Sonata Arctica - Silence (2001)

For too long this blog has suffered in silence - and why? Because I discovered QI, the BBC show that is Quite Interesting. Thus the last two months have been spent either watching episodes of that and making art, or writing my stories.

But now I have watched almost all of it, and must savour the last few episodes, and it is back into the music blog.

This time we have the splendiforously titled "Sonata Arctica" from Finland. Formed in 1995 and still active today, this album is their second full length affair.

The cover is quite beautiful, a split shot of day and night, with a similar scene mirrored in each. A dark shadow of a figure, in one bearing a spear, the other a lantern, stands beside a lake, with pine trees about him and grassy foothills becoming snowladen mountains.

We being with the hauntingly, poetical "Silence":

 "It truly makes the most beautiful music, everything it has to give..."

Piano, an archaic, slightly decrepit voice speaking in sightly menacing, slow tones.

Then its time to take off as the disc spins into a fury and blasts into "Weballergy". Triumphant rhythms swell with glory and victory. Tony Kakko's vocals are high and almost obnoxiously cheerful and the drums move along at a trebly tempo. Plenty of keyboards layered upon drums and rhythm guitars soaring like rainbow unicorns with fairy wings.

Light and lilting, ethereal harpischord like a ladybird's wings, before we surge into the glorious, the over hyper-cheerful of "False News Travel Far". There's a nicely fluttery bit in the middle, before the heavier bass reminds me of a bygone era and is swallowed by the dragon of fast guitars and trebly-laden keyboards.

Telephones? Not vey medieaval. Suspicious caller... "you almost got away from me, didn't you...." Now we are in to one of my favoured pieces, the slow "End of the Chapter" in which we aspire to power ballad, with more modern setting, lovelorn messages and aggressive chorus. Alas, Kakko still sounds happy.
Even with lyrics like : "I have never wished you dead ... yet..."
Oooh, almost synth-pop, so many keyboards, I feel like I've been transported back to the 80s.
They should totally cover Ultravox.
He's stalking her too, sneaking into her house at night, stealing her jewellery.
Sounds less happy now, bit dangerous.

Faster, furious - "Black Sheep" is another fast and cheerful piece. I wonder if they're trying to be Stratovarius, but are a little too high on the treble side - like Skylark.
What's with all these bands starting with "S"?
Chorus is wonderfully catchy, followed by a waterfall of keyboards.

Another haunting opening, and then into the faster and more menacing "Land of the Free". Aggressive, frantic.

Then we fade back into something slower and actually romantic. "Last Drop Falls" is a song of love and longing, but mainly realising that the one he loved was rather less than ideal.

Back to the fountaining keyboards. A glorious firework display of sound. This is "Sans Sebastian". Rther lovely keyboard solo, with the guitars charging in to stage a full frontal attack.

"Sing in Silence" is another slower piece, with dewdrop sprinkling like shattered crystals, or maybe delicate keys.

"Fragile as a rose in the snow..."

It has a fragile, delicate beauty.

A snowstorm of crystal rose petals, sharp and deadly is "Revontulet".

More keyboard/piano leads us into yet another power ballad - this one is to "Tallulah". There's a hint of melancholy in Kakko's chipper tones, slower and slightly haunted. Another song of losing love.

Back into the aggressive and full frontal guitar assault (no keyboards, no wait, there they are). "Wolf and Raven" captures the racing wolf as it rampages through the snow, the raven soaring above it.

Slow again for "The Power of One" which starts with rain and music as grey and forlorn as the implied weather. This is the epic track of the album, and starts with some nicely slow and dream-like, longing vocals.

Overall, this album is something of a chore to listen to from beginning to end. It does have a nice blend of the heavier intermingled with the light, but the cheerful vocals start to grate on the eardrums after a while. There is no question that they are skilful musicians, displaying a distinct flare for the dramatic, but I think they need a little more vocal variation.

I rate this 6.5/10

Rhapsody - Dawn of Victory (2000)

This is a truly handsome set, and one of the only Collector's Editions in my collection. I cannot remember how much I pauid for it, but it is only worth around $70 now anyhow, so not exactly hidden treasure. Anyhow - there's no changing the fact that it is jolly fine packaging. Alas, the sleeves for the two discs are flimsy and card, so they live in a separate place from the 65 page hardback book.

The book starts with an introduction from a wizard called Aresius of Elgard. Ancient (but not too much, eh) wizard of the enchanted lands. But before we get into the plot, we are treated to a double page spread of the band, in full Rhapsody glory, mediaeval tunics, a throne and swords. Very, very D&D.

After that, we are into the plot, which follows on from the previous album/s. This is the third chapter in the Enchanted Lands trilogy.

First chapter = hellish evil army, lead by "Black King".
Second chapter = Heroic "Warrior of Ice" finds and wields the magical "Emerald Sword".
Oooh, a map!

I smell cheese - loads and loads of juicy cheese. Let's highlight the tropes in the plot:
- Black King with evil army
- valiant hero
 - Lands of Chaos
- Ivory Gates that can only be found by three keys (of wisdom)
- Magic sword (can only be wielded by one whose heart is true.
 Also, for some reason, lots of characters starting with "A".

Now, onto the third chapter. The valiant warrior has his magic sword and an army and is about to face off against the Dark Lord Black King.
And rape.... why oh why do these things always involve rape?  Followed soon after by death. But in her case her death saved the rest of them. Let's stop reading and let the music speak for itself!

"At the Court of King Chaos only blood can write its own tragedy...." begins "Lux Triumphans", with choirs, symphonic structures and an epic build up into the "Dawn of Victory". Surging guitars, like horses thundering across the plains. Charging the enemy. Triumphant melodies. Vocals mid-tenor, soaring with passionate power. You can see the hero riding forth on his massive steed, sword raised and hair blowing in the wind, like something out of a cheesy romance novel. Heavy on the pompesity.

Lots of keyboards, maybe even a harpischord, builds an indestructible wall of epic sound. I"m going to use the word "epic" as much as possible! Vocals smoother, as the Warrior celebrates "The triumph for my Magic Steel" (I kid you not). He parades across his Enchanted Lands, his army following, the enemies heads speared on their pikes. The next target is in his eyes, and his army ride to further victory (hopefully).

Gentler now, it's time for a little romance, and a homecoming, as we find our way to the "Village of the Dwarves". Keyboards mimic bagpipe rhythms, nifty! Vocals decidedly more folksy, with penny whistle accompaniment. Lovely, lilting reel of a rhythm. A charming blend of folk whimsy and modern instrumentations.

Time for the next battle this time in "Dargar, Shadowland of the Black Mountain". It begins with a thunderous roar of instrumentations and a cry of victory? Defiance? Dargor has been twisted into a disciple if evil. Cascading chorus, like a stampede across the lands; leaping, slashing, fending off the enemy.

Starting soft and slow, "The Bloody Rage of Titans" celebrates the beauty of the Enchanted Lands - where unicorns once roamed.  After a gentle and soothing intro, it surges into a dramatic and bloody war, vocals tinged with loss and a hint of despearation.

Another dramatic and pompous flourish as we rip roar and rage like a "Holy Thunderforce". Chaotic and violent. Vocals harsh-edged, cutting vicious as a sword. This is a battle hymn anthem. Dramatic harpsichord.

"So we'll fight against the wind for the glory of the kings to defeat the evil enemies..."

Creepy children's choir lead us down into the instrumental "Trolls in the Dark". A surging maelstorm of darkness and treacherous shadows, blood running in the night. Pounding rhythms. Choirs. Guitars ripping up a tornado. Dramatic and dangerous.

Harpischords again as, triumphant now, the horse rises into the sky, flying! Not only has it developed wings, but it is also the "Last Winged Unicorn". Oooh, an alicorn. And flying unicorns breathe innocence. Dragons, eat your heart out, this unicorn will breathe innocence at you. Okay, sarcasm aside, it's a powerful song, rising in triumphance and victory with harpsichord intermingling with guitars and choirs rising and falling, the tempo filled with great flourish and an epic cascard of sound and celebration. It is easy to imagine the great and fearsom last winged unicorn rising from the holy sea of golden flames and racing across the skies.
Is it a phoenix? Mythologies all getting entwined and confused!

Time for celebration, as "The Mighty Ride of the Firelord". I assume that this is the Warrior of the Ice riding on his fiery winged unicorn/phoenix. The symphony builds and builds in scale and power, surging with mighty and an epic wall of sound. Flutes flicker across, like dancing dragonflies, harpsichords shimmer and the vocals soar above it all like a wicked edged sword. Choirs rise like flickering flames. Rhapsody are a very easy band to get metaphorical about.
And it just keeps on going.
For nearly 10 minutes.

There is one word to describe Rhapsody. Epic.
And another. Pretentious.
But despite that, they do what they do with extreme skill and ability and they have totally taken the "epic symphonic power metal" genre and made it their own. So what if their lyrics reek of double cheese pizza with extra cheese on top? Isn't that true of every power metal band? Rhapsody are the Manowar of the modern metal scene - bringing a deliberate level of pompesity and a wall of dramatic and powerful sound. All the rest (Skylark, Olympos Mons, Faeryland etc) fall beneath the hooves of their mighty phoenix-alicorn and get burned to ashes in their wake.

