pounding rhythm, And Deris (Helloween) gives us the vocals for "A Perfect Day". The bassline is a force of nature, the guitars weaving an intricate web and the music surging, swelling and soaring in line with Deris' vocals:

"It's just another last goodbye, it's just a perfect day..."

Heavy and churning, "Eternally" then falls into slower and more melodic guitar; dreamy, like floating in the clouds. Odleif Strensland (Communic), has a powerful voice - well suited to epic emotion. Sounds rather like Rage's finer moments.

The "Inner Sanctary" brings us another heavy piece with intricate rhythms and the vocals of Marco Hietala (Nightwish) who has a deeper voice with a razor-edge.

We close with the haunting "In the Picture" which features Tarja Turunen (ex-Nightwish) applying her ethereal voice to vocals. More progressive and technical than Nightwish, but more complex than Rage. There are some beautifully serene moments and, of course, Tarja's voice is second to nonw.

In general, this album feels like Rage with guest vocalists. The music has the epic power and added aggression of some of the later Rage albums, combined with complex guitar structuers and rhythms. The varying vocalists add an interesting touch and overall it is a novel idea for a celebratory album: new tracks with different vocalists.

Rating 8/10.

The Brunettes - Structure and Cosmetics (2007)

This is the third full length album by the Auckland twee-pop duo. Some of the playful innocence has been lost, and the cover is more mature, more sophisticated depicting Jonathan and Heather in a white tiled room, Heather is applying make-up while Jonathan gazes up at the camera. It is all very clean, polished and stylish (somewhat marred by the crack across my plastic box, grrr, I think it was there when I bought it). Inside the booklet is equally as clean and polished - black font on bright white, no capital letters in sight (or any punctuation except ' and " and ...). I believe the cd is designed to look like a compact. Very meta.

We open with the dreamy, almost trance-like "brunettes against bubblegum youth". It is heavier on the electronica-pop feel than previous instlaments. Plenty of hand clapping, vocals and the triumphant hum of their various interesting instruments (glockenspiel,  mellotron, rhodes, melodica... I don't even know what half of these are!). Lyrics are repetitive, the same verse repeated numerous times.

"My sugar, my honey, my b-a-b-y, baby..."

Soothing and pleasant listening, but not overly stimulating or exciting.

 It merges right into "stereo (mono mono)" which is a fun piece, in which the two vocalists have fun with the vocals switching between speakers. Heather's voice is sweet and gentle, innocent as a butterfly's flickering wings. Jonathan's voice is low and soothing. This is a quite amusing piece.

"her hairagami set" is a soft, soothing, electronically dominated number. It has a cruisy, dreamy feel to it, like softly lying on a feather bed and drifting off into the clouds. It seems to be a song about playing with your hair. The video is really good - watch it!

Another slow and cruisy number, "credit card mail order" is dominated by Jonathan's vocals, with a melancholic air.

Now it appears to be time for an "obligatory road song" which is also slow and has a somber air. The lyrics are somewhat amusing, however:

"stealing motel condiments on our leap in the dark"

 Heather's vocals take over the melancholy in "small town crew". Another slow and somewhat bittersweet number, with some brilliantly moody backing instruments. It sounds a little like a piano accordian, but it could be an organ, I suppose? The pace picks up a bit at the end, soars and then drops away.

Sweet and innocent vocals lead us into the more typical Brunette duet of "if you were an alien" with its playful guitar strumming and vocal interchanges. Lovely harmonies and references to pop culture. Love it:

"if you were alien I'd call you my martian man
bake banana cake as you drive us through the doom..."

Poppy and maudlin, "wall poster star" begins with Heather, but Jonathan joins in. This feels like a song about the loss of innocence, even though the lyrics are relating mainly to the taking down of wall posters and moving onto a more sophisticated way of living. Which somewhat describes this album. For some reason, I really like this line:

"...bouquets are overrated and diamonds cost too much..."

Even though we're already slow, we drop down further into the bittersweet "structure and cosmetics" with its classical instrumentations. Another beautiful duet, switching between the two with the slow and quirky instrumentations adding little flourishes. It has a dreamy, haunting feel to it. A lovely conclusion to the album.

This album shows an increased complexity and more modern sound than their previous instalments, losing some of the childhood innocence and moving into a more mature, somber affair. The additional instruments - like the clarinet, the glockenspiel, organ, harmonica etc all add an extra element of dreaminess and bring it to life, but overall it lacks somewhat in the playful spirit, having a more sophisticated polish. Perhaps, like all of us, the Brunettes are growing up - albeit that they are doing it with tongue-in-cheek, ironic twists and little quirks!

Rating = 8/10.

Blackjack - Deal (1993)

Blackjack were a Hamilton hard rock act. This was their first album, it features Gavin Dempsey io vocals and guitarist Paul "The Axeman" Martin (ex-Nightshade) who also hosts The Rock Metal show: The Axe Attack (sunday nights from 8pm). I used to listen to the show religiously, but nowadays I'm not so inclined to stay up late, listening to the radio with my finger poised over the REC button, in case they play something good. Nowadays, you can buy most music at the touch of a button.

Anyhow, back in 1993, some of the videos off this album received airplay - alas, I've lost them all now to the villainy of mould and time. They are not even preserved on YouTube (come on Paul, release them, I dare ya to!). I once had "Key to the Shade" and I'm pretty sure "Now You Fly" had a video too. Sadly, lost in the voids of space and time.

I don't currently have the cover of this album, because I kinda acquired it via the library.

The album opens with the rather rocky, almost glam-sounding "Merry Go Riding". Catchy rhythms, nicely melodic vocals and a good beat. Not particularly original or unique, but an appealing song indeed.

It is followed up by even more glam-style "Young, Single and Dangerous". Unlike some of the other NZ music from this era, this is very clean and polished, akin to the quality of Warrant, Motley Crue and other bands of the era - just going to show that NZ did have proper music studios. Lyrics are somewhat sexist. But this was the early 90s, after all. Some pretty skillful guitaring there from the Axeman.

There's something familar about "Now You Fly" and I'm not just talking about the fact that I've heard it on numerous occasions and really like it - it is rather reminscient of Queensryche's "Silent Lucidity" with similar structures and the melodic, almost lullaby feel. Vocals soaring, guitar and drums playing light accompaniment. Building into a powerful chorus with an almost classical vibe to it. Okay, so there ARE some classical instruments involved.

A rather heavier follow-up, "Little Trouble" gets off to a dramatic start with a very kiwi-accented news report. Vocals are somewhat funkier, with a quick beat and a catchy, commercial chorus.

Guitar chugs us into a "One Step Sunset". Solid drums, vocals a little lower and less melodious.Solid, powerful bass. Has a kind of Californian vibe. Not sure why - maybe because it's making me think of palm trees? But then, why California? There's a slightly ominous edge to it.

The rather sentimental "Mother" has some heartfelt lyrics and is a touching and beautiful ballad - but just a wee bit sappy and saccharine. And dare I say it - a bit sissy. I'll have to say though - it'd make a nice Mother's Day card and is very well timed:

"M is for memories and a life filled with love, Over and over she's there. T is for her tears, and there were many, H is for the home we all shared. E is for every time she catched me from falling and R is for the reasons when I asked her why?"

This is followed up by the rather rockier "Key to the Shade", which has a good build to it, and a rising feeling of passion, leading into a nicely triumphant guitar chorus.

Another funkier number, with a nicely sleek chorus, "Burden of Freedom" sort of rolls off the tongue. It has a kinda Living Colour feel to it. The way he sings "burden" makes me think "Bird in of freedom" and it sort of soars and swoops like a bird, taking flight after captivity. Nicely jaunty guitar rhythms.

Nifty choral melodies in "Outta Here". Good rhythm, straightforward and a little bit funky.

Another slower, almost Marillion-esque number, "Spinning Wheel" has nifty vocals - low and smooth.

There are two additional bonus tracks. The first being the "guitar version" of "Little Trouble". It is a heavy and energetic rendition with a less technical sound to the former version, stripped of the sampling.

This is followed by the radio edit of the dream-like "Now You Fly". I believe it has less of the classical instrumentation going for it.

Blackjack have a very clean, commercial sound that is sophisticated and polished enough to be truly professional and should have taken them far in the mainstream. It apparently made them the most well known band in Hamilton. Alas, they appeared at a time when NZ music was largely overshadowed in the media. And now the cd is very difficult to find. They're very melodic, pretty mainstream but very appealing and with a nice amount of variety to their tracks. And I rate them an 8/10.

Brunettes - Mars Loves Venus (2004)

Time for something a bit mellower, melodic and sweetly romantic, I think. Time for some more from that kiwi duo*, the Brunettes.

