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. 
 

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^^).

Mercury Rev - Secret Migration (2005)

Mercury Rev are glorious. As you may recall, it was my brother who lured me into their music, capturing me with their sound much as you would capture a mouse with peanut butter. The melodies, the liveliness, the sheer effervescence of their music... it is a delight to behold and absolute divine aural pleasure.

If you wish to know more about Mercury Rev, Pandora Radio has a nifty entry.

This album was purchased on a trip to Wellington. I had been informed of its impending release, which coincided with our vacation. Therefore I skipped out of the convention I was attending, racing down the hill in eager anticipation. I think this is the first time I've ever bought a cd on the day of its release and held it in my (slightly shaking) hands. I couldn't even listen to it - since I hadn't a portable cd player. But it was mine and it was beautiful and it was enough, for a time, to simply hold it in my hands and admire it.

The album cover is a thing of beauty. In perfect pastel lilac hues - delicate and fragile, like their sound. A moth, tawny wings spread to reveal eyes and a woman's face upon its thorax. Inside the dreamy, surreal, otherworldly feel continues with gorgeous lavendar shades: swans, clouds. It is all very dreamlike and ethereal, entrancing.

Of course, the instant I slipped it into the CD player I fell forever, unrepentedly, in love.

The dreamlike, haunting "Secret for a Song" entrances with its gentle piano, fleetingly beautiful vocals - as clear and as sweet and as innocent as a childhood kiss. Glorious enough to bring a tear to your eye and reach deep down into your soul and give it a gentle, loving, squeeze.

"I'll tell you a secret, I'll sell you a secret for a song..."

 Beautiful, melancholic, entrancing; now we delve "Into Yer Ocean". The lyrics are pure poetry, the light, lilting rhythms enhance and transform the music into thousands of delicate crystals, tinkling like stars above the gentle rise and fall of waves.

Tinkling like tiny stars, we have "Diamonds" with more evocative poetry:

"...like a bracelet hung, from a spider's web..."

Sweet, delicate, sensitive.

Piano and strings delicately dance around Jonathan's wonderful voice as he leads us through "Black Forest (Lorrelei)". Haunting, fairytale lyrics and a sense of longing and loneliness with a hint of helplessness.

"There's no way 'round the forest, the only way is through. And there's no way I'd make it without you..."

Their lyrics are so rich, so beautiful, so dream-like and whimsical that I cannot resist quoting them.

"Slow, rich, glorious velvet "Vermillion" is as smooth as a caress.

The glorious "In the Wilderness" is a love song. Vocal-centric, sweet, innocent, romantic and beautiful.

And Mercury Rev score mad bonus points for the line:

"How could I have been blind for so long
and how could the woman I love be so strong"

'Cos how many musicians would have used the rhyme "wrong" instead?
Also:

"...Take her by surprise, not by force..."

This song is like being enfolded in the arms of your beloved and lain down on the verdant grass in a glorious woodland where the trees are wearing their autumn suits.

Haunting melodies, echoing and spectral as the flutes and strings entwine "In a Funny Way". But it's not funny, it's beautiful, vibrant and playful love song. Fleeting, ethereal, ephemeral.
(The video is delightful and slightly creepy - you should totally watch it).

Hell, I need a thesaurus to write these reviews!

It's like being swept up into the clouds and sung to by angels.

Another beauty, "My Love" is the sort of melody that cannot help but stir your soul. The lyrics are filled with heartbreak and regret:

"... I never gave you enough, I could have given you my love..."

A lament of letting the one you love slide through your fingers, of not giving all that you should to someone who deserved it. Such a simple thing - love - but it means so much.

"Moving On" is short, choral and flavoured with crystal raindrops.

"The Climbing Rose" is another song of transcendent glory.The lyrics are repetitive, but poetic.

The drums erupt with vibrant energy as your spirit will "Arise" into clarity and poetry.

For a song called "First Time Mother's Joy (Flying)", this is a bittersweet symphony, the piano adding an edge of melancholy.

"...Soon the dormant patient roots will show themselves as childish shoots..."

Their lyrics are so gosh darned beautiful.

Concluding with the melancholic, the sorrowful, the heartfelt "Down Poured the Heavens" when Jonathan's voice almost cracks with the emotional overload.