It's strange how keyboards, entirely electronic sound, can succesfully capture a mediaeval vibe.

Rating = 9/10

PS: The rest of the book is suitably impressive. In fact, the very next pages give a breakdown of what the band are trying to achieve with the sounds - which would have been good for me to refer to whilst writing this dissection. *sighs* Then there is some interviews with the band members.
Oooh, they use "bombastic" - I forgot to use that adjective!

Also, I think I am getting violins confused with harpischords, there's apparently lots of violins on the first two full tracks, but I can't *quite* seem to hear it.

Bonus enhanced CD has video clips and variations on the songs we've heard, along with pretty graphics and a screensaver.

Nightwish - Wishmaster (2000)

I own a lot of Nightwish, and I love their music - the exquisitely fragile beauty of Tarja's voice, the depth of complexity and power in the instrumentations and the epic force of their melodies. These is their third album, and they have yet to employ an official male vocalist - instead with have a list of men providing their voices - ranging from bass to tenor. And choirs, which should make for an epic production. Oooh, and flutes - can't forget the flutes!

To be honest, I've been putting off reviewing Nightwish becuse my brother does it so much better, so more poetically. You can read his blogpost about the band here. He knows technical terms and so forth - me, I resort to adjectives and repetition of the word "ethereal". Let's see if I can do an entire Nightwish album dissection without using that E word again.

Okay, here goes:

The cover depicts a child, kneeling before a lake, a scroll before him. He raises his hands, summoning the swans to take flight. Above, the sunset paints the sky in orange lava, whilst the dark reflections of trees line the horizon. Dreamy, strings of mist cloak the horizon and set a deep and melancholic mood. The entire palatte is shades of orange and brown. Inside, the booklet contains several fold out pages and the band all look suitably angelic.

Dramatic rhythms lead us into the stirring "She is My Sin" which builds in epic scale and might, broken by Tarja's hauntingly sweet, soaring soprano. It glides like a silver-feathered swift. Now the music has subsided down as a backing, complementing her voice but occasionally taking the opportunity to fly between verses.

"The Kinslayer" pays tribute to those slain in the Columbine massacre, in 1999. It starts with a dramatic cascade of keyboards and drums, before surging into the urgent rhythm and Tarja's exquisite voice soaring above like a lost soul or an avenging angel. It intermingles with the deeper bass (or baritone?) lending an ominous edge to what was a truly tragic event.

"For whom the gun tolls, for whom the prey weeps. Bow before a war, call it religion."

Softer, gentler, flutes and gentle keyboards usher us into the folk-orientated "Come Cover Me". Gliding gently, Tarja's voice soars with the gentle rhythms, like floating through clouds on a sunlit day in early spring. There's an earthy, pagan feel.

"Wanderlust" continues with this pagan, traveler vibe. The chorus is gloriously smooth, the keyboards dancing playfully between the voices, like leaves borne on a summer breeze. It all feels wild and free, unihibited by the restraints of the modern world.

"It's not the end, not the kingdom come - it is the journey that matters, the distant wanderer."

Beautiful fade out, as Tarja's exquisite vocals fade into silence.

Haunting, slow and slumbering, "Two for Tragedy" is a lullaby, a lament. Beautifully melancholy and utterly heart-wrenching.

"Wishmaster" starts with a dramatic flourish. Undeniably fantastical, with shades of epic power metal in the lyrics. Stirring, symphonic.

Keyboards and we're into "Bare Grace Misery" another piece driven by the vocals. Honey-tongued, golden and darkly romantic.

With a flourish and a flare, we rage into "Crownless". Fast in pace and with a fairy-tale theme. Keyboardist Tuomas is given full reign here, and the keyboards surge and swell in drama and pace, whilst the drums race the vocals.

"One fragrant rose worth ten times what I am..."

 Now it is time to be enshrouded in the gloaming shadows, as we find ourselves engulfed by "Deep Silent Complete". Black velvet, sirens calling - darkly romantic, infused with bittersweet melancholic grace.

Poetic and dark, "Dead Boy's Poem" is a last cry for help, a swansong. Vocally sublime, the music plays a soft accompaniment. Haunting.

"FantasMic" offers up a change of pace, starting with a waterfall of keyboards, a beautiful kalediscope of symphonic glory. Here the keyboards are given full, dramatic reign and the lyrics return to the fantastical - and also demonstrate Tuomas' love of Disney*. Part 2 is deliciously slow and heavy with loss and longing. Melodious melancholy. As we roll into Part 3, the flute adds its lilting, playful voice (like a dancing bluebird) to the rhythm and Tuomas returns with a flourish. Tarja's voice becomes a force of nature, fast and energetic. This section seems dedicated to the villains, and as such is heavier, more aggressive.

As an unannounced surprise we have "Sleepwalker", a track not listed on my "not to be sold outside of Russia" cd. This has a more modern sound to it, the keyboards taking on a space-edgy sound. It reads on my WMP as "Passion and the Opera", for some reason.

Overall, another beautiful album from a band of great power and majesty. Epic, symphonic, glorious - do I really need to say anything more?

Rating = 10/10

* I may not have noticed this if my brother hadn't pointed it out in his review, which made me read the lyrics in greater depth: the line "A cub of the king betrayed by usurper" is a dead giveaway - that and I see mentions of Black Cauldron, Fantasia...

Ghost BC - Infestissumam (2013)

I realise that I should be moving right along onto N now - but the only band left I have is Nightwish, lots of Nightwish. I love Nightwish, but there's only so many times you can use the word "ethereal" in reviews. And  since I purchased this album, I 've become slightly obsessed with it.

Firstly, I would like to thank my brother - who is possibly the only person reading this blog (if anyone else is, please make yourself known to me). He suggested I might like the band, shared with me their cover of an Abba song and that lead me to watching them endlessly on youtube until I finally decided to buy one of their albums. And oh, it's been playing on and off in my stereo ever since.

Ghost hail from Sweden and they are a band cloaked in secrecy. They formed in 2008, making them younger than most of my albums (let alone the bands) and perform on stage in robes. The vocalist is known as Papa Emeritus II, and he resembles a Satanic pope. The other band members are all merely Nameless Ghouls. This is their second album (I'm getting the first for my birthday) and it is an attractive affair. My brother recommended I acquire the NZ/Aus edition, which I purchased via the newly discovered WowHd whom with their free shipping and prompt delivery will probably now consume a generous portion of my expendible income. Either that or encourage me to participate in more online surveys, since I earn points that can be spent on $10 vouchers. Anyhow, I'm pretty sure mine is that edition as it cost somewhat more than the other versions and does indeed seem to contain artwork that some might percivably consider to be Heretical.

The cover pays homage to the movie Amadeus, with his anti-lordship, Pope Emeritus II, hands upraised above an infant in a manger. Behind him, the sun illuminates all in orange and sepia tones. Lucifer was, after all, the Light Bringer.

The BC was added for legal reasons (there's another band called Ghost) and according to the band, it's silent. It also contains a "Parental Advisory" sticker, although I do not recall anything in the lyrics. Maybe that is a warning against the artwork? Most of the lyrics seem to be either Latin or somewhat Satanic. Apart from the somewhat heretical nature of the art, the colour - oranges and browns, really appeals to me - and I must admit it, I'm not perturbed or offended by sepia images of orgies and of a more ghoulish nature. In fact, the surreal nature of some of them is excellent, and makes me want to stare at them again and again to take in all the details. I think my favourite is the giant cat,  surrounded by three headed dogs, that seem to be choking a rather cadaverous man whilst being whipped by tiny men.

This album is about the antichrist. According to wikipedia, "Opus Eponymous" concluded with the birth of the anti-christ, and this is his rising.

The album opens with the chanted title track "Infestissumam": Imagine a choir of faceless monks, looming out of the darkness, revealed in jagged sepia-tinged light. Powerful and ever so slightly ominous. The music soars with their voices, overwhelming it and sweeping it away on an epic tide.

It links into the powerful opening rifts of "Per Aspera Ad Inferi" (through hardship to Hell) in which Papa Emeritus II's strong and melodious, almost sweet, vocals rise and soar. Heavy rhythms and the occasional snarled growl of a savage beast, the stirring melodies of keyboards, build to a beautiful symphony.

Papa Emeritus II has the sort of voice I would attribute to Lucifer, the Lightbringer, shortly after he fell. Glorious, melodious, but ultimately sinister.

Crazed out carnival rhythms lead us into "Secular Haze", an appealing progressively orientated number with jerky, staccato rhythms intermingling with the soar and melody of Emeritus's voice.

"Jigolo Har Megiddo" has a poppy, lively melody, with a late 70s, (perhaps, or maybe earlier, it makes me think a little of an evil Abba) vibe to it. It's quite heavy on the synth-pop feel with an added hint of menace. It is exceptionally playful and bouncy, sure to be a hit at parties and probably quite acceptable in the retail workplace, if one does not pay too much attention to the lyrics...

"I am the one who preys on weak - I offer everything they seek..."

This band just screams to be played as loudly as possible. I hope my neighbours like Ghost too!
(and if they don't, tough!)

Sinister, dreamy, languid and soothing are all words to describe "Ghulel/Zombie Queen". Nobody can sing such macabre lyrics with such romantic beauty:

"Putrefaction - a scent that cursed be, undercoat of dust..."