This is their second album, and it was released in 2004. It is fairly plain in the packaging department - the white cover features Jonathan and Heather, one at each side and a love heart and arrow in the center. Inside are the lyrics and a notice informing us that copying this disc is illegal. There is also Copy Control Technology on this disc, and when I put it in my drive it informs me there is an .exe program too. Now, my feelings on pirating music are mixed. I don't believe it's fair to the artists to have their songs stolen and distributed willy-nilly, but as a girl growing up in a small town in a small country in the days before the internet, a large proportion of my music was discovered through cassette mix tapes sent to me by my friends overseas. Since then, I have gone on to buy 100s of cds quite a few of which are from bands I would never have known about if I had not had these mix tapes. Also, the CCT means that if you own the cd but wish to add it to your computer (smartphone, ipod, ipad whatever) playlist then you can't. Except that I'm fairly certain with this one I just ripped it to my hard drive like I have (almost) every other CD I own. One of my other CDs pretended I had ripped it, then insisted I reinsert the disc into my computer if I wish to listen to it (one of my Epica ones, IIRC). For a band like the Brunettes that are not particularly well known, they are limiting themselves from being shared and heard.

Anyhow, semi-rant over. Let's get the Twee Pop a-spinning!

Album opens with "Mars Loves Venus" a redone version of one of their very first tracks. It's poppy and playful - with tambourines. To sweet and innocent, like cotton candy.

"Walk? We should run! Such is life under this burning sun..."

 Twangy guitars give us "Loopy Loopy Love". Another playful and delightful piece, with a slightly bitter edge to it:

"Gonna kill me a cupid cos a cupid causes love...."

 "Polyester Meets Acetate" is slower and kinda cruisey, with  Jonathan doing most of the singing.

Stirring organ leads us into "Too Big for Gidget", a duet in which both partners ponder falling in love with someone that they don't match up to. Height wise. Short and sweet.

"Whale in the Sand" starts with singing (squawking?) gulls/monkeys. Good rhythms. Repetitive lyrics. Kinda makes me feel summery and sunny, even if they're singing about a big dead whale (or maybe the elephant in the room is a similar concept).

Beautiful, gentle musically, "You Beautiful Militant" has rather harsher lyrics. Good beats, with a slightly discordant keyboard (or some sort of keyed instrument) edge to them.

"You pick up your gun and shoot everyone. You know what to do, to someone who don't like you."

 Jonathan takes charge of the vocals in "The Record Store". Lots of La-la-la-ing.

"These Things Take Time", like learning the clarinet. Which is how the song begins - clarinet, piano. Some nice do-doodo-dah piano playing. Maracas. Hand claps. All very school group 70s stuff. Possibly reminscent of Abba. Loads of percussion, including those little circles that clacker together. Castanets?

Bit more of an epic start to "Bestfriend Envy". Some melancholic guitar. Bouncy, but whiny lyrics - ah, jealousy raises its ugly head.

More melancholy, but "No Regrets". Beautiful, bittersweet; delicate piano accompaniment.

"Leonard Says" starts with Heather's tender, hurt vocals; then Jonathan interjects with the next line. You can actually hear Heather's kiwi accent in one of her lines. This is a conversation to musical accompaniment.

We end with the gloriously bittersweet "Your Heart Dies" in which Jonathan and Heather sing mournfully but tenderly to one another, switching out line-for-a-line. Contains what might be possibly one of the finest lines in a song:

"I could be as faithful as a seahorse and if you were a marine biologist you'd know how tender that line was."

 Mostly a vocal piece, the gentle, accompaniment of a banjo and light drums help create the maudlin mood. There's a little pause in the center, a couple of heart rending spoken lines and then more exquisitely moody instrumentation.

Another beautifully sweet, sensitive and somewhat sorrow-filled album. I love the playful innocence to the music, and the slightly darker side to some of the lyrics.

Let's go for an 8/10.

* and friends

Scanner - Mental Reservation (1995)

"New Album! Melodic Power Metal. The come-back of '95!" proclaims a sticker on the cover of this highly attractive album. Was it a comeback? Well, it certainly is a good album, and one I was most pleased to add to my collection. I came upon it in a small local music store, Galaxy, one that specialized in techno and NZ music. It was not a store I visited regularly, its neighbor Echo records had a bigger range of my kinda music, and I was rather surprised to find not one but two copies of this in the bargain section. Turns out, that Scanner were also a techno band - not this Scanner, obviously, and they had ordered them by mistake. Thus they were sitting there, unloved and alone. I bought both, one for myself and one for one of my penfriends.

 A bit of history now - Scanner were a melodic metal band from Germany. My first introduction to their music was through the video Buy or Die, as featured on one of the Doomsday News compilations. They have released five albums - of which this one sits smack-bang in the middle at #3. I also own their first, but for nostalgia's sake, thought I'd spin this baby first.

It is a highly attractive package - the cover is moody and brooding - a city stands like it has been fossilized on the shores of an ocean. A young man, wrapped in a ragged cloak, stands on a cliff, staring out to sea. And above all, in the looming, sanguine clouds, an enormous eye sheds an almighty tear of sorrow. Inside the little booklet, the band have given themselves all starring roles - Axel is the Strongtormenter (guitarist), Haridon Lee the Naked Duke, John ABC Smith is Mr Bassic Instinct (bass) and DD Bucco is Lord of the Drums (guess). This is a concept album - but instead of it being all dragons and wizards and fantasy - it's a dystopic future:

"The past is deleted. What' left are my memories. They threaten to vanish more and more before being told the first time. So I will try to escape out of my MENTAL RESERVATION to record what happend. We lived in peace 'till the day the earth burst open and a dark appearing craeture gave a crystal - key to a little boy called Boris Jay. Boris was taught by the creature how to use the key and to .... .... BREAK THE SEAL."

It opens by the sea with the sussurration of waves and the mournful cries of gulls circling above. It crashes and whips into the frantic and fevered "Break the Seal". The bass line is high, tuned to a pitch that is almost irritating. Vocals are shrill, yet melodic, with an appealing edge to it. The rhythms are complex, the guitar solos raging.

Equipped with powers of destruction and far more confidence and knowledge than someone his age should handle, Boris returns to his home to achieve political ascendency. He succeeds and leads his people into worship of an "Upright Liar". It starts with a dire warning, before the vocals come rampaging on, in full shrill glory. Again, more melodic choruses. I'm getting used to the bass now.

Slower now, as Boris's homeland is at war with  seven nations as he expands through diabolical and nuclear means. "After the Storm" is like a storm itself - roiling clouds swell over the post-nuclear wasteland, whilst the survivors struggle trying to last another day.

"After the storm, we'd watch the new sunrise. But the sun is obscured in sight doesn't heave."

Slower, tortured, bitter. The PoV is now through the eyes of one of the survivors, he and his sister struggled through the wasteland, seeking sanctuary. She is sent to support a medical convoy and is eventually brought back, dying. Our protagonist mourns her, and "Her Infallible Smile" in this melodic and surprisingly beautiful ballad. The vocals are softer, gentler, with only the slightest edge of the shrill. They are filled instead with sorrow, regret and bittersweet memories.

Another faster, more technical piece. After the eventual execution of the evil tyrant, the few survivors have found partial sanctuary in the subway tunnels. But most suffer from mental disorders caused by war. Thus a Mental Healer appears on the scene with his "Conception of a Cure".

Resisting  his offers, our protagonist departs, heading to a place called STONEDHENGE. He returns to St. Clinton island some two years later and "reveals" in his life, taking a look "Into a Brave Man's Mind". This is another slower piece, combined with elements of anger and containing choirs, chanting in Latin. The vocals have an echoing, otherworldly edge to them now.

Alone in a population of 200, on Clinton Island, our protagonist mourns his solitude and wishes to share it with someone. He wants to come "Out of Nowhere" in another melancholic piece fueled with desperation. Despite the somewhat broken English, there are some nifty lines in here:

"I remember... once I believed in God but he left me in the lurch..."

"There's no sun in the shadow of unrequited love"

Peace finally comes to Clinton Island and the children who are born have never seen the war and dictatorship that destroyed their heritage. The people are self sufficient, they're happy. Until the "Nightmare" begins and the children are spirited away one day. The sky hung with volcanic clouds and it might have been a sign of Satanic mights. At night, during the rainy season, strange creatures come out from the volcano and the people follow them back into the volcano, hoping to find the missing children. Another tortured piece with shrill, hopeless vocals and further desperation and loss.

In the heart of the volcano, lives a vicious beast-master. The children are here too - trapped in cages with their brains being fed to the monstrous "Rubberman". The villagers are captured too, and forced to aid him in his cruel rituals. One night this monster chose one of the villagers and gave them the crystal-key, controlling him as though he were now his puppet. The vocals are lower in tone, until they give way to the chorus, with its jerky rhythms and howls that replicate the jerky, mannikin dancing of Albert Truestone, the new "chosen one".

Another time jump now - as our protagonist escapes the monsters of the volcano (leaving several dead in his wake) and escapes from the island to find sanctuary in one of the few remaining cities. Here society returns to a new sort of normal, with the people from the countryside all coming into the city to live. Population is 50 million and 6 million are unemployed. (I'm wondering what they were eating, personally). The government can't do anything to help this. The lyrics are quite hard to follow, I suspect that the song writer's English is rather lacking... It's a heavy piece with some slower moments. It's a "Wrong Lane Society".