Mercury Rev are, quite possibly, one of the most evocative and stunningly beautiful bands in the world. I cannot understand why they are not better appreciated, or more well known. There is noone that comes even close in terms of clarity and whimsical charm. Their songs are poetry to music, their arrangements pure magic and Jonathan's voice has an otherworld quality that makes you wonder how he can possibly be human (I think he's fae). After this album and the previous, it seems so impossible to possibly top them, that Mercury Rev released an album of entirely different stylings and sound. Still, whether they return to this sound or not, they have left us with two magnificant albums. The mood for this one is generally gentler, more melancholic, filled with longing and loss, compared with the playful innocence of (some of)"All is Dream".

And what will I rate this one? Yeh, you guessed it = 10/10.

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"

Edguy - Vain Glory Opera (1999)

So, it's probably time I took the opportunity to spin some Edguy. They were a fresh, young German metal band that formed in 1992, as what would probably be called the NWOEPM (New Wave of European Power Metal). Tobias Sammet, the vocalist, is one of the most admirable people in music - for not only does he have a damned fine voice but he also has a good, solid entrepreneurial sense. This is their second album, and it is something of a metal masterpiece.

In 1992, Tobias Sammet (who was born the same year as me) was merely 14 years old, and the fact that the entire band have endured, with only one member leaving them, is admirable. The band are, amusingly, named after their Maths teacher (according to wikipedia, knower of all things). They recorded demo tapes, sent them to record labels, and received many rejections saying that they were not going to endure in the long run.

Well, WIN to Edguy!

It is probably hard to be taken seriously when you are only 16 and trying to establish yourself in the music industry. Undetered by this, they self produced their first album - Savage Poetry, which was later re-mastered and released in 2000.

In 1998 (or 99 according to my cd pressing) they released this album, which brought them much wider acclaim and support from fellow power metallers. At this point, Tobias and his friends would have been over 20, and thus more likely to be taken seriously.

I already admired Tobias, but now that has just doubled. To find your dream at 14, and follow through with it - how many metalheads can claim that? He is also the primary song writer. Indeed, I think if there was one metal musician I could meet, it would be him.

The cover features an vaguely medieval looking seal - depicting two gryphons above a fleur de lies. Oh, and they're so young and fresh faced inside, clad in their medieval attire. Imagine if they'd been at our local Rockquest - I would have nearly died of glee! There's also the lyrics, of course, in a nice booklet.

In the style of old school power metal albums, this one opens with a classical instrumental, "Overture", but we also have Sammet "welcoming" us. His voice is powerful, both melodic and with a slight twisted snarl to it that he can put on when he wants to.

It them pounds in to "Until We Rise Again" with soaring, passionate vocals and inspiring, invigorating rhythms. Anthemic choruses. It is easy to see the Helloween ("Keeper") influence here, but Edguy are not mere imitators, they are a force to be reckoned with.  Pounding drums, complicated guitar structures.

More inspiring guitar, huge chords with intricate fingering entwining with them, ushers us in to "How Many Miles", where the keyboards now take flight. Another piece of soaring melodies, complex harmonies, diverse vocal styles and anthemic choruses.

"Scarlet Rose" is the first ballad, in which Sammet reveals his softer side. Delicate, romantic and beautiful, rising in power and passion. Evocative, stirring. Beautiful.

Stirring symphonies lead into the dramatic "Out of Control".

"Vain Glory Opera" is filled with power and light. Complete with triumphant keyboards and more intricate guitaring.

"We live to fight the hand of doom,we got the pride to strike the fool.
Vain glory be my wicked guide"

"Fairytale" charges in a fast pace with pounding drums and raging guitars. The chorus is splendid and anthemic, however.

"Walking on Fighting" begins with strumming guitar. Building, building, before the wall of of sound moves in. The vocals are lower, rising. I love the way Sammet sometimes rolls his Rrrs.

Another stirring ballad piece, "Tomorrow" starts with haunting keyboards and Sammet's "sweet" voice. Melodic, haunting and almost hymnal - by which I mean battle hymns, not the church kind!