Then follow it up with delicate piano and soft guitars. It is nothing short of an oxymoron. There's  the deep throated voice of an organ, then all turns faster, determined, sinister, enraged, surging into a melodious, triumphant chorus. The Zombie Queen has risen! There's even a bit of surf guitar in this track.

The menacing "Year Zero" (uncensored video, viewer discretion advised) is set to engulf you. It starts steady, pounding, with a looming undertone of threat. And, of course, there's the chants of:

 "Hell Satan - Archangelo..."

Modern in sound, melodious in verses, ominous in chorus. The looming menace is like an atom bomb mushrooming and heralding the apocalypse.

Tinkly, discordant, disconcerting, then Emeritus swoops in like a hawk on its prey, pinning the weak beneath his mighty "Body and Blood".  With its keyboards and regular rhythms, it is rather reminiscent of something from a bygone era. Maybe the 70s.

"Idolatrine" has a haunting melody, it begins with a confused whirlwind of sound that sorts itself out into a straight forward, fast paced rhythm. Insanely catchy.

"Suffer little children to come unto me..."

There are elements of Voivod's "Angel Rat" in the "Depth of Satan's Eyes". Slower and steady, with the cruising, soaring vocals and a somewhat mellow feel.

Low and menacing, we are treated to the steady tones of the "Monstrance Clock" (brand new video!). Eerie, ominous; the worshippers gather, marching through the dark with their black candles blazing to pay tribute to the monstrance clock. This is an anthem, a hymn, a celebration. Reflected in the video, in which fans "confess" of their love of Ghost.
(A "monstance" is an object of piety, one cannot help but wonder what a monstrance clock measures - the days til doomsday? Quite possibly, lyrics seem to indicate it.)

"Come together... together as one. Come together, for Lucifer's son."

There's a lengthy pause after this track, before we are treated to the two bonus tracks. The first "La Mantra Mori" is slow and almost dreamlike, with a languid surreality. The lyrics are repetitive, simple:

"We focus on your death
We focus on your death
You share not the blood of ours
Thus we focus on your death" 

 This is the entire lyrical content of the song. It is haunting and also rather ominous.

Final track "I'm a Marionette" is the compulsory* Abba cover. And what a cover! The original is pretty nifty too, being darker than your typical Abba track. Performed by Ghost, it takes on a new level of mechnical ominisity (look, I invented a word!). The poppy beats of Abba are heavier, leaden, jerky and disconcerting. The chorus is sublime and creepy. I'm glad I purchased the Deluxe edition.


Words cannot describe how I feel about Ghost. They are intensely addictive, beautifully contradictory. Their sinister lyrics intermingle with their tongue-in-cheek appearance and gloriously inspiring and stirring combination of modern sounds and more classic (rock) stylisations. They are also instrinsically catchy. I actually stopped listening to this album for a week or two - scared that I was overdoing it and would make myself tired of it, but then I was struck by a deep and demanding desire to listen to it again. And again.

This is definitely my favourite album for 2013, and I look forward to seeing what they come up with next (or came up with first, since I'm getting "Opus Eponymous" soon).

In terms of the satanism... I listen to Christian music, I listen to Satanic music. I'm an agnostic-with-a-touch-of-pagan myself** but I prefer bands like Ghost and Mercyful Fate to the entire Norwegian Black Metal scene, because they are musically superior (and melodiously superior). One cannot help but wonder if Ghost are entirely, instrinsically Satanic, however, or just setting their tongue firmly in cheek. As long as they're not burning down beautiful wooden Norwegian churches or brutally murdering members of other bands, they can believe whatever they like.

I'm going to have to rank this another impossible 11/10.
(Since the last time I did this was with Diabloswing Orchaestra, I think we all have to agree that my brother has an excellent idea of what sort of music flies my kite).

* It is requirement for all Swedish bands to cover at least one Abba track during their career. Ok, so I made that up. But metal Abba covers are the best!
** As in, I'll invent my own religious beliefs if I have to. 
 

Lorien - Secrets of the Elder (2002)

Lorien were a power metal band. They formed in Catalina, Spain in 1996 and split 10 years later. Named after both a character and a forest from JRR Tolkien's Silmarillion. They play their power metal fairly traditionally - complex guitars and song structures, fantasy themed lyrics etc. This was one of my "this looks fairly interesting and is reasonably priced" cds, which I selected in a record store - probably Real Groovy, and gave a spin to before buying.

Lorien have two lead vocalists, David and Jordi Tordera, presumerably they are brothers or otherwise related. Another Tordera plays rhythm guitar. David and Jordi take turns vocalising the tracks, but their voices do not seem dramatically different from one another.

The cover depicts a door, possibly out of a hobbit hole, opening onto a landscape of blue fir trees. It looks cheaply made, and slightly faded with the colours being muted rather. Inside the lyrics are printed in bold black on frosty blue, with wooden borders.

The album opens with "Ballad of the Knight", starting wtih a crack of thunder and teaming rain. Choral vocals - male with female harmonising, softly spectral it soars through several verses before the instruments crash in in their gloriously sophisticated symphony and the vocals take on a stronger, steadily paced, melodious rhythm. Jordi on vocals.

More harmonising builds the epic feel of "Merlin the Wizard", swelling with power and beginning with soft verses - following a very similar structure to the first track. Hey, if it works, re-use it! Jordi on vocals.

Softer, slower with a somewhat lilting rhythm and almost ephemeral vocals, "Don't Be Afraid" is a love song, accompanied by delicate keyboards and guitar. The delicate verses lead into a somewhat more passionate chorus:

"Don't be afraid, all I want is giving you my love. Close your eyes, sing with me this lovely song of love."

Well, the message is clear even if the lyrics lack literary power. David on vocals.

The next track, "The Silent Mermaid" is probably my favourite. It is a duet between male and female (Elena Martinell) and for a "silent mermaid" she is both very vocal and very masculine. It has a good rhythm and a catchy chorus:
"I am the silent mermaid, I'm mute for ever more. Even if I weep I won't be heard..."

Gentle folkish melodies lead us in to "The Voice of Saruman" which grows in power, along with those familar, high "happy" guitar riffs that characterise the power metal sound. Jordi on vocals again. Now that I am listening more carefully to the distinctions, I think he has the stronger vocal capacities, able to concoct a  more volume and power with his voice. Somewhat more operatic. Chorus has everything you need in a power metal chorus - harmonsing, melodies and that catchy, swelling sound that sucks deep within and stirs the soul. I'm guessing this is inspired by Lord of the Rings.

Another power and glory, epic and traditional piece, "The Island of the Dragon" follows similar structures, including female/male harmonising and features similarly banal lyrics:

"The island of the dragon its beauty was magnificent, its people lived in gentle palaces made of silver and gold."

David is back on vocals in "Aurora Borealis" and really, their voices are very similar, although I think his is slightly sharper and higher. Another traditionally Power Metal piece.

Comcluding track "Eternal Life" offers such of the same. The vocals are fine and melodious, the choruses soaring and inspiration, with that bright and ebullient feel characteristic of the genre.

Overall, it's an appealing album, with a generally epic and powerful feel, although it lacks rather in both creativity and direction. Somewhat banal and the lyrics are definitely mozzarella (I actually tried to look up the name of a Spanish cheese, but failed). So, overall a decent album to listen to but nothing new, dramatic, fresh or inspired. Essentially, it's not surprising that they flared and then disappeared.

Rating: 6.5/10

Kari Rueslatten - Other People's Stories (2004)

Released seven years after the other album of hers, this is a lighter weight, more internationally friendly album. For one thing, the lyrics and vocals are in English. Her voice is as sweet and lilting as before, delicate and fragile like a feather on the breeze, but with a power to it too.

The cover booklet is sophisticated and modern, with photographs "enhanced" by white vectored lines that are used to depict motion, perhaps? The paper is sturdy and quite glossy, high quality ink. It almost looks laminated.

The album opens with the gentle "Other People's Stories". The vocals dominate, the gently strumming guitars playing a pleasing background to the lilting vocals and autumnal rhythms.

Another pleasant and gentle piece with some folk-type rhythms, "Sorrow to My Door" is not a particularly cheerful song, although the litling vocals are sweet and pure as bells, even when singing sorrow:

"The house burned down, to the ground, to the ground, ashes and dust."

 "Dog Star" has a slightly bubbly sound to it, like a record. The vocals are playful and oh-so innocent, Kari's accent becoming more apparent. It's a very narrative song, with the lyrics being rather simplistic, befitting the mood.

"Cry" has a slightly technical edge to it, a twirling, whirling accentuation to the vocals - which are again soft and delicate.

"When Lillies Bloom on Winter Days" is like crystalline snowflakes drifting down to gild the frozen flowers. Pure, untainted, with an icy chill lit by sunlight.

Somewhat more modern, almost technical and with the rhythms more typical of one of the dance genres, "Push" is a faster paced and far more commercial in feel.

"Ride" is another combining the vocals with strangely electronically eerie noises and the stronger modern beats.

Even more spectral and vocal, "Fishing" relies entirely on the vocals. Kari's voice dancing up and down the rhythms, high and sweet and pure. Several verse in the instruments start, a whimsical accompaniment.