Within a year, our protagonist has found employment repairing computer chips and Albert Truestone has become governor, and thus the vicious cycle begins all over again. I am thinking this may be some sort of allegory. Whatever the way "20th Century Crusade" is a racing, speed-esque number with melodic elements.

This Scanner album is an interesting one. It combines the melodic of the European Metal scene with the darker themes (post-apocalyptic social issues) and more aggressive sound and generally more technical, mechanical feel of American Metal. And it is a very good, complex and competent album with an interesting storyline and good contrasts between the heavier and more vicious, with the melodic and melancholic. It is just a shame that it was not, in fact, the comeback album they had hoped for. Also, the plot seems to jump about quite erratically and does not really make a great deal of sense. Still, it's a metal album, not a novel - so who cares?

I'm going to give it 8/10.

Iron Maiden - Somewhere in Time (1986)

Now it is time for some classic Heavy Metal. Iron Maiden are one of the most important, definitive metal bands on the market - having the solid, melodic stylings and intricate guitar work. They were one of the most important bands to rise from the NWOBHM movement. This is one of their classic albums, being the sixth they released and one of the only ones I own on CD, not cassette. Mine is the 1998 digitally remastered version, which includes full length videos, band biographies and a photo gallery, plus "much more" alledgedly. We'll check that out after we listen to it!

 The packaging has an 80s sci-fi feel to it - with Eddie as a cyborg, roaming a city, gun in hand. He's all sinew and metal. The font is that classic digital one that mimics an LCD screen. On the back of the booklet, the band parade across and you can see that the city seems changed from what it once was and something floats in the air - a satellite, perhaps? Whilst behind a pyramid crackles with lightning. The wee cartoon band are very cute. And the names of the places pertain to tracks on the album and other Iron Maiden songs/influences - including "Bradbury Towers", "Aces High Bar", "Herbert Ails", "Ancient Mariner Seafood Restaurant" (and the TARDIS!). Inside the booklet there are loads of pictures - of the band, of Eddie and the lyrics, each on a star spangled background with a band member posing beside them. They look so young!

Iron Maiden are awesome and immortal. Let our aural dissection begin!

The immense, slow chords open "Somewhere in Time" galloping into the traditional Maiden rhythms - catchy, solid.

The awesome strumming and early rifts of "Wasted Year" are unmistakable. A good, solid metal piece, with a soaring chorus and inspirational edge to the rhythms. This is despite the negative connotations to the lyrics - which are about the exhaustion of touring, homesickness and alienation. The anthemic chorus suggests that you should move on, see a way further to a brighter future.

The next track, "Sea of Madness" is a surging maelstrom of drama. The guitars chug along like the relentless waves, pounding the shores. The vocals are like an albatross riding the waves.

"... like the eagle and the dove, fly so high on wings above..."

"Heaven Can Wait" is another catchy piece with plentiful synthesizers and great melodies. Repetitive chorus, but decent message. It falls into a galloping, sing-a-long rhythm where you can just image Bruce strutting across the stage, coaxing the audience to join him in the chanting. Then another musical shift into a faster, slightly desperate pace before we fall back into the anthemic chorus.
This song is completely different from Gamma Ray's track with the same name, apart from the line:

"... Heaven can wait til another day..."

A solid, racing song "The Loneliness of a Long distance Runner" has the sort of beat that you could use to pace yourself - if you wanted to run both fast and long too. Pounding drums, galloping guitars. Soaring solos. This is a song of energy and endurance, with a touch of solitude.

"Stranger in a Strange Land" has a heavier, more ominous sound. It seems to be about a young man, alone and lost, who died in the snow and had his body preserved for the future to find. The guitar solo is melancholic, moody, evoking vistas of endless skies and glaciers - a land unrelenting in its isolation and inhospitably.

Achingly slow chords open the next track, haunting, before we are bowled down by a charge of drums and guitars. Have we been here before? Not quite, but this is still "De Ja Vu". Dickinson's voice has dropped to a snarl before rising into his more typical not-quite-screams. Short, fast.

Slower, building into an epic we have the saga of "Alexander the Great". With typical slow baseline, the echoing intro rhythms and the light strumming of guitars as they build and build in complexity. Surging in comes the heavier guitar, an increase in pace and bass.

Iron Maiden are one of the most accessible metal bands I've found, with their catchy, repetitive choruses and solid rhythms, they are destined for stadium immortality and noone who has seen them live can resist their charms. They are professionals, polished and have a sound that is distinctly their own. For this album I shall give a rating of 8/10.

Candlemass - Ancient Dreams (1988)

Candlemass are a magnificant band, and this is the second in their Trinity of Divine albums. No, they're not called that because of their religious overtues, I'M calling them that because they are so epic, so beautiful, so haunting that nothing else I have even compares to the majesty and emotion of the sound and the power of Messiah Marcolin's voice.

Like "Nightfall", the cover is taken from a classical painting by Thomas Cole. There are four in the set, and two of them feature on Candlemass albums. This one is Youth. You can view them all here.
It shows a rich and fertile landscape, onto which the youth sails in his golden craft, hand raised as though hailing someone. The river weaves its way off into the distance, towards a ghostly castle or cathedral. In the full image, the angel is standing on the bank and waving, but it is not visible on the CD cover. It is an image to evoke a journey into the fantastical, the mysterious and the potentially dangerous.

A simple two-fold cover, the lyrics are printed in an itty-bitty teeny tiny font that you need glasses to read. On the back are tiny thumbnails of the band. They look very 80s, rather lacking in the majesty and power that their music evokes, although Messiah still looks like a wild-haired monk. I always found the skull on a cross logo to be a bit tacky, given the sheer intensity and beauty of the music. Then again, Candlemass are not the most serious of bands.

The album opens wiht the epic "Mirror Mirror"*. Charging harmonies, chugging guitars, twiddly melodies and then the Voice. Heavy, intense.

Similarly intense, "A Cry from the Crypt" has the characteristic galloping bassline and chugging guitars.

Great and looming, "Darkness in Paradise" descends. The lyrics are filled with bittersweet pain, the vocals a force of nature. Lyrics remind me of "Solitude":

"I'm standing here in silence, disgraceful place of peace, watching the shadows come closer. The birds they sing no longer, the winds they blow no more..."

Ominous dark rhythms.

"Incarnation of Evil" is brooding and immense, looming and ominous.

Starting a wee bit faster, "Bearer of Pain" before falling into similar patterns. Whilst Messiah's voice is indeed very fine, he attains the same pitch and structure for the first five tracks of the album. Individually they are epic, but together they do blur somewhat into one another.

Which makes the next one, "Ancient Dreams" a welcome change. It starts with guitar (bass?); an echoing, sitrring rhythm that reaches deep down into the soul, before the other instruments join in.  Messiah's voice is like a crystaline shard, carrying you to a mystical, magical world where dreams become reality. This was one of the very first Candlemass songs I ever heard, and it still stirs my soul to this day:

"There's no tomorrow, just sadness and sorrow, hold on to thee ancient dreams..."

The higher pitch of the guitars and the lilting nature of the vocals make this one stand out as something quite remarkable and inspirational.

Immense and powerful, "The Bells of Acheron" ring out. Some nicely demented piano in here.

The vocals on "Epistle no 18" have an intense radiance to them, seeming to come deep from the heart and soul, soaring to the skies. The music is a heavy, brooding and dark counterpoint.

Finally we conclude with the "Black Sabbath Medley". Sabbath were induitably the inventors of the doom sound, and this is a fine tribute to them. It begins with "Symptoms of the Universe", but instead of Ozzy's nasal whine we have Messiah's mighty lungs pounding forth the words, before switching to "Sweet Leaf". I can imagine Messiah, the crazy monk himself, stalking back and forth across the stage, howling into the microphone as he gestures at the crowd, then bringing his hands together and turning to face them as he switches into "Sabbath Bloody Sabbath". Then a bit of headbanging as the guitar solo comes in, fading into the lower throbbing tempo. Indeed, the mental image is so clear I cannot help but wonder if I have watched live footage**. After a brief solo, "Electric Funeral" takes over, then a bit more stomping and head-banging. A final flurry of instruments and it's over. Pretty epic tribute though!


This is a mixed bag for me - it contains two of the most awesome Candlemass songs ever - "Ancient Dreams" and "Epistle no 81", but the others are kinda same-ish in their epic scale and immensity. Messiah has a magnificant voice, but it does get a wee bit repetitive after a time.

So this one will get an 8/10.

* Candlemass's videos show they do not take themselves very seriously. It is quite entertaining, but at odds with the music.

** I do actually have footage of Candlemass live, with Tankard and Kreator I think, but the sound is distorted and messed up so I've never watched it.

Type O Negative - October Rust (1996)

After all that tenor and falsetto, I feel like something a bit lower, a bit slower, a bit moodier. Therefore, it is time to slip on one of my Type O cds.