This is followed by the rather more aggressive "No More Foolin'" proving that Sammet can switch from heart-breakingly longing to somewhat angry and taunting. Nice chorus though. Reminds me a bit of Judas Priest, actually.

Ad what better way to end then with a "Hymn"; anthemic, inspirational, powerful. It stirs the senses and awakens the warrior within. The keyboards help with their pompous bellows and Sammet's soaring vocals. This is a cover song, originally by Ultravox. Despite them being an electronic pop band, Edguy are not the only metal band to cover this song. Lunatica, who are symphonic with a female vocalist, do it as well.
Here's the original band (Remastered) singing "Hymn".
Here's Lunatica.
And Edguy.
I think we shall all agree that this works better as a Power Metal Song than 80s electronic pop. It is magnificant.

So, how to rate Edguy - a mix of creative genius and undeniable skill levels, passion and dedication. For an early album this is a polished and impressive album and clearly shows that Edguy DO have what it takes to endure and suceed. Tobias Sammet, I take my hat off* to you and your friends.

10/10.

* Well, I would if I were wearing one.

Aina - Days of Rising Doom (2003)

The early part of this century introduced a new trend in music - the Metal Opera. Avantasia were one of the first, but Aina came hot on their heels. Aina is the brainchild of Sascha Paeth, a German producer who produces such bands as Kamelot, Rhapsody and Epica, whilst also performing in Heaven's Gate. He called in some of his band mates and friends - Miro (keyboards/arrangements), Robrt Hunecke-Rizzo (drums, guitars, arrangements) and then contacted vocal coach and amazing voice, Amanda Somerville, to come up with a plot, lyrics and along the way she also invented her own language. Somerville is an American, but the "love of her life" is German, so she divides her time between both countries and coaches non-English vocalists. Teaching a new language phonetically to her choir was all in a days work for her, really. Not an epic undertaking, no, not at all. Not only did she come up with the plot, create the world, invent a language but also write a story in songs. What a woman!

Various guests were called in to play the various roles - including Michael Kiske and Tobias Sammet in the roles of Narrators (although they do sing, not talk). There's some good names in here - Simone Simons, Andre Matos, Glen Hughes and a goodly handful of ones I haven't heard of previously and also guest musicians - to play keyboards, guitars, bass or organ on particular tracks.  This undertaking took a mere 18 months of production and is a metal masterpiece.

The packaging is splendid. I have the limited edition version, which is a lovely hard back book the size and shape of a CD, with full colour illustrations, an outline of the world and introduction to the plot, the lyrics, photos of all the participants and the story of how it all came together. There are three card slots for the three cds, which does make extraction of them a little difficult, unfortunately. Still, as far as design goes, it's glorious.

"Aina Overture" is a stirring piece of classical inspiration, rising in power and force and taking on the distinctive "aina" rhythms before surging into the roar of guitars and other, more typical, metal instruments. Many of the rhythms here are repeated in later songs, making it tie together as a coherant whole.

"Revelations" is a slower song with choral accompaniment. It begins with light strumming and the Narrator, Michael Kiske, adds his lower and huskier voice to the mix. He should sing like this more often - it's rather sexy. The choir sing in the Ainian tongue. Then the prophets come swooping in, all drama and cautions:

"The Holy Voice calls down its warning, Don't turn your back on what he's warning!"

Alas, King Taetus (Damian Wilson) refuses to heed their words, and denies that the peaceful land of Aina is fated to change. He has a very fine, deep voice, well suited to his kingly role.

Now we are introduced to the beautiful Oria, in "Silver Maiden". The Storyteller bespokes her beauty and loveliness, waxing lyrical about her innocence whilst accompanied by flute and other classical arrangements, along with the Angelic Choir. Then the Narrator adds his own opinions in his sweet and longing voice. There is no question about it, she is perfection above all and everyone loves her.

Okay, so the plot is a bit cheesy. But it's an album, not a novel.

Now we rage into "Flight of Torek", a rabid contrast to the soothing, slow piece of its predecessing track. Pure power metal, rampaging drums, a hint of keyboards and Tobias Sammet's somewhat aggressive edged screaming. Two brothers, Torek (Thomas Rettke) and Talon (Glenn Hughes), both are in love with Oria (but who isn't, she's perfection, clearly) and when Talon announces his betrothal to her, Torek flies into a violent rage and storms off, putting himself into exile and plotting the destruction of Aina.