"Carved in Stone" is another pleasantly gentle piece with slightly more stirring choruses and light electronic accompaniment.

"Life" offers more of the same and "Orlando" offers little more, although it has a pleasingly melancholic feel to it.

 Overall, this is an extremely easy album to listen to - but not a very inspirational one. It makes for pleasing, soothing background music - along the lines of Enya (but less irritating) with its slow pacing and languid, relaxed rhythms. The tracks are short - the longest being just over 4 and a half minutes. Whilst Kari's voice is certainly sweet and aurally pleasing, each track blurs into one and it's a bit dull.

Rating 6/10.

Helloween - "Master of the Rings" (1994)

Wit the dismissal of Kiske and Ingo, Helloween took on vocalist Andi Deris from Pink Cream 69 (who never did make it big). Despite my disappointment at the farewelling of my beloved Kiske, I eagerly anticipated this album, wondering if Deris could possibly measure up.


Here's my 1995 review of this album, as taken from my diary (please note: I was 17 at the time):

"In the beginning, out of nowhere we had a dream, and now it's Helloween".Yes, that's right, Germany's finest melodic speed band are back with another album fill of catchy choruses and melodic rifts. The album opens with, suprisingly, a classical instrumental (appropriately titled "Irritation") and follows it up with some excellant songs.  The subtle humour of Helloween comes across in the ironic lyrics of "Perfect Gentleman" and the most brilliant "Game is on". "Mr Ego (take me down)" the first single from the album is also slightly humourous in the way that it appears to be about their previous vocalist, Michael Kiske (who attempted to take over the band), although nowhere does it actually say so. Apart from the glam orientated "Take Me Home" this album is great and marks a return to Helloween's older musical style, from the "Keeper days. Forget about "Pink Bubbles" and "Chameleous" this is the true Helloween.

Okay, so obviously I liked it! Anyhow, let's ignore the rest of the diary (argh, teenage angst, if I'd known then what I know now... well, I think that speculation is true of all of us) and see if my opinion, like my attitudes to life, have changed over the intervening 19 years.

Gawds, it's been nearly 20 years since this album was released. Crikey.

(Also, for the record, Kiske did not try to "take over the band" he was merely trying to dictate the direction their music should take. He and Weikath did not agree, therefore he left.)

The cover is also clearly a jump back to those golden years of the late 80s, with seven rather yellow rings disappearing off into the greater realms of space, and 8 floating yellow-gold symbols. The title and band name are embossed in silver (shiny!). Inside the booklet is neatly laid out with borders and little cartoon pumpkins illustrasting the lyrics. The band photo under the cd tray is disturbingly distorted.. There's also a little passage in some scrawled font connecting this album to the Keeper albums. The rings are like the antithesis of the keys - representing spirit, truth, destiny, love, creation, fulfillment and sanctuary.

The first track is, indeed, a pleasing little classical number rather innapropriately named "Irritation". It is tinkly and stirring, with some nicely dramatic flourishes and building to an explosive conclusion.

Then we rage into "Sole Survivor" in which we have all the time honoured speed and power of Helloween's Keeper albums, only with a (slightly) modernized feel. The vocals are strong, with a slightly sinister edge. Deris' voice is rawer than Kiske's smooth, golden tones and his slightly aggressive edge actually enhances the song; making him sound determined and triumphant, if somewhat jaded by his experiences.

"Where the Rain Grows" is another enthusiastic, fast paced and fun number. The video is quite odd, but they do rather look like they're having fun (even if Deris' hair is awfully straw-like). It starts with a dramatic drumroll and has a bitchin' bassline. An explosive and dramatic number with good rhythms and strong vocals.

"Why?" is a song with a hint of desparation and a religious flavour. "Why, Lord why?" asks the narrator, a desperate plee to bring change in the world. Solid rhythms, not particularly complex, but Deris' voice gets the angst and pleading across very neatly.

"Mr Ego (take me down)" is "dedicated" to former vocalist, Michael Kiske (so wikipedia says, so it must be true). Interestingly, it's written by Grapow, not Weikath as one might expect. It starts with a dramatic build and then surges into a more progressive sound. Drums are a trebly staccato; vocals rising and falling in swoops for the chorus. It's not a bad song, if a bit bitchy. Best insult:

"And I think you are not funny, your brain is just a bloated dummy!"

The very entertaining "Perfect Gentleman" is matched with an equally amusing video. Apparently Deris's wife is in the video. Speculation is she's the one that slaps him. Also watch for the eye-poke at the end. Deris is a bit of a showman, and seems like a fun fellow. The opening chords are nicely dramatic and instantly recognisable. The structure is quirky, with some charming guitar flurries and an amusing little passage towards the end.

Exploring the dangers of video game addiction "The Game is On" is another fun piece, with a faster, rocking pace and some quirky computer noises. Remember this came out in the mid 90s - when handheld games were the Bomb (and the electronic noises very much reflect the error). Nowadays it would be about smartphone games, probably. It has a great pace, and is a gimmicky and highly entertaining piece.  I can think of a few people I could dedicate this song to.

And now for another song about relationships. "Secret Alibi" is not necessarily a love song and contains some of the strangest sexual innuendo I have ever heard:

"Ding by ding can you dig my dong. It may come short but it might come long..."

Weiki, your lyrics are weird. It's a decent piece, powerful with great choruses and Deris' voice again, does the pleading heart well. His voice is smooth and soaring, the opening nicely epic.

Almost 20 years may have passed, but "Take Me Home" is still my least favorite piece. It has an old-school  hard rock vibe going for it, and a really fast pace. Simple structures, the guitars just seem to be running up and down the scale until they actually go into a bit of a flurry between verses. Drums repetitive. Kind of remains me of a train (and by default, their version of "Locomotion Breath").

Time for a ballad! Acoustic guitar leads us "In the Middle of a Heartbeat". Deris does nicely slowed, somewhat sorrow filled vocals with a hint of longing.

The clockwork is winding down, the music box tinkling, door bell ringing, dog snarling. Lots of drama but "Still We Go". This track starts with the passage I quoted in my 1995 review above, in spooky, eerie vocals. This song is written by Grapow, but it's actually pretty good. Pretty heavy. Determined. Dedicated.

"Now we can see a horizon, we're gonna be here to stay. If you cannot see our sign, you must be blind!"

The album ends, but Helloween continue - and thank goodness for that!

This is actually a splendid album - Helloween are still at their quirky best, showing skill and putting forth an album which contains more enthusiasm and passion than the preceeding two. The songs are varied and entertaining, with a healthy dose of irony and humour. Deris' voice is decent and quite versatile, for all that he does not qualify as "silver tongued". Re-listening to this album has been a glorious trip down memory lane for me, and it seems I still remember the lyrics to most of the songs, even though I haven't actively listened to the album in some years!

Rating = 10/10 (or five pumpkins out of five^^).

Gamma Ray - Somewhere Out In Space (1997)

"Land of the Free" is, undeniably, Gamma Ray's finest album and as such was a very difficult act to follow. However, they did a admirable job with this album. Leaving the fantasy theme behind, they have now switched to a space and Egyptian theme, with the cover depicting an Anubis and an Horus bust above a row of pointy rocks, behind which is some sort of swirly time portal in which pyramids are either coming or going away or from space. In the front, Ol' Fangface is looking a little hungry, robed and toothy, and completely blindless today. It's all purples and golds and either acrylic or oil paint, looking very nicely Space Opera-ish.

It begins with the dramatic drum-rolling "Into the Black Hole". It is a fast paced, dramatic song, vocals filled with excitement and expectation as the narrator prepares to "fly beyond the gates of space and time...." and dive into the unknown. Dramatic guitar and drums for the instrumental passage. Captures the feel of the small craft charging into the roiling, writhing, churning black hole.

"Men, Martians and Machines" starts with the five notes from The Twilight Zone (but played on guitar) making a nicely ominous start into a dramatic song about an alien race seeking sanctuary from their destroyed planet and finding planet Earth.  Some nicely spacey/oriental chords there, before we surge into the faster paced and more typical GR skillmanship.

A bit slower, with nicely choral symphonies, "No Stranger (Another Day in Life)" displays a continuing theme of musical competence.

"Somewhere Out in Space" is a whirlwind of a track. It rips on it, swirling in majesty and power; the vocals racing, guitars and drums thrashing against one another, then it calms, the vocals smooth and swell, then its off again into the maelstrom.
(According to Wikipedia - this is inspired by Star Trek)

The "Guardians of  Mankind" is a powerful metal piece, moving at a rapid pace with pounding drums and anthemic chorus.

"The Landing" of aliens almost seems to continue on from "Men, Martians and Machines",  with the aliens arriving and being elevated to gods. It merges into "Valley of the Kings" and, judging from the cover, I would say that it marks the arrival of the Egyptian Gods. Nicely epic feel, great harmonies and more anthemic choruses, combined with some latin choral singing as well.

Dramatic and rousing, filled with passion, it is time for us to "Pray" - for a better tomorrow. This is the closest we're going to get to a ballad on this album. Hansen's voice is suprisingly sweet.

Drumbeats thunder as "The Winged Horse" gallops through the sky. Another powerful piece, this is more fantasy in theme than the rest of the album. It has a nicely dramatic narrative:

"It white horse rears and spreads its wings to reach the sky and search the king. the one will lead to win at last - oh, rulers of the past!"