There is something about Peter Steele's voice - so low, so somber, so emotional and powerful. Alas, on April 14th, 2010, aged only 48, he died of heart failure. It was a bitter day for the goth metal world. Standing 6'8" and with a history of cocaine and alcohol abuse, I guess his body was overworked. The negative edge to the lyrics, the self deprecation and general angst were also a sign of his mental health, as he suffered also from depression.

The legacy he left behind was seven albums and nine music videos. I'll try to find some that fit in with this review.

Like most (or perhaps all) Type O albums, "October Rust" is green and black, only the title and the band being written in the actual colours of october rust. Four vertical stems, thorny rose stalks, bissect the cover if the booklet, and on the back the band stare out. Monochromatic, scowling, their long black hair resembling hoods. Steele himself looks rather like a vampire. On it are the words:

"Functionless art is simply tolerated vandalism.
We are the vandals."

Inside, the lyrics share page space with autumnal scenes creating a melancholic, somewhat oppressive atmosphere.

The album opens with "Bad Ground" - 37 seconds of long, drawn out static, followed by an introduction by the band - complete with chicken noises.

First actual track, "Love you to Death" starts low and smooth - Steele's voice a rich caress to the aural senses. His low, bass-baritone vocals stir something deep in the soul, although mostly he sings at a slightly higher pitch. The keyboards and solemn melodies entwine into something that is somehow both romantic and melancholic at the same time. It ends with the heartfelt plea:

"Am I good enough for you? Am I? Am I?"

"Be my Druidess" has an electronic edge to the music and a faster paced, slightly more upbeat mood. This seems to be about pagan rituals involving sex, something which can easily be concluded by the closing lines*. Darkly romantic.

Still slow, "Green Man" is rich with verdant goodness, the music feeling organic and alive.

Heart-breaking "Red Water (Christmas Mourning)" is possibly the saddest Christmas song ever. Slow, poignant and melancholic. The lyrics say it all:

"My table's been set for but seven, just last year I dined with eleven..."

Steele's deep voice, with its slightly liliting, accented edge to it, combined with the slow rhythms and dejected Christmas bells are enough to bring a tear to the eye.

 In a completely different vein, we have "My Girlfriend's Girlfriend" with its more upbeat rhythms, catchy chorus and rather silly and colourful video clip.

"Die with Me" starts with almost whispy vocals, gentle and mournful, accompanied by acoustic guitars.

This is followed by the rather repetitive "Burnt Flowers Fallen".

The cruisy, almost soothing "In Praise of Bacchus" is another richly organic piece. Vocals are slightly distorted and fuzzy. The fade-out is haunting and lingers, like smoke after a flame is extinquished, flaring again to complete the track.

Now for a cover song - Neil Young's "Cinnamon Girl" is treated to Steele's deep and magnificant vocals.

"The Glorious Liberation of the People's Technocratic Republic of Vinnland by the Combined Forces of the United Territories of Europa" is a weird instrumental that is over before I finished typing the title. I had to listen to it twice. It's slightly ominous, with chanting and cheering. I'm sure there's something deeply meaninful about it, but I don't get it.

The beautiful and haunting "Wolf Moon (Including Zoanthropic Paranoia)" opens with piano and violins (or bass). If you don't know what this song is about, read the lyrics carefully. If you still don't know, then it's probably better that way. It is another slightly murky sounding piece, over which Steele's voice rings out loud and low and clear and true.

The spectral and epic "Haunting" concludes the album. It starts slow and dramatic, looming beats and achingly wrenching vocals.

There's a final message from Peter too.

Although generally I prefer the higher, more operatic male vocals, I would have to say that the lower ones - like Steele and Brennare, definitely seem to stir something visceral within me.

Haunting, melancholic, beautiful, romantic - these are all words that can be used to describe this album. It's a fine offering from a fine band. We will remember you Peter, your legacy lives on in your music.

Rating = 8/10.

*Which are far prefereable to Quorthon's statements in his horribly grunge-esque solo track: "No More and Never Again"

Stratovarius - The Chosen Ones (1999)

Thanks to penfriend Jeffrey, who travelled all the way to New Zealand with a number of cds, I first heard Finnish power metal band Stratovarius and decided that I should own an album by them. But which to buy? Well, this one seemed the best choice because not only is it sixteen of their chosen "best" tracks, but it also had a free cd of various other bands included with it. Alas, the flip-tray mechanism sucks, and I accidentally damaged it flipping it over, so now I am scared it is going to snap out altogether. Ick.

The cover is rather entertaining, depicting a band of mooses. Meese? Modelled after the musicians, I imagine. Very toony, very funny. Inside, a little letter from Timo Tolkki himself (the guitarist) explaining how the band formed in 1984 and that this is the end of one era for them - and the start of another. It marked their switch from Noise to Roadrunner. Also included are the lyrics - something of a luxury in "Best of" albums, which tend to avoid including them for some reason.

There is a possibility of two different vocalists on this album - Timo Tolkki was vocalist from 1985-94, with Timo Koltipelto from 94 onwards. He is the longest currently remaining member of the band. Tolkki left in 2008.

The album opens with the cascading keyboards of "Black Diamond". Keyboards soon symphonise with guitars creating a feeling of power and rising force, bringing with it goodwill. It is a triumphant and powerful piece, with the keyboards a constant and prevalent present. Timo #2's voice is strong and high, a fine tenor.

This is followed up by "Twilight Time" in which Timo #1 is the vocalist. His voice is very similar, with a slightly sharper edge, tinted just slightly with the hint of a whine or a scream. This piece is heavier, and slightly more dramatic, with more of a build up to the chorus through which Timo's voice swoops and soars.

A tick-tock-tick from speaker to speaker marks the start of "Father Time". Does this band have a time fascination? Faster paced, with rapid drumming and a soaring and inspirational bridge.

"The Hands of Time" is next on the agenda. This is one of their earlier songs - taken from 1992's "Twilight Time" album (along with the title track above). It has a rawer, energising feel to it. Good vocal melodies, pounding drums.

Following up is the power ballad, "Dream with Me" in which Timo #2's voice is gentle but strong and reassuringly haunting. Accompanied by piano-esque keyboards and light guitars, as we rise into the chorus. Filled with power, passion and emotion. Bonus track from "Destiny" (1998).

There's almost an 80s vibe going for "Paradise" - which is funny because it's from 1997. It's a great song - with strong melodies and thought-provoking lyrics:

"Many rare species will perish soon.
And we'll be short on food"

(I don't think he's condoning the eating of rare species, btw).

Jubuliant keyboards lead us "Out of the Shadows" as it erupts into power metal glory, with a taste of speed.

Violin and haunting, melancholy brings "Forever", one of the most beautiful and mournful but romantic songs I know of. Timo #2's voice bleeds emotion. There's flute too. I wrote a song fanfic based on this track (don't judge my writing too much, this is really old).  It is one of those songs about how death is not the end of love, and how:

"I'm still there, everywhere, I'm the dust in the wind. I'm the star in the northern sky. I never stayed* anywhere, I'm the wind in the trees. I will wait for you - forever..."

The electric-acoustic opening of "Full Moon" brings with it a whole different mood. Fleeting, mysterious, a little eerie but not too scary. It has a tribal and ghostly feel to it. This was a bonus track from 1994 with Timo #1 is on vocals.

A rather more rock and not overly complicated piece, "The Kiss of Judas" touches down with a solid bass line and strong vocals. The bridge soars and the guitars give their flourish, before the chorus takes over in full melodic glory. There's a nice keyboard solo in here too.

In "S.O.S", Stratovarius have reached their full complex progressive-heading-towards-symphonic structures. Powerful with a rich cornucopia of instruments (keyboard, guitars, drums) into a glorious, triumphant melody.

"Dreamscape" is haunting, a little intense, the poignant edge to Timo #1's vocals given it a melodically melancholic edge and the music twisting and turning down strange and eerie passages. There's a touch of insanity here - taunting, taking over, enveloping the narrator and dragging him away into another world.

"Am I safe in here? Nothing left to fear. I will close my eyes, and float away with stream."

Pounding guitars, punctuated with falsetto screams turn to darker, lost lyrics.

We rip-roar into the speed metal inspired "Against the Wind", a track from 1995 (and Timo #2's first album). Fast of pace, frantic rhythms, desperation in the vocals. Building, building, to climax into a grand and triumphant anthemic chorus. Listen to those guitars go - you can just visualise the hair wind-milling, the vocalist rushing about the stage. This would be a great way to open a concert (it's the first track on the album "Fourth Dimension" not surprisingly).

"Speed of Light" follows with similar speed metal and anthemic qualities. The drummer is going wild. Meanwhile the guitarists are thrashing their instruments towards broken strings - this song is rushing towards the speed of light. Even the keyboardist joins the race. Frantic, restless energy - very invigorating. You should never try to dance to this song, you'd hurt yourself!

"Every day, my life goes by...  at the Speed. Of Light."

A final flourish, and then collapse.

Of a less manic pace and a rather more progressive feel, "4000 Rainy Nights" brings with it a deeper mood of loss and melancholy. The vocals bleed with raw, wounded emotion.

"Will the Sun Rise?" brings us powerful and dramatic closure. The keyboards steal the show here, weaving and blending with one another into a rousing symphony. This track is also from "Episode".

The one Stratovarius song I feel this album is missing is "Anthem of the World". Otherwise, it is a fine blend of the old and the new and, when listened to carefully, it is easy to hear the transition from the more progressive and somewhat experimental days of Timo Tolkki on vocals, to the anthemic glory of Timo Koltipelto's later days. It is a generous album displaying a rich blend of the powerful and stirring, intermingled with the darker and more melancholic - and even slightly creepy. As a cross-section of their career, it is a worthy one and deserves an 8/10.

I am now going to go on and discuss each of the tracks in the sampler included with this cd, but I'm going to do that in the next entry.


* This would sound better had he said "strayed" but still...

Olympos Mons - Conquistador (2004)

A sticker on the cover describes Olympos Mons as:

Poetic Power Metal
A mixture of hard and aggressive guitar riffs and musical-like passages with strings, bagpipes and harps are the basis for powerful, bombastic epic metal songs full of mystical atmosphere.

 How could I resist picking them up? How could I resist listening to them? Well, I couldn't - and hence why this album is in my collection today.

It was that bagpipes that sold me on it.

It certainly isn't the cover, which is rather sexist - a woman draped in some sort of skimpy cobweb outfit half lies, in what must be a, if not physically impossible, at least physically very uncomfortable pose, a knife clutched in her right hand. The way she's drawn, I can tell she's supposed to be lying seductively, but her weight seems to be mostly supported by her left arm, making her look rather like she's been interupted in the middle of doing a one-armed, knife-wielding push-up but a rather more heavily armoured warrior. He has a cloak that looks like bat wings. Behind them rises rocky stalacmites, all slightly distorted as though caught in a desert heat-haze. I believe it is meant to be Hell, or possibly Mars. In the background there seems to be some sort of UFO.

Olympos Mons were a relatively young band - jumping aboard the Power Metal bandwagon and hailing from Finland. They first came together in 2002 and secured their recording contract in 2004. For all the promise that the album booklet raves about, they only released one other album and then parted ways in 2010. Their official website no longer exists. They were merely just a spark in the Power Metal wildfire.

"Seven Seas" surges into action, with powerful vocals and the haunting, melancholic dirge of bagpipes. The chorus is great - catchy and soaring, echoed by the sound of pipes. It is, pretty much, classic power metal - all complicated instrumental arrangements, powerful vocals and a fairly consistent drumbeat. Not nearly as fast as, say, Dragonforce. Quite appealing.

Delicate chimes lead us into the surging keyboards of "Stars". Again, soaring arrangements, strong vocals and very catchy melodies. Let's see how poetic they really are:

"We will fly to the stars on the wings of the night. Sparks will surround us and light up our flight. We'll fly to the stars, leaving rainbows behind. For the magical wonders that we might find."

Not bad. Quite evocative lyrics. Listen to that drummer go, I bet he's shaking his hair about as he bang-bang-bangs. In the early nineties this would have been amazing and original and new - but now Power Metal bands are a dime a dozen. Oooh, some interesting noises on the keyboards there. The organ effect?

Bit of dejavu here - the track opens a little bit reminscent of Nightwish. Then the drums and guitars come pounding in as we stand beneath "The Last Light of the Moon". Somewhat lower pitch to the vocals. Ian Highhill has a good set of lungs on him. Who let that horse in there? Oh dear, it's Lucifer, come from the Skylark album!*

"Wanted Man" is nicely dramatic, with lower vocals.We've got more poetry here:

"Walking through sunshine, seeing only rain. The story begins all over again."

 Dirge like-keyboards lead us into the crushing bass of "Black". Romantic lyrics, and a steady pace, with vocals varying between the low(ish) and smooth and that of a higher register. Highhill does have a very strong voice, and its pleasant to - it doesn't grate on you the way some vocalists do after a while.

To lead us "Through the Ice and Snow" we have the crystalline chords of an electric harpsichord. Until we hit the rampaging wall of ice and are struck by the avalanche that is Highhill's voice. Almighty and bombastic.

More power and might in "Black Desiree"  which is another one with romantic lyrics:

Whispers in moonlight, light promises.
Shimmering lights dancing in raven black hair.

Not bad poetically, but the editor in me will point out he uses "light" three times in twelve words.

"Cleopatra" gets off to a haunting start with eerie flutes and a vaguely oriental/african feel, before the other instruments charge in enforce.Has a nicely melodic passage towards the end, shortly before the guitars go to war.

There is a suitably Arabian feel to  "The Princess of Saba". This band clearly like singing odes to women! The vocals are sweet and delicate for at least a verse, before surging on into the power and the glory. Good ryhthms, nice and catchy, with an impressive keyboard solo.

Triumphant and valiant, the beginning to "Lady in White" has some very nice flute followed by a cascade of keyboards ang guitars. The harmonious chorus harks back to the 80s. This is a very powerful and quite refreshing track - the intense keyboard solo, in which the keyboardist goes into a frenzy and is then taken over by the drummer, then the guitarist playing all sorts of quirky little ditties in short bursts before the drums and the galloping guitars kick in and rip-roar towards the final chorus.

Harpsichord and waves open the final track, "Conquistador" bringing with them an ethereal, spectral edge before the keyboards take over. A slower, more intense piece which builds to intensity, soaring and surging with a hint of anger.

There's no arguing that Olympos Mons were a damned fine band - they have sophisticated arrangements, powerful control over their melodies, interesting lyrics and emotive instrumentation. The vocals are powerful and both soar and growl at just the right moments. They are polished and the recording is a brilliant wall of sturdy sound. They have power and passion and enthusiasm. However, they feel somewhat contrived to me. I feel bad saying it, because I am a big fan of the Power Metal genre and there is no denying that they are good at what they do, but they don't stand out in any dramatic manner. Except the bagpipes. It was the bagpipes that sold this album to me - otherwise I might just have dismissed it as "do I really need another power metal album that I'll probably never really listen to". I think, in a way, they are trying TOO hard - along with the likes of Dragonforce, Powerquest, Rhapsody, Skylark, Fairyland, Heavenly and about half a billion other European bands. All very good, very sophisticated, but somehow just slightly lacking the true spark.

I'm going to give them 8/10.


* Do keyboards come with a "demonic voice" programmed into them or something? Or maybe their keyboards are possessed.

Gamma Ray - Insanity and Genius (1993)

This is the third Gamma Ray album and the last with Ralf Scheepers on vocals (he went off to join Primal Fear). It also follows the departure of Uli Kusch who later went on to replace Ingo in Helloween. Interestingly enough, in 2001 he and Roland Grapow were both fired from Helloween via an email from Weikath - which means Weikath may not be the nicest person to work with. I had not known that, but my interest in Helloween had lapsed significantly by the turn of the century. He and Grapow are now in Masterplan.

Anyhow, back to Gamma Ray - this is another rockin' album, harking more to the fun of "Heading for Tomorrow", rather than the more serious "Sigh No More". The music displays a fair amount of playfulness and creativity.

Originally published in 1993, this is the 2005 re-release - which comes with bonus tracks.

The cover is a ying and yang atom, with water and fire, electrons zapping around them. On the back of the booklet, the band are all pulling funny faces, although Dirk Schlater looks more like a zombie than a goofball. The only two I can immediately recognise are Ralf and Kai. Kai actually bears a resemblance to Fangface - maybe it's the grin. Inside they look far more mature and serious - and so young.

Ralf Scheepers also has nearly a four octave range* - varying from high-pitched tenor, to shrieks and a deeper baritone.

The album starts hard and fast with the kick-arse "Tribute to the Past". Gamma Ray are starting to show more Power Metal influences now, although the whole PM genre was only just gaining momentum. The vocals race forward, soaring forth into the chorus, whilst beneath them the drums pound away in speed rhythms.

The rocking "No Return" brings with it catchiness and a good, solid rhythm. Also, Ralf doing his baritone-thing.

"Last Before the Storm" is a somewhat less inspiring number. It's a solid metal song, but not nearly as catchy and more aggressive.

Then into something a little slower, "The Cave Principle" which quickly surges into a rather thrashier number. I've never been sure of the meaning of this song.

Frantic guitar and frenzied drumming leads us into "Future Madhouse" which is as compelling as it is speed metal. The verses are a bit blah, but the bridge and chorus are good and catchy.

"Our future is a madhouse and we all are moving in!"

 The quirkiest track on the album - "Gamma Ray" starts with an odd popping-stretching noise before going into a kinda pop rhythm and rockin' out. This is the editted version - as an added bonus we also get an extended version. It's more rock and has a rather more modern, popular twist to the melodies and rhythms. I always fancied it took a little bit - a mere fragment - of techno into its structure. There's a few explody noises too.

Just found out, this is a cover song. Originally done by a band called Birth Control, whom I've not heard of.