"Cosmic Chaos" is a drum instrumental, creating a vibe of asteroids rushing through the air. Fast, dramatic.

It crashes into "Lost in the Future" which does indeed have a futuristic feel and makes an interesting contrast to the fantasy of "The Winged Horse". It is deliciously ominous:

"Tomorrow there'll be no sun, hanging high up in the sky..."

It's all dramatic and drastic until suddenly, inexplicably, the guitars break into "Oh Susanna" for a couple of lines and then churn back into the fast, frantic and desperate.

There's a bit of a Judas Priest influence to "Watcher in the Sky" which is fast, frenetic and furious. It's easy to imagine a lone spacecraft endlessly circuiting the planet; watching, always watching, but unable to do anything else.

 Piano and tinkly sounds sparkle as we see a "Rising Star" illuminate the heavens, exploding in a firecracker of light then erupting into "Shine On".  The song explodes with dramatic and explosive power. Very stirring, very inspirational. The ending melodies are lingering and powerful. A grandiose way to include a damned fine album.

Gamma Ray have created their own epic sound, merging the heavy guitar and drums of Iron Maiden with the intricities and anthemic feel of Queen. Combined with Hansen's skillful guitar playing and harsh, yet somehow vocals, a general positive edge to the music and fine musical structures, they have again created an album of epic scale and beauty. It might fall a bit short of "Land of the Free" and is not quite as quirky as some of their earlier albums, but it is a damned fine production and deserves 9/10.

Acid Drinkers - Strip Tease (1992)

Keeping with the Polish bands, we now have Acid Drinkers. AD are the only band with a similar sound to Wolfspider - they even share a lead guitarist - Popcorn (Dariusz Popowicz?). They are like the mischevious younger brother, full of untamed energy and rebellion, and with  a somewhat crude sense of humour.

The cover is... well I can imagine Americans might find it rather offensive. You see, it depicts the statue of liberty, with helicopters lifting the skirt to reveal rather muscular legs and rather detailed stone phallus. There's a dented coke can in the foreground and three balls in the lamp. 

"Strip Tease" is crazy, chaotic and frantic with the guitarists charging together for the finish line, occasionalyl jumping over one another in their quest for audio dominance. The lyrics are equally frenzied, it's a wonder vocalist Titus doesn't trip over his tongue. You can't understand what he's saying -  the "delightful"* broken English is only apparent when you read the lyric sheet, ie:

"Dear blockhead, dear lovely muthaf**ker, I present you a panorama of my crotch.Are you indignant?"

And I've discovered a new word too - psychical! It means: Of, relating to, affecting, or influenced by the human mind or psyche; mental.

And here I thought they were making it up.

Laughing rhythms and a cough herald "King King Bless You!" Vocals are slower, funkier, and have a kind of cartoon feel. Admittedly that cartoon would have to be South Park. Actually, this really does sound like South Park. If South Park performed Thrash Metal. Titus even sounds a little like Cartman, with the squawk to his voice.

Surprisingly good guitars, and what is this? A Metallic cover! An ACOUSTIC Metallica cover by one of the craziest thrash metal bands ever to come out of Eastern Europe. It's "Seek and Destroy" and has an almost eastern vibe going for it. It's actually really very good. I believe there's a guest vocalist on here, adding a shrill, thin, feminine voice to the chorus. This is the kind of cover song I like - sounding little like the original.

I'm not sure how to describe the intro to "Rock N Roll Beast". It sounds a little like a grown-up pretending to be a toddler that's possessed by a demon. The music is chaotic and frantic, the rhythms a swift and tangled complication. The chorus is fast and funky.

"Rats/Feeling Nasty" has Titus switching from his squawk and into a lower register (at least at first). The guitarist/s seem to be sliding up their guitar. Then it switches to classical, and falls into something akin to funk metal. It's all over the place, but crazy fun.

However, "Poplin Twist" is surprisingly sophisticated. It's slower, with steadier rhythms, some very trebbly percussion lines and vocals of a lower and less cartoon-chicken-like. Some nice harmonising on the choruses. Lyrics are rather nonsensical, but oddly amusing:

"I leave the shadow of my shapely ass for those sick prophets, leave them alone."

 "Masterhoods of Hearts Devouring" starts with a roaring, raucous, rampage; before suddenly switching to piano and melodious guitar rhythms. Just ever so slightly off key, and with the drummer being slightly off time. Then BAM the vocals storm the song, so fast and reckless that it's completely indecipherable.

"You Are Lost My Dear" has stronger metal and funk fusion rhythms.

Back into something weird, "Menel Song" is acoustic and mostly vocal, with only light drums and guitar for accompaniment, along with weird blasting noises. Titus still sounds like a dangerous cartoon bird. Combined, interwoven with the verses is a chorus of  "Always Look on the Bright Side of Life".Which says a lot about where their humour is coming from.

Some rather technical structures, guitars that sound faintly sci-fi, and chug-chug-chug rhythms display that fact that these are competent musicians (despite some evidence to the contrary). "Blood is Boiling" feels more like a traditional thrash song.

"My Caddish Promise" starts with slamming, thrashing instruments and zappy laser noises. Most bands do love songs, AD do a hate song. With really weird lyrics.

"I require it, my sweet sexual straggeler cremate yourself for me."

It's hard to describe the vocals, some words seem to have bits clipped off them, adding an odd accentuation to the lyrics. I think there are two vocalists doing this track, because Titus's squawk is also in there.

"I will hate you tomorrow, just like I hate you today. It is my caddish promise."

Another competent and technical opening to "Mentally Deficient". Vocals hurried and raucous. Slowing, speeding. Twangy guitar rhythms. Slamming drums. Guitar races.


"Hell it is a Place on Earth" is another fast, thrashy, number with an element of melody buried somewhere in there.

Creeping, creeping, we have "Ronnie and the Brother Spider". Seems to be about how Ronnie has died, at the edge of town. Vocals are somewhat funky. Full of explectives.

"I'm a Rocker" is another chaotic and crazy piece, with little to recommend it.


Acid Drinkers are crazy. Quirky. Fun. Titus's voice gets on your nerve after a while: he sounds a little like a caricature. The rhythms are all over the place, racing each other, slowing, jerking back and forth and sometimes out of time (but it seems to be on purpose). The humour is somewhat offensive, and the entire album is peppered with swear words, but it has a playful appeal - for those who like that sort of thing. For those that don't, this album would suck. It's very trebly, with some complex musical arrangements and the guitarists show technical prowess, even if they're indecisive about where to go. They're either insane or geniuses, but they're definitely different.

Rating = 6.5/10

* Where's your punctuation for sarcasm when you need it?

Wolfspider - Kingdom of Paranoia (1990)

My first introduction to Wolfspider, and Polish metal in general, was the Speed Kills 5 album which contained no less than four Polish bands: Turbo, Dragon, Acid Drinkers and Wolfspider. Oddly enough, in the wikipedia page both Dragon and Wolfspider appear to have been forgotten about. Admittedly, Dragon are more death metal (and thus might not appear on a thrash band lsit), but Wolfspider are definitely thrash. Anyhow, I heard the song "Black n Whites", really liked it, found this on cassette tape and bought it. Found another copy or two a while later in the bargain bins for $2, so I bought them too as ways of introducing my overseas friends to them. Then I finally acquired it on cd when it was re-issued and - after years of trying - also managed to get their follow up album "Drifting on a Sullen Sea". So yeh, I like Wolfspider and Acid Drinkers are quite amusing, but the rest of the Polish Thrash scene I can take or leave* - and would prefer to leave, dziękuję.

The cover is moody and strange. The ocean, reflecting the full moon above as a quater moon. A man in (ugly checkered) suit and tie atop a throne from which unrolls a crimson carpet, towards a cage in which three soldiers protest their capture. Between them, a dog with the head of a man grovels at the suited man's feet, his head turned to glare at the soldiers. One cannot help but feel there is some sort of political message here and the lyrics also reflect similar themes of social issuses and political complications, all written in halting broken English. Inside the band all look so young and curly haired.

The album opens with the classically inspired intro to "Manifestants" which is rich and evocative, gutiars interweaving into a fine tapestry that then blasts into rapid drumming and stampeding guitars. Vocalist Jacky shouts for the most part, but he has a silvery iron edge to his voice and falls into erratic, almost funk, rhythms for some of the verses. It's erratic, jerky and surprisingly effective. This is a song of revolution:

"Revolution - we want freedom, we want rights
Revolution - no one will rule us again
People want to rule."

Time for a brief history lesson - Poland were shaking the shackles of Communism 1989-1991 - when this album was written and made.

My favourite Wolfspider song "Pain" is a broken and grieving song, still containing the raw and brutal energy of thrash but containing a deeply emotional, raw side. It is a song of death and loss - a drunk driver steals the life of child and wife, and the husband mourns his loss whilst also raging his anger.  The tempo switches from anger to grief within a few erratic bars making it jarring and real and very affective.

The thrashing "Black n Whites" was the first ever Wolfspider song I ever heard.The vocals are a high and semi-tortured whine. There seems to be a bit of a religious feel to the lyrics, which for the most part do not make a lot of sense:

"Father from the stars, your servants serve you so poor
there are many traitors greedy for dough
father from stars, they don't treat you with respect
it isn't good to follow your footsteps anymore."