Another lively and inventive number, "Insanity and Genius" has rhythms you could dance to - were you so inclined; good melodies, strong vocals and bizarre lyrics:

"Sometimes my womb bears an actor."

 Slow, melodious and melancholic with shadows of Dire Straits, "18 Years" begins as a ballad. It comes in rather rockier, and Ralf shows that he is capable of holding a note for some time. By the end, it is frantic and urgent.

The next track, "Your Turn is Over" is fast-paced and my least favourite track on this album. Vocalist on this one is Dirk Schlachter. I wondered why the vocals were rather more gutural and aggressive. Guitars and backing instruments are also uninspiring.

In the next track, "Heal Me", Kai takes over the vocal duties. A slower, powerful number. For all his raspy-edge, Kai can do the low and melodic quite well. I wonder what his octave range is (I'm guessing he'll be another almost-four). The song twists and turns - one minute slow and mellow, the next screaming and angry. It's great. My favourite is the fairy-tale/masquerade ending, when the piano/keyboard comes in and brings with it a strangely carnival feeling slightly reminscent of Queen:

"Come on my friend and join the ball and everything is beautiful. Even the band ... is magic. Imagine you're a superstar - you're gonna fly, you're gonna go far... so far!"

"Brothers" is another rockin' number, with the catchy rhythms and deeper vocals courtesy of Ralf. The lyrics are fun and relatively shallow, but there's a general mood of friendship and happiness.

The extended version of "Gamma Ray" follows, bringing more technical noises and a few samples.

This is followed up by a cover of Judas Priest's "Exciter" - which proves Ralf Scheepers might have been a better choice than Ripper Owens. Fast paced and furious, pure thrash and a track that immediately evokes memories in me - as Judas Priest's "Screaming for Vengence" was one of the first cassettes I ever owned. I'm not even sure I still have it...

Finally we conclude with another cover - this time of the awesome Helloween track, being performed live (to great celebration from the fans) - "Save Us". Funnily enough, the album the original of this is from is next on my list to play. Ralf does a  commendable job - he was asked to be vocalist of Helloween before they grabbed Kiske (he declined because he thought Tyran Pace were gonna be big. They weren't).

This is an album of highs and lows - there are some spectacular tracks - especially "Heal Me", but also some rather less inspiring numbers. On average though, it's still probably worth an 8/10.

Don't worry, I'll be giving the next GR album a higher ranking. It's "Land of the Free".

* As I have previously noted, does Michael Kiske. However, Kiske's voice is more angelic and powerful, whereas Scheepers has a raw edge.

Elvenking - Wyrd (2003)

I was initially planning on listening to Elis ("Gods silence, devil's temptation") this time through, but I am afriad that their music did not really inspire me. I felt like something a wee bit different.

And thus Elvenking it is.

Who are Elvenking? Well, they're a folk/power metal band from Italy. They were formed in 1997 by a couple of friends with a love of metal and folklore. Since then they have gone on to acquire a few other members, and release seven studio albums (I own three) and have become one of the most well-renowned Italian metal bands. They draw influence from Skyclad, but they have slightly less puns (although they do have a song called "Miss Conception" on another album).

This is their second album, and is gorgeous. The cover is beautiful with a lovely Celtic border, in the centre of which a tree person heaves himself from the earth. The art is  heavily inked and coloured making it appear straight from a storybook. On the back, a lion-headed trunk sprouts from the ground, whilst around it drift autumnal leaves and an eagle soars. Inside the lyrics are white on black overprinted above the cover images, the shadowing effect designed to make them easier to read.

Mine is the Limited Edition version with two bonus tracks, screensaver and wallpapers. I tried, and failed, to install the screensaver. Oh well. This is one of the many albums that I purchased, added to my collection, listened to once (did not even rip onto my computer playlist) and promptly shelved and forgot about it. I'm not even sure where I got it from, but it's probably another Real Groovy acquisition.

The vocalist for this one is a different one from "Heathenreel", his name is Kleid, and I believe this may well be the only album he makes with the band, before the former vocalist returns to reclaim his post. His vocal style is fairly similar, but a little more diverse. I probably should have reviewed "Heathenreel" first, but I felt this one deserved to be listened to. None of the band use their full names on the album cover.

The enchanting "Loser's Ball" opens the album - with acoustic instruments and clapping hands. A female vocalist adds her melodious voice to Kleid's lower tones.

It is followed up by the rather racier "Pathfinders", with fast paced instruments fading into more folk-orientated rhythms. This is a far more power metal number - excepting for the folk touches.

"Jigsaw Puzzle" is an energetic number. Every so often, Kleid's voice will soar off into melodic swoops and dives, before gliding back down and into the faster paced verses, then shouting as we get into the chorus.

Starting with vioin and electric guitar, "The Silk Dilemma" gives us a nifty folk/power fusion. It is quite reminscent of Skyclad. I've been listening to a fair amount of Skyclad recently (in my car, on cassette tape, therefore not yet for this blog) and I can certainly hear similarities between the two bands. Possibly its because there are very few folk/metal fusion bands. It ends with a bang and a clang.

The next track, "Disappearing Sands" is one of the two limited edition tracks. Unlike most bands, Elvenking have buried their bonus tracks in the album instead of sticking them at the end. A rather upbeat start sends us spinning in to this somewhat more metal number. There are touches of Helloween and Edguy here, culminating in chorused voices. Some of the vocals are quite aggresive and snarled.

"The tears in my eyes were like rain come from the gloomiest cloud."

"Moonchariot" gets off to rather a wild and chaotic start, with energetic acoustic guitar giving way to rather heavier guitar and bass, complete with a low and guttural growl and thrashing death drums. Then, as suddenly as it began, it switches into more wild acoustic guitar intermingled with rather gentle vocals. This dives into heavier again, before soaring forth as very melodic and magnificant chorus. The lyrics are quite spellbinding:

"I built a cradle for the Moon and from her chariot she grants my boon - I'll keep my promises, I'm sure she won't betray me."

Another fast paced, folk number is "The Perpetual Knot". Good rhythms, litling reels. Some nice melodies.

This sound continues into "Another Haven", along with what sounds a little like wind chimes. The combination of metal and traditional is deftly woven and beautifully constructed, the violin and other instruments adding an otherworldly, forgotten era edge.

"A Fiery Stride", one of the bonus tracks, starts with ethereal acoustic plucking, whilst over it the violins add their sorrowful voice. With a bang, the (not so acoustic) guitars come crashing in. It has all the melody and power typically found in the power metal genre, with its sing-along choruses and powerful vocals. The solo is solid and tightly structured.

A rather heavier number, "Midnight Circus" comes crashing in with fast guitars and slammin' drums. This is pure power, the folk dismissed in favour of more European traditional metal with solid guitar and the occasional lapse into pure melody. There's a bit of piano added into the mix too. Feels a bit like Edguy-meets-Iron Maiden, with a touch of Helloween.

The final track, "A Poem for the Firmament" is the compulsory epic piece, clocking in at over ten minutes long and divided into sections - Dawn, Day, Twilight, Deep Night. It starts with Dawn, the riping sky heralded by gentle acoustic guitar and strings as the sun's pale fingers split the dark asunder and cast their glow upon the land. The vocals are exquisite and accompanied by flurried guitar. Day breaks with dramatic guitars, before rising into a noon of melody and beauty. There are some moments of trilling speed metal.. As night falls, and twilight darkens the land, the female vocalist returns, her voice litling and melancholic. There are actually three different females singing on this album. The keyboards and guitars race in as darkness seizes the land. After a dramatic few minutes of the churning, wild Deep Night, dawn arrives again, bringing us to a soft and gentle end.
What a song! It is impossible not to feel the energy and vibrancy of this band, combined with the sheer diversity and melody. If you want one song to show how changes in pace, volume, intensity and instrument can effect the structure of the song, this would definitely be a high contender. It is the highlight of the album, and certainly deserves several listenings.

I enjoyed this album - and although some of the songs seemed a little similar to one another, I imagine with repeated listenings they shall develop their own personalities. Elvenking are definitely skilled at what they do and, more to the point - enjoy doing it. You can hear their energy and their enthusiasm in their rhythms. The recording is crystal clear and well mastered. It is not as heavy as the previous album ("Heathenreel").

I shall give it an 8/10.

My other albums are: Heathenreel and Two Tragedy Poets.

Bathory - Blood on Ice (1996)

It seems fitting to follow Avantasia up with something equally atmospheric and epic - one of Bathory's earliest concept albums, "Blood on Ice". This tells the story of a boy, aged 10, whose village is destroyed by a terrible beast. He is the sole survivor, and makes his home in the forest, learning the language of the beasts. Until, one day, a one-eyed man comes upon him in the forest and informs him that he has been chosen as champion of the Gods and must fight their battle in the shadows beyond the world. To aid in this quest, he is given a sword (probably tyrfing) and an eight-legged steed, sleipnir and will be guided by two ravens (Huginn and Muninn). Before he can achieve this goal, he must gain some supernatural powers - which seem to be acquired by purposely maiming himself (losing his heart and his eyes). Then he is given wonderous powers, and heads to Hel to take on the two-headed beast that slaughtered his family.