The last is sun in an almost melodious manner. His accent shines through in everything he says, and pronounces some words almost phoentically.

"Foxes" is a song about deception. It starts fast and jerky, before smoothing up for a few bars then going chaotic again. Another jerky, erratically tempoed piece.

"Waiting For Sense" has a slight funk rhythm to the vocals, although the instruments are still fast and hard and all over the place. Chorus is, again, surprisingly melodic, as is the rather more traditionally paced guitar solo. At least for the first few bars.

It's time to get funky as we enter the "Desert". The rhythms are mainstreamed now into more traditional funk metal, with the guitars zig-zagging across them and then the drums going wild.

"Sickened Nation" is a crazy and restless song. Jerky, erratic, and with surprisingly polished guitar solo.

The opening guitar chords of "Nasty-ment" are very technical and soon fall into a race with the drums. This is an instrumental, and it is a frantic flurry of instrumentation.

The pace drops back into steadier rhythms for "Survive". Vocals are the high, slightly off-tune whine. The chorus has appeal:

"Look! A bird's flying in the sky so free and so proud
try to bear it like it does, to pass over that."

 Final track, "Weakness" is a bonus not included on my cassette versions. It was a bit of a surprise when I finally heard it (the lyrics were printed on the cassette sleeve, even though the song wasn't on it, so I knew it existed) because it's completely different in tempo and melody, being more reminscient of an old love song, maybe from back in the 60s or something. The lyrics are rather amusing, and seem to be about how girls are his weakness (either that or alcohol). After the opening verse it rapidly declines into the rather frantic, chaotic rhythms we've grown used to, but it slows down for the vocals. It's crazy, fun and quirky. Complete with drunken singing. Just ignore the sexploitative nature to the lyrics.

In small doses, Wolfspider are very cool: with their erratic, jerky rhythms; melodic almost metallic** vocals; crazy lyrics and competent instrumentation. Too much of them, and it starts to wear on you, making you feel sort of edgy and restless. It is hard to relax or concentrate on anything else. Probably due to the pace and chaoticness of the rhythms.

Rating = 6.5/10

* For fun here's some more Polish metal (and it's all pretty thrash and aggressive and not aurally pleasant to me):
Dragon "I Spit in Your Face"
Turbo "Barbaric Justice"

And here's Vader "Never Say My Name" (this is the first time I have heard them)

** I can't think of a better way to describe it - it's a sharp knife-like whine with a softer edge.

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.

Rage - Reflections of a Shadow (1990)

My copy of "Reflections" looks rather the worst for wear. It was a pre-loved copy, acquired because I feared my cassette version would not survive the digital age. The creases are worn, and there is a hole drilled through the plastic box, indicating that before it was being loved, it was being very unloved; lying disregarded in a CD warehouse until finally its price was reduced. And then, of course, its previous owner chose to pass it on too. This poor, slightly battered, slightly marred cd has now found itself a forever home with me.

This is Rage's fifth album, and the third that I have reviewed (I do own their second, which will be reviewed in due course). It is clean, polished, and so very metal. The cover is, well a bit drab, and fairly bleak - a skull lying on concrete, casting a black shadow beneath it. Maybe it's supposed to be a mirror, not concrete. Hmmm. I remember reading once that Peavey Wagner, the vocalist, collected skulls. Alledgely it's legal to keep human skulls in Germany. The things that stick with you. Maybe this is one of his collection. Maybe it's called Yorick. His skull collecting is confirmed by this article here which also contains a nifty description of this cover that I am resisting plagerising and a review of this album.

I'm rambling. Sorry. Shall we give it a spin? Yes, lets.

"Introduction (A Bit More of Green)" is a nicely classically inspired instrumental. It does have a vaguely organic feel to it - like a sprouting shoot rising from a concrete wilderness.

"That's Human Bondage" has slamming rhythms but a relatively sedate pace. It's not about actual bondage, but about being trapped by society. Still, it's quite a fun song to scream along with when you're listening on headphones. Catchy chorus, vocals a bit indistinct in the verses.

The "True Face in Everyone" is another slower, heavy piece with nicely sung choruses. Otherwise kind of dull.

The heartbroken, tortured emotionally "Flowers that Fade in my Hand" is one of the stand out tracks on this album. Peavey's voice seems broken with his anguish and his desperation. And the music is heavy and emotionally fueled. His falsetto shrieks are a little too high pitched, alas, making him sound a little like a cartoon character*. But he can actually hold his notes quite well.This is the compulsory song about death:

"And I know my death holds no scares. There is no mysterium for someone who dares to die..."

Is "mysterium" actually a word? Yes! It means "overwhelming mystery". Wooh, new word to my vocabulary, taught by someone who doesn't even speak English as a first language (ha, Helloween taught me "darkling").

We pick up the pace again with "Reflections of a Shadow" with its thrashing beats, and rousing chorus. Nice keyboard/organ solo towards the end.

Crazy keyboards and distorted show-tunes type music "Can't Get Out". It's like someone is trapped within a record. Then the drums crash in and the beat begins. The vocals are fast, lower, Peavey is quite close to tripping over his tongue, or possibly falling into funk metal. It's nicely erratic and discordant, portaying a feel of confusion and desperation. I like it. It's different and interesting. The fade out is slow and eerie, and we get to hear Peavey speak - sounding not unlike Dan Swano in his Nightingale album, where he too sucuumbs to insanity.

Ah, now for one of my favourites - "Waiting for the Moon" starts with energy and passion, the vocals turning into snarling melody, twisting into a scream and then soaring into the chorus. This is a nicely catchy, faster paced number with good melodies and a refreshing sense of semi-positivity.

Now, we should have a little "Faith" in Rage. Starts with a scream, and then falls into Peavey's lower range, bitter and broken, pleading. The chorus is torn, pained. Strangely beautiful in its hopelessness. Also their most anthemic song - on this album at least, and contains one of my favourite lyrical quotes:

"We are branches on the tree of life, we can only get together by touching with our leaves. But we've got the same roots close in ourselves, so let's grow up to the sky."

A faster, victorious track, it's time to leave it all behind and "Saddle the Wind".

Another death song. We have "Dust" with its haunting and beautiful verses tainted somewhat by the squealing falsetto on the choruses. Peavey should stick to baritone and low tenor. It does create a mood of passionate desperation, however. Like he is screaming out his grief to the world. A fairly competent and invovled guitar solo.

Another raucous piece, "Nobody Knows" returns to the catchy speed rhythms of the past. Screaming, singing, shouting, Peavey seems completely capable of switching between the three within a few bars.

"Wild Seed" has a good narrative - a story about a young man gone wrong from the start. Fast, aggressive, with a nice warble in the chorus.

I'm not sure why, but I always think of Rage as being the aural equivalent of author Dean Koontz. Like Rage, Koontz is prolificate, releasing at least one book a year. Also, like Rage, he has his specific style which is appealing and with enough quirks to keep you reading his books. However, his books tend to blur into one and some are downright terrible, others just plain bland, and every so often you get the one that is pure gold. For Koontz it is "Watchers" and for Rage it is... not this album. Like Koontz, their earlier stuff is better, with more originality and passion, than the later stuff where it starts to feel like they are just in it for the money and because they are good at what they do.

This is not a bad album. It has some really good tracks, particularly the slower pieces. The album as a whole has cut down the pace rather since the earlier albums. It's not speed metal anymore, but not quite power metal either. It is, like a Dean Koontz novel, worth following through to its conclusion.

Rating = 7/10

* Ever since I read that "Skulls" review I can't stop thinking "Mickey Mouse"!

Nemesis - Day of Retribution (1984/2007)

In Edling's own words (from the 2007 re-release of this cd):

Nemesis was never a great band. We were ok some days, crap others. But we rehearsed often, had so much fun, with a burning ambition to do better...

Leif Edling, guitarist and vocalist, was 21 at the time of this album's original release, and he later went on to form Candlemass, one of the most epic and inspiration doom bands ever to step out of Scandinavia. Nemesis was not his first band, but it was the first that released an actual album (an EP). There were 2000 copies pressed originally, about half of which sold and the young, naive band never signed a contract and thus got a bit royally screwed when their record label went bust. After the release of this EP and the legal issues, and the fact they couldn't get another vocalist or a reliable second guitarist, AND a company called NEMESIS were going to sue us if they didn't change the name... Well, the band split and from the ashes, Candlemass was born.

The cover is pink. Edling hates this. He thinks the warrior woman on a horse looks like the scribblings of a 5 year old. This is the second time the album has been re-released and it still features that cover! I kinda like it - the warrior on the horse is abstract, indicated more with smudges of ink than actual lineart. And the CD is inside a nice slipcase with the same image on it. Inside the sleeve is Edling's little rant. It's rather self-deprecating, and quite amusing. That's where I got most of the above information from.

Edling likes this particular re-release - even if it does come with the original pink cover! There's some old photos (so young!) and a bunch of bonus demos - so let's give it a spin, shall we?