This is a brilliant classic, which was recorded in 1989 but not released until 1996 because it was considered not quite appropriate for Bathory's sound. After the success of "Hammerheart", however, and pressure from the fans, it was finally remastered and released to reasonable acclaim.

The cover is stunning, and very blue - depicting many things - the eight-legged horse, a swordsman with no eyes (and oddly pointed ears) which I assume is the hero, a snake, an old wise man with a cauldron, an army riding black horses, wild Nordic scenary, a hooded figure with four wolves and in the centre - a sword, wrapped in orange flames - the only other colour on the page. Inside we have a lengthy explaination behind this album and many other things that were going on in Quorthon's life (including the release of his solo album, helpfully entitled "Album"). Then the whole thing again in a language that is possible Norwegian, but could also be German. Then, the lyrics - also in both languages.

"Intro" opens the CD with a herd of sheep and a great menace looming on the horizon, narling and the solemn beat of drums indicating impending doom and tragedy. Then, stampeding hooves, something wicked this way comes. The sheeps bleating becomes more desperate, the ominous beats continue... Shouting voices and we crash into the epic but ominous "Blood on Ice". Choirs and doom-laden drums add to the menace. For a band with so few members, Bathory certainly manage to create a solid wall of sound - it's like a great rolling avalanche moving with slow but steady desolation.

A beautiful and acoustic number, "Man of Iron" (which he prounces i-Ron) brings forth the spirit of the forest and the trees. Our hero grows older, learning the language of the animals and never giving up his desire to seek revenge for his peopl. Quorthon has a truly lovely voice when he sings.

A rather more sinister and rapid "One Eyed Old Man" enters the forest, and tracks down our hero in this tumultuous, wild and frantic piece.The rhythm is surprisingly melodious. Production seems a little "gluggy", however. It ends with a prophecy and a promise.

"The Sword" is a wild and raucous ride, more reminscent of Bathory-of-old. It seems our hero has received a particularly important weapon - one forged in fire and ice. Now is the first stage to his vengence and his future as the Chosen One.

His second "gift" is "The Stallion" and this track is heavy ubt flowing, like the immense and powerful horse, white as snow, with eight legs that can "run as if you carried wings".

His journey begins with a visit to "The Woodwoman" a strange being that:

"...she leaves no footprints in the snow..."

I love this song. It's haunting, and eerie, with beautiful vocalisations (with a touch of the raw and rough) and a good narrative. The production seems clearer here too,  a clarity lacking on some of the earlier tracks. Another almost-ballad where the guitar and the background noises speak of icy mountain peaks, and forests buried in snow. Here he exchanges his heart (has it placed in the pit of a snake) for the ability to take a mortal wound.

But the self-dismemberment does not stop here, for now he continues on to "The Lake". Another immense, heavy, multi-laden track with great heaving waves and turbulent waters. Into this lake, he throws his eyes which grants him the ability to see from within.

Now that he has no eyes and no heart, it is time to call upon the "Gods of Thunder of Wind and of Rain" to aid him in his task. This is another steamroller of sound, with epic structure and again totally makes you feel like you're out there in the glaciers,standing with your arms outspread and staring with empty eyes up at the raging, tumultuous clouds.

"The Ravens" is a slow, short number, hauntingly beautiful and oh my, Quorthon can actually sing pretty jolly well. Huginn and Muninn are his eyes in the sky, guiding him to Hel to face his destiny.

And finally he has his "Revenge of the Blood on Ice" - an immense and impressive thunderous epic that runs for almost ten minutes, and ends with the lost spirits finding their way to Valhalla.

Overall, I do not like this album as much as "Twilight of the Gods" or "Hammerheart" but it is still an epic venture. The sound is a little rough and raw, despite being remastered and re-edited and it feels somewhat to me as though he would be more befitting of being on vinyl rather than CD. It is powerful and intense and deserves a rating of 8/10.

I have just found out/been reminded that Quorthon was found dead in his apartment on June 7th (he had died 4 days previously),  2004, of suspected heart failure. He was only 38. RIP Quorthon, one of the most noteable men on the black metal scene.

Power Quest - Wings of Forever (2002)

The coolest thing (for me) about this album is that MY NAME IS IN IT. Well, not my real name - but the online monniker I've been using for the last 13, or so, years. Seriously, it is. I was having conversations via email with keyboardist Steve Williams. Nice guy. Anyhow, he put my name in his "thanks to" as joining the Quest. So I had to buy the album, didn't I?

A bit of history - Many, many years ago there was a very good New Zealand black metal band called Demoniac. Now, I don't really like black metal that much, but Demoniac were actually really good. Well, the two songs  that were played on the radio were: "Hammer of Damnation" and my favourite - the "Celtic Sword of Iron". (I have to say, my recording quality is equally crap and it was taped from the radio - I guess they were recorded in a basement). Anyhow, Demoniac moved off to England and three of their members joined up with some other blokes and became DragonHeart. Some time later, Dragonheart severed into two - merging with other musicians to become Dragonforce and Power Quest. I have albums by both*. Dragonforce sound like they're trying to break some sort of speed record. Power Quest are likewise pretty jolly fast.

Just for the record, Steve Williams is not one of the New Zealand members.

Because they are power metal, they should help improve my slightly maudlin mood (it's a damned good thing I'm not up to "C" and listening to Confessor, I have to say).

But first, let us admire the rather attractive digipack, which I shall slide from the sleeve and unfold, removing the little booklet so that I can admire my name. Because, well, it says "Lemurkat" inside it. It really does - right down there near the bottom of "Steve Williams thanks..." Found it? Okay, now we can study the cover - which appears to depict a one-winged angel in skin-tight leggings, with chest thrust forward, he is using a dead woman to shield him from a lightning bolt. He seems to be standing in the tsingy of Madagascar. It is all moody and I *think* he might actually be trying to ressurrect her - but who knows?

The lyrics are in this archaic style font that is actually really difficult to read. Looks nicely medieaval and authentical but oh, my eyes! 

The CD opens with the epic and rather stirring "Prelude to Destiny" with its rising symphonies and screaming conclusion, before it takes flight into the fast-paced "Wings of Forever". The vocals are strong, and of melodic pitch. The chorus stirs and swoops and glides whilst the drums beat a frenzied rhythm as they try to keep pace, the guitars skillfully weaving and diving around the vocals.

"Far Away" is Power Metal by the Book - polished riffs, catchy rhythms, vocals of a high(ish) melodic pitch. A general sense of swelling power and wellbeing that rises in your heart and sets your soul to soaring. There is something very inspiring and invigorating about the way the keyboards interact with the guitar and the vocals and the drums. One can almost imagine mountains rising blue-tipped to the sky, whilst dragons soar and glide on the wind currents.

 Steve's in fine form on his keyboards in the opening bars of "Glory Tonight". Another polished, powerful song with nicely triumphant lyrics:

"We'll all find some glory tonight"

Oooh, nice keyboard solo, folloewd up by a thrilling guitar solo. How many fingers does that guy have? Surely smoke must be curling up from them?

"Power Quest part 1" is another sophisticated, stylish and polished piece.

"How will I know what I'm searching for, living my life uncertain. Who will reveal what's behind the door? Or must the quest continue."

Then we fly fast "Beyond the Stars" which declares that "Forever the Quest must go on". Slamming drums, roaring guitars, soaring to the skies. It almost feels like the drummer favours that one drum. I'm not sure what it's called, but it's of a higher pitch than the others and bam-bam-bam. Very nice keyboard solo there, Steve.

Now, about time for a power ballad as we fall into the sweet tempered piano of "Immortal Plains". Good rousing choruses. Not quite "Glory to the Brave" but still, a heart-stirring piece.

And if you're feelin g a wee bit melancholic, then "Follow Your Heart" will draw you out of it, urging you to do just that - and your dreams will come true. It's an inspiring, hopeful song. The sort of song that makes you feel capable of achieving almost anything.

WIth a slightly sinister edge, "Freedom of Thought" reminds me of another song, the drum rhythms being ever-so-slightly familiar. I can't quite put my finger on it however...

We fade out and conclude this album with the aching guitar chords of "Distant Lands". One cannot help but feel the sun set, the life and light draining from the land and shadows rising to cast it all into gloom.

Smooth polished, epic power metal.This album is pretty much flawless in its representation of the genre. It is an album that stimulates the soul and invigorates the imagination. The vocals are high, but pleasing to listen to and the only thing I found a bit distracting was the pounding percussion line, which is so very rapid and reptitive, of much the same pitch, through many of the songs.

I'll give it 8/10.

Thanks Steve!



* but not by Demoniac, because I never realised they had released one. And now that I have, it is likely impossible to obtain (like any Lung**, Nine Livez or Push Push cd).
** Hey, I found Lung on YouTube too! No video but at least I can hear the sludgy, gluggy old NZ sound - now NZ music is all clean and polished and no longer sounds like it's recorded in a basement. I have no idea whose dog that is.