"Black Messiah"* has achingly slow drums. Leif's voice is powerful, echoing and deep, ending in a snarl. Rather like a devil, or fallen angel. This is the only album he sings on, even the early Candlemass album has a different vocalist. Deep, slow beats, ponderous rifts. It is raw and sludgy, like something rising from the darkest pits.


Faster, filled with raw savagery, "In God We Trust" makes an effort at catchy choral melodies but does not quite suceed. Does have an interesting, slower bit, giving Edling a change to demonstrate his ability to do doom-esque vocals.

"Theme of the Guardians" is likewise slow and sludgy, ponderous and filled with haunting doom.  The vocals are almost drowned out by the thunderous stormcloud wall of the guitars. Still, it chimes through every now and then, like the tolling of a heavy bell.

We pick up the pace a teeny tiny step, for "The King is Dead". It is dramatic, Edling's voice a chameleon, turning one minute from low, deep and bordering on melodic, to a savage snarl.

The final on the EP - "Goodnight" was an Angelwitch rip-off and not supposed to be on the album at all - but it's one of my favourites. Edling's voice rises from the sludgy mix of guitars and drums, a haunting, fallen angel. It actually reminds me of early King Diamond.

Now we're into the bonus demos, from 1983 - including all of the above, except "goodnight".

The first "In God We Trust" is very raw. The drums sounding not unlike someone thumping on skins way off in the distance. The guitars are a sludgy wall, over which Edling's voice soars and swoops, sounding slightly fuzzy around the edges. It truly makes you appreciate how much mixing and polishing goes into creating the sound that gets to the pressing. It does, however, make the lyrics easier to hear.

"Theme of the Guardians" seems to have greater clarity of sound. Again, the vocals dominate the mix - a nice change from the earlier tracks in which they kept getting bogged in the sludge. Lyrics still indeciperable, except for the occasional word here and there.

This version of "Black Messiah" is pretty good. Edling's voice is strong, although at times sounds a little strained and painful (for him, not me).

And in this version of "The King is Dead" I can actually decipher the lyrics:

 "And the prophet said 'The king is dead, but where did he go?
To serve in heaven? To rule in hell?'"

Ah, literary references.
The mix seems stronger, more polished here, or perhaps I'm getting used to the sludgeness. It truly makes you appreciate the clarity of sound you get in modern recording studios. Then again, the sludge can be half the charm.

And keeping in the whole medieaval theme - let's "Burn the Witch". I can almost see the circling villagers, flaming torches and pitchforks in hand, chanting along with the chorus.

"Burn the witch, burn her down; burn her down to the ground..."

How do you burn a witch to the ground?

Churning, thrashing: "The Act" is fast and frantic. I *think* it's about either attending a metal concert or performing one. Drums are a bit tinny. Actually, listening closer - I think it might be about sex.

Edling is not actually a bad vocalist, comparable with Johann Lundvist from Epicus Doomicus Metallicus. I suspect he is largely let down by the mix, which has all the sludge and garage sound typical of the early 80s.  This is a ponderous, doom-laden and, at times, quite vicious album.

My ranking is 6/10.

* This was recorded by Candlemass under the name "Incarnation of Evil" (on Ancient Dreams), if you wish to compare the two vocalists.

Lions Share - Two (1997)

Swedish band, Lions Share formed in 1987, suffering through many line-up changes. This is their second full length album (as you may have guessed) and is a progressive, melodic hard rock album with metal elements. They are now classified as "Power Metal" by Encyclopdia Metallium.

Just had a listen to a couple of their more recent tracks. Not overly impressed. This one is better.

It has a sort of progressive-hard-rock look to the packaging. Cover features two molten dolphin leaping from a chessboard. Black on white inside, very straightforward and very easy to read. Lyrics one page, band member photo on the other. They all look rather serious. On the back int contains the legend "Absolutely no gates used in this cd". Not sure what that means. So I asked google:

A noise gate or gate is an electronic device or software that is used to control the volume of an audio signal.

So, you learn something new everyday. I guess that means their sound is more authentic?

A chugging with pompous organ-synth opens "Wild at Heart". Full bloated, stirring. Guitars shift in and the rhythm surges forth. Vocals enter, smooth, almost sweet of a pitch not unlike Dream Theater. Surges into more full-blown shouts and bellows, with backing vocals sweeping around it like disembodied voices. Soemwhat savage and aggressive, as befits the lyrics:

"You know I've got a mean streak and you know that nothing can stop me now!"

The keyboards go a little wild in the solo.

The "Lord of the Pain" enters with lower, smooth vocals overlaid with gutteral shouting. Loud, aggressive, with violent rifts and churning emotions.

"Transient" starts with a blast. Shouting and singing combine in this sci-fi themed song with its rock rhythms.

The super-dooper-power-ballad "Don't Come Easy" feels almost like a parody, it's so different from the others. Vocalist Andy Engberg almost seems to be crooning. His voice is filled with passion and this is just like those good old-fashioned rock ballads of the late 80s/early 90s, complete with sing-a-long chorus and backing vocalists. It's uncanny, and quite beautiful, really. Engberg should sing more often.

"Shadows" was the first song I heard by Lions Share - played on MTV and it's a pretty epic hard rock piece. It starts with an aural assault like an avalanche of sound as the guitars and drums thrash, before Engberg's voice rises with the power and clarity of a deity rising from the stone. It is an immense and mighty song.

This is followed by another semi-ballad, "Baptism of Fire" has its slower moments. It is a stirring piece, complete with choirs. And latin. It makes me wonder if Lions Share are a Christian band. There's even a touch of Enya-style warbling. For a heartbeat, no more. There are some odd and intricate little quirks weaving their way through this track, bringing it into dramatic and passionate life.

Now it's time for a New Wave cover. Secret Service's "Flash in the Night". Not sure why metal bands like to cover New Wave tracks - this is the third I've heard in the last week. Here's the original. Whilst keeping the rhythms and structures the same, it is transformed into a dark and brooding Hard Rock piece, still retaining the keyboards. Immense and solid.

Another loud and dramatic piece, "World Gone Wrong" offers more of the heavy rifts, melodic shouted vocals and loud instrumentation, including keyboards. Not a bad piece, but nothing new or dramatic.

We conclude with an instrumental "Rat Race". For an instrumental, it offers little different from the actual songs, except for a bit more keyboard and that rising of drama and tension that builds then fades within a few beats.

Overall, it's an entertaining enough album, if a little too similar to the other bands of the late 90s for my tastes. Except for when they jump back into an 80s power ballad. Bit too shouty and not enough singy.

This earns it a rating of 6/10.

Helloween - Chameleon (1993)

Released in 1993, this is generally considered to be the low point in Helloween's career. It envelops a difficult part of their life - burned out after the Noise fiasco, with member cohesion and friendships crumbling, and the loss of Kai Hansen's genius. Like the lizard that gives it its name, it is an eclectic album, experimenting with a range of styles and rhythms. For all that the metal fans dislike it, it did receive rave reviews in NZ mag Rip It Up and it also finds favour with me. My musical tastes are nothing if not a little avant-garde, and my habits are nothing if not contrary. Whilst I would not consider it a necessity in every metal maniacs collection (mainly cos it ain't metal),  it holds a certain nostalgic appeal, combined with a level of insanity and genius. Helloween more recently did something equally experiemental, with the excellent "Unarmed" album, which is probably my top pick of their Deris days. But that is in the future, and this is the present, so let us now begin.

The cover sucks.
It's possibly the Worst Album Cover Ever. It's like they're not even trying. Four stripes - yellow, red, blue and green smeared across an otherwise white page. Pathetic. At least the little pumpkin cartoons that add a whimsical charm are still present, decorating every song. Although I have to confess, they look better in the smaller size of the cassette cover than enlarged for the cd.

At the back it says "Through hard times you find out who your real friends are."
I'm not sure if this is a barbed comment or not, given the turmoil in the band at the time, I'm thinking it may be so.  It was the last album with Kiske and Ingo.

This eclectic masterpiece is in fact the works of three of the band members, each of them creating music and lyrics for the rest to play. This is possibly what gives it its versatile, chameleonic, feel.

For the record:
Michael Weikath wrote: The First Time, Giants, Windmill, Revolution Now
Michael Kiske wrote: When the Sinner, In the Night, I Believe, Longing.
Roland Grapow wrote: I Don't Wanna Cry No More, Crazy Cat, Music, Step Out of Hell.

The album opens with a song about sex. This is "The First Time" that Helloween have a song with sexual connotations and innuendo. It begins with a squeal of feedback before the rock n roll rhythms take over. The chorus is nice and catchy. Drumroll to end it all, complete with distorted guitars and chimpanzees getting lively.

Then we sink into the opening beats of "When the Sinner". No idea how you'd categorise this song. Rock? It has quite dancey beats, kick horns. Kiske's vocals are damned fine, soaring up and down with youthful enthusiasm. The whole song contains the sort of vibrant energy that should have drawn in a wider audience. Jolly good guitar solo and a touch of piano.

Now into a powerful ballad, with enthusiastic acoustic guitar. "I Don't Wanna Cry No More" is Roland's song to his brother Rainer (presumerably deceased). Kiske's voice portrays the emotion well, combined with the light instrumentation. This is a song that is somehow both sad and celebratory at the same time.