Lake of Tears - Headstones (1995)

I remember the first time I heard this album - I found it a glorious experience. Black Mark were a relatively new label on the scene and suddenly our local stores were carrying four different titles - this and Tad Morose were the two that caught my eye (the others being of a rather less melodious nature). I was going through my goth phase at the time - you know the sort - black clothes, morbid music, gloomy music, writing bad poetry. Actually, the poetry was not too bad at all, but that's beside the point. I was also a poor student, so it was some time before I actually could afford to buy them, but luckily the library had a copy for me to hire and thrash.And thrash it I did!

Lake of Tears are a Swedish band, formed around 1990. In the early days, they had a very heavy, slow doom-gloom-goth sound but this later caught an edge of psychadelia and took some surprising, but wonderful, transformations. I shall share those albums with you later. Around 2000, after four albums, they broke up, then got back together again in 2003 releasing a further two albums. Somewhere in the middle there was "Neonai", recorded to fulfil their contract with Black Mark (and I am grateful that they did). They have just released an album entiteld "Illwill" which is apparently death metal, but I'm listening to House of the Setting Sun on YouTube and it is definitely NOT death metal. Ooooh, it's giving me shivers - in a good way.

If you wish to try Lake of Tears for yourself - they have TWO "Greatest hits" compilations. So, well worth it. Of course, I own all but two of their cds (the first and the last) so I think I'll be okay.

I WILL NOT buy Illwill, I MUST stop buying more cds! I haven't even listened to "Moonlight and Mushrooms" properly yet.

Anyhow, back on track.

This is their second album, and it introduces melody to the hardcore ragged sound of their debut album, "Greater Art". "Headstones" is a brilliant, gloom laden album.  Daniel Brennare's voice is capable of so much more than grunts and growls. It has a melancholic cover - a figure pinned to a tree with ivy, a cemetary in behind. How very gothic. Not much inside but the lyrics.

A shrill guitar squeal leads us into the burgeoning bass and the powerful force that brings us into "A Foreign Road". Brennare's vocals are rich and deep, the sort that brings a shiver to your spine (as has already been noted).

Acoustic guitar brings sweet, sweet melody with the flight of the ravens into "Raven Land". The vocals are rich, haunting, slightly sinister. The overdubbing is used to splendid effect and the music creates stirrings of great monolithic rocks, abandoned towers and black birds, fluttering hither and tither, quarreling or

"... bringing tales of the dead, dead in times before..."

"Dreamdemons" starts with a roar. Heavy chords, whispy keyboards adding an atmosphere of phantasmic mist, twining between the rifts. As usual, Brennare's voice is wonderful.

Slow and deep, "Sweetwater" flows, the liquid vocals gliding between the delicate guitar and in line with the thrumming bass.

The mysterious "Life's but a Dream" is quite probably backmasking. (it is - and here it is). Hrm, looks like there was some truth in the claims of satanic hidden messages.

The tolling of bells and gentle acoustic guitar brings a sense of mourning to "Headstones". What a magnificant, beautiful song. The guitar, Brennare's lovely voice... so gothic and so wonderful. Makes you think of a lonely hill, clad in low trees, a path weaving through them. Birds in the trees (a few ravens, perhaps?). Ah....*

"Twilight" is another moody, atmospheric piece.The keyborad solo is a nice touch.

The fury of "Burn Fire Burn" erupts with power. It is one of my least favourite pieces from this album.

Oh, but the glory that is "The Path of the Gods (Upon the Highest Mountain, part 2)"! It begins with flute, and Brennare speaking in his oh-so-wonderful Swedish accent. After this introduction, it slides into the heavy bass that characterises this album. I've never heard part 1, which I assume is on "Greater Art". I also really, really love the line:

"Seek the openings in sanguine painted clouds..."

"Sanguine" is such a wonderful world - and one of my favourite colours too. No, not blood! In colouring pencils, you sicko-phant! Evocative language, the shadowing of female vocals, the chug-chug-chug of the bass... It all combines for a wonderful aural experience. The keyboards accentuate it. I love the "stars" bit. I can almost imagine Brennare snatching them from the sky, and handing them to me, having them flicker away like tiny fireflies or luminscent hummingbirds.

A magnificant album - one of the finest and most evocative and emotional Gothic Doom albums I have ever been privileged to hear and own. It is masterfully crafted and truly touches my spirit. I have to say, whilst their later albums have lost a little of the charm - the first four LoT albums are amongst the finest in my collection.

My rating = 8/10 (and that's only because some of the others are EVEN BETTER, believe it or not).

I urge you, if you haven't heard Lake of Tears and you love atmospheric metal with sexy, baritone vocals you should buy these two albums NOW:

Greatest Tears vol I: This one seems to contain the heavier, more doomy songs
Greatest Tears vol II: This one has more of the psychadelic, progressive stuff

Or, just do what I did and BUY THEM ALL! (well, except the first and the last).

I am going to focus on Black Mark and, whilst still staying with the alphabet, give their CDs priority, where I own them.

* If you think this music is evocative, you should try "Forever Autumn" which is superlative - but I'm going to listen to my LoT CDs in chronological order, I'm afraid - not that you need worry, because they're all brilliant.
 

Gamma Ray - Sign No More (1991)

January 17th, 1991 was a significant one for Kai Hansen. It was his birthday. It was also the day the Gulf War officially began (Codename - Operation Desert Storm). I was 13 at the time, attending a music course whilst my parents and brother were off in Nelson. Although we were far from the conflict and it never had any direct effect on us, the declaration of war - any war - is not something you wish to be apart from your nearest and dearest for.

This album, released in 1991, is clearly inspired somewhat by the Gulf War.

After the power and the might of the symphonic power metal of Fairyland, Gamma Ray are actually refreshing. There is something overly flamboyant and pompous about Symphonic Power Metal, and although Kai Hansen may be somewhat responsible for the creation of the genre itself, his own projects are traditional, honest hard rockin' heavy metal. Catchy, great guitar, Scheepers' vocals are excellent and the lyrics are intelligent and interesting.

The cover is kinda tacky though. Given it was released in the early 90s, and the 80s had still not finished their influence - we have skeletons in suit, tails and tophat, with a rather psychadelic sky. Meanwhile the band name looks like something from a video game. Ah, but we'll forgive them, cos they're awesome. No printed lyrics, sadly, just a one-fold affair with a grainy photography showing two of the band members - leather jackets, long hair, a third being neatly bissected in half so that you can only see his clothes and not his head! And the other members are entirely absent (I think  they were five, at that point?). The rest of the photograph is moody sky and what might be fields. It loks cheap and almost like a poor copy - except that I'm fairly certain I got it through a reliable source - ie: a music store.

Gamma Ray have chosen to go in a different direction from Helloween, their style is more influenced by rock and politics, less speed and more rhythm.  The album opens with "Changes" - a song that is both catchy and beautiful, with Scheepers voice smooth and haunting. Not quite a ballad, but definitely an inspirational piece.

"... Don't wanna cry no more, wanna sigh no more... Changes... all around me now..."

In contrast, "Rich and Famous" is a bit of social sattire.  Rocking rhythms; catchy, repetitive choruses, a hearty dose of irony and humour. Fun stuff.

We get back into more serious issues with "As Time Goes By" which opens with speed metal beats. More tongue-in-cheek political lyrics here. It also has the finest guitar solo on the album - with the soaring, rising, inspiration riffs not disimilar to Helloween's "Eagle Fly Free".

Slower with a steadier beat,and a slight melancholic edge, "We Won't Stop the War" is about the obvious. Puncuated with horns.

As a change "Father And Son" is a softer ballad with a harsher center, about the relationship between father and son. A relationship fractured and efforts made to mend the broken bridges.

"One with the World" is about attempts at salvaging the mess that the world is in:

"Do you think there's a chance for this world to live in unity as one?"

Like most Gamma Ray songs, it displays truly that rockstars could be both intelligent and have strong political views - in the wake of the whole glam rock explosion. The video is cheesy as hell though!

"Start Running" has a frantic, hurried pace that befits the lyrics. It sounds angry, even when it is making delcarations of a more positive nature:

"No single person can change the truth We have to move forward and do it side by side"

It is not one of my favourite songs.

Back into the beats as we "Countdown". More political lyrics, somewhat nihilistic worldviews. Good beats and great guitar rifts.

"Dream Healer" opens with chugging base and rhythmic guitar. The vocals are otherworldly, slightly new-age-esque. Brilliant.

Finally, we end with "The Spirit", a magnificant, beautiful song with rising powerful guitars and soaring vocals. It asks all sorts of important questions and comments:

"If I could ask the maker about the masterplan, would He give an answer and would I understand?"

I think you will get the opinion that I am rather fond of Gamma Ray. And you would be 100% correct. There is an honest purity to their music: it is rock, with a touch of speed and a lot of melody. The lyrics are easy to hear, even without being printed, and they are both intelligent and thought-provoking. Kai Hansen is a guitar god and Ralf Scheepers has a damned fine voice.

I shall give it 8/10.