And another switch, as we get jazzy with "Crazy Cat". The beginning sounds disturbingly like a dot matrix printer, before the kick horns rip in. The rock n roll rhythms transport you back to another era, maybe there are elements of Elvis here? Kiske is a big fan (but this is Roland's song). Lyrics are quirky and weird:

"Addicted to chicks! He's got a rental tree near the nudist beach, yeah!"

 It's energetic and crazy and probably about Fritz the Cat.

Now, for something a bit more emotional and powerful and downright METAL. "Giants" is possibly the only genuine metal track on this album, and what the others lack in majesty and power, it more than makes up for. From the soaring guitars, and dramatic music build slide guitar and then Kiske's voice, soaring high on currents of emotion and passion. This song is pretty damned epic.

A whistle-bang-whistle-bang follows on as the last chords fade and the "Windmill" begins turning. Piano, tinkling across the keys, Kiske's voice a gentle sussuration. Folk ballad? Vocals with acoustic guitar, a song that evokes memories, nostalgia, a feeling of peace and serenity.

"Don't feel alone and depressed, someone willl come at last. To soothe your stumbling mind to keep it away from the evil storm."

I always loved the lyrics of this song. I was 15 when it was released, and it gave me hope for my future. There's some pretty instense acoustic guitar strumming too. It's a very nostalgic and moving piece for me. Making me think of golden fields, and blue skies.

Now it's time to step back to the 70s, and time to put some flowers in your hair - because it's time for a "Revolution Now". The last of Weikath's contributions and with aspects of Sabbath and Trouble - that somewhat slow, slightly trippy, somewhat sludgy, psychadelic-doom sound (stoner metal?). The chorus is epic. The guitar solos are jolly fine. Fade out includes record scratching noises and grunting pigs. I am not sure why.

The acoustic-but-energetic "In the Night" really does do justice to Kiske's vocals and contains some very nice lyrics:

"When I wake up early in the morning, I catch a book and jump inside...."

And Kiske does his "Elvis voice". I love it when his vocals drop down an octave. Gives me shivers. The guitars are animated and filled with a playful joy.

Now, time for some "Music". Well, more music. This is a very powerful piece, building from a soft, almost haunting vocal line and with elements of classic rock. The stirring nature of the music and the power of the vocals, as they rise, soar, in celebratory harmony. It's slow and dramatic. The additon of the orchestra really helps improve the power.

"Step Out of Hell" is a song about drugs to what would be best described as dance-rock. Some reviews speculate that it's about Ingo and the lyrics centre on trying to help someone with a drug problem. The guitars are a little more energetic on this one, and Kiske's voice is as powerful as ever, but the cheesy keyboards feel awkward and a bit out of place. It is probably my least favourite song on the album.
Sadly, it's also prophetical:

"... go on like this you're gonna be dead..."

RIP Ingo.

Following on is the epic and beautiful "I Believe". Written by Kiske, this is him coming out of the Christianity closet in glory and triumph. It is a powerful and stirring song, even for a non-believer like myself. The rising melodies, the share jubilation and celebration in his voice and the full-on orcheastrations make me wish Kiske could perform with an orchestra all the time. And then he does his low-sexy-voice, except faster, and somewhat sinister. This is almost a song to inspire me to believe. But it's not preachy. Not really. Sure, he's singing about how important God is, but it's about his personal choice - not trying to inflict it upon the listener. Pure epic majesty.

Gentle strumming, provides acoustic support to Kiske's "Longing", it starts slow, but then the strings come in and then it becomes a thing of beauty. A song of loss, of love. Of longing. That final triumphant, symphonic blast...

"Here is love and there is pain; it's all around it's all the same".

You know what? This is a damned fine album! In fact, it's probably the most accessible Helloween album to the not-metal-fans and the structures and blend is an eclectic masterpiece. If I ignore the terrible cover and the internal band dramas and just concentrate instead on the extremely polished and brilliantly eclectic blend of music, that really deserves better recognition*.

I'd have to give this album 9.5/10.
Do you know what I want to see? Michael Kiske performing with an orchaestra. That would be amazingly awesome.

* Even the band pretend it does not exist - to the best of my knowledge, they no longer play ANY of these songs in any of their sets.

Gamma Ray - Land of the Free (1995)

After their previous album, Gamma Ray lost vocalist Ralf Scheepers to Primal Fear, a decent band on all accounts, and Kai Hansen took over vocalising duties. This album is very much like a follow-up to his last Helloween album (Keeper part two) with a strong fantasy flavour. It also marks the return of "Fangface", the deformed pumpkin-like creature from the Walls of Jericho album. From here on, Fangface become unofficial mascot to Gamma Ray and featured on many of their albums. Musically it is a lot more metal than the previous GR stuff, with the lyrics being somewhat more imaginative and fantastical. It is their first genuine Power Metal album.

This is one album that I was extremely excited by when it was released. Helloween had just dumped Kiske and Ingo; releasing the pretty good "Master of the Rings" album, but I was mourning the departure of my favourite vocalist. Not to mention that their previous album ("Chameleon", see next review) marked a dramatic musical shift for Helloween. I ordered it and eagerly awaited its arrival, opening the package with trembling fingers and stroking my fingers over the plastic box. You might say music was my life, when I was a teenager. I did not have too many friends and books and music were my escape from the trials and tribulations of a teenage reality.

The cover depicts Fangface like a cloaked comet, rising from a dreary, moonlit desert (looks a bit like the US SW) and encircling a more scenic, majestic land through which a river cuts. Two hands hold a crackling yingyang and an eagle soars beneath them. The cover unfolds with lyrics on one side and photographs on the other, including snapshots of all of the band members.

There is a Very Special Guest star on this album too, but we'll get to that when we get to his song. Actually, there's two, because Hansi Kusch of Blind Guardian is here too, singing the choirs.

The album starts with a gentle guitar and haunting vocals:

"Voices are calling from somewhere below..."

As we surge into the dramatic "Rebellion in Dreamland". This is epic power metal at its least pretentious - the lyrics are pretty cheesy (of course) but the music is complex whilst still feeling fresh and thrilling. Hansen switches from screaming to snarling and concludes with chanting.

"Have no fear.... rebellion is here!"

"Man on a Mission" rips right on in, energy and passion and pounding drums and raging guitars. Towards the end we fall into a nifty little sing-a-long bit, before roaring into the guitar duels of the pretty epic solo. Hansen is a good vocalist, but he's also an awesome guitarist. This song combines the quirk and fun of GR with the majesty and power of Helloween*. It merges seemlessly with the short and swift "Fairytale" before fading out.

The lower, epic rhythms bring on "All of the Damned" before we rampage into the guitar and Hansen's voices rasp out. The chorus is proud and loud. There are nicely changeable melodies and rhythms to keep it interesting, and a suitably rip-roaring guitar solo.

"I never thought I'd catch the rainbow, but in the end I had a dream..."

 This is followed by the stirring instrumental, "Rising of the Damned".

"Gods of Deliverance" is another epic power metal piece with suitably rousing spirit and jolly good rifts.

"Farewell" provides us with a slower moment. Kai's voice is a little raw and raspy for the ballads, but it does add an emotional edge of loss and longing. As the warrior sets off on his quest, it is with a certain amount of hope but also trepidation:

"Don't you try to stop me, all I know is I have to try. They'd be no sense in my life at all, if I stay."

Returning to the roots of speed metal, "Salvation's Calling" is like a blast from the past. Fast verses, catchy, sing-a-long bridges, a chorus that just makes you want to mosh.

Dramatic, racing; we gallop into "Land of the Free", before settling into a slower, haunting, spectral feel and rising in pace and spirit. The changeable nature of this song transports you to another time and place. The chorus is pure anthemic power, stirring and triumphant.

Light, haunting guitar turns to hymnal rifts as "The Saviour" makes his triumphant return. This blends into "Abyss of the Void". Hansen's voice does well in the slow bits now, as it drops an octave and loses the rasping edge.  It rises again for the chorus, celebrating the Saviour's victory:

"We fall to the ground and pray, cos he's the One. No demons left in this world, since he has won."

Now for the song that excited me most as a teenager, "Time to Break Free". Whilst Hansen's voice suits the music well - the savage, slightly snarling edge; this features the beautiful, clear voice of... you guessed it, Michael Kiske. Okay, so I was a little obsessed with him at the time. As pure and powerful as ever, I must have listened to this track a LOT. I can still remember all the words. The lyrics are great too - inspirational, making the spirit rise and soar - a great remedy for Teen Angst.

We conclude with the absolutely beautiful "Afterlife" a tribute to Ingo Schwinchtenberg. Here Hansen proves that he can do ballads. His voice, so raw and emotional, sends a shiver down the spine, complemented by the instrumentation structures. Haunting. A fitting finale to a damned fine album.

"Life's a dream that you will forget in the endless space. And the scars you got on planet Earth will be erased."

This is probably Gamma Ray's finest album, and one of the best true Power Metal albums. Forget about layers of complex symphonics, overbloated keyboards and the overly complicated structures that this genre is now famed for - this is pure, enthusiastic energy; raw and powerful and with some damned fast, fine guitars. True to the Heavy Metal sound, but with the passion and the intricities of Power Metal. It should be in every Power Metal fan's collection.

A highly deserved 10/10.

* Who, tbh, also had the "quirk"