Heavy tribal beats, laden with menace usher us into "Naschtok is Born". Torek finds himself a barren wasteland and a vicious people (called Krakhon) that he can take control of and twist to his savage desires for vegencence, creating the kingdom of Naschtok. And all over one woman whose voice we haven't even heard yet. Aggressive and pounding, filled with rage and anger.

Seriously, I think I've heard this story before.

Finally, evil consumes Torek and he releases "The Beast Within" becoming Sorvahr. Given the references to "the night" and the illustration, some sort of beserker werewolf. Pounding rhythms again, powerful vocals - low (but not sexy-low) rising into shrill anger. Some pretty nice vocal changes between Torek and Sorvahr (both voiced by Rettke)

Now "The Siege of Aina" begins with slow and steady guitars and a touch of keyboards. The Krakhen army meets with the chants of the Angelic Aina Choir - the guttural grunts overwhelmed by the sweet, and innocent angelic voices. Baktuk (Olaf Hayer) has a surprisingly melodic voice for the character I take to be the leader of the Krakhen. Together he and Sorvahr plot their destruction of Aina, then take on the city.

"Your doom is nigh though you see it not. Our voices ride and your hopes will rot."

 He's a nasty, gloating bastard, don't you think? And all this because his brother stole the girl he fancied!
The keyboards and guitars duel. Talon surrenders almost immediately. What a wuss. Even Sorvhar is unimpressed.
Of course, there's only one thing that Sorvhar really wants...
And Oria (Candice Night) pretty much throws herself at him to save her beloved Talon.

Okay, that's a bit nauseating... Still, completely understandable.

Now we go into "Talon's Last Hope", all proggy and keyboardy. Now, we learn that in the interim, Talon and Oria had a daughter - Oriana. Whilst Talon mourns his lost love and curses himself for giving in so easily (duh), his head of the guard/chief advisor/whatever, Tyran (Andre Matos, our sweet Avantasian elf), reassures him that all is not lost. Talon declares that Oriana must be taken somewhere safe to grow and learn for the day when she is old enough to return and fight by her father's side.

Starting with horrible noises, screams and  keyboard, the "Rape of Oria" leads into a surprisingly soft and haunting piece, where Oria sings reassurance to distract herself from the torment she must be facing.

From this vicious act comes Syrius, the "Son of Sorvahr". Sorvahr sings forth his triumph at fathering a child and his army of vicious brutal monsters add their shouted. The illustrations here are really neat, showing these evil horn-helmeted creatures holding up this tiny wrapped bundle. Whilst induitably heavy and these being the bad guys, the spirited, celebratory nature of the music cannot help you feel some pride for the new father. Even if he raped his brother's wife to beget the child...

 "All beheld, my masterpiece shines!"

For a time, things seem pretty peaceful. Sorvahr's got what he wants. "Serendipity" brings back our beloved Narrator, Kiske. The lyrics are beautifully poetic and somewhat vague:

"Then the Son came to the one who'd made it come all but undone..."

"Lolae Amer" is a largely instrumental and choral piece. Beautiful, haunting. Inspires imagery of a peaceful forest glade and a pond. Where two young lovers come together. It is sweet and romantic, but there is a darker edge to it. Oriana, in her peaceful exile, has found love:

"Perfect, yet so completely strange at the same time. I've never met you, the name Syrius says nothing to me..."

Yes, that's right - Oriana and Syrius fall in love.
Now, not only are the half siblings, but their fathers were brothers, so they're about as close to full siblings as you can get without actually being born to the exact same parents.
Little bit of ick here?

In "Rebellion", Talon resolves to take back Aina and gathers together his army, calling his daughter to his side, unaware that her loyalties are now somewhat twisted and divided... As befits a call to war, this is a raging, pounding song filled with inspirational guitar rifts and keyboards.

So, the battle begins and it is time to face "Oriana's Wrath". Her warriors ride to meet Syrius's, neither realising that they actually know each other. As soon as they recognise each other, they draw to a halt. Needless to say, Sorvahr is not too happy of his son's betrayal. Pretty nifty keyboard solo, and lots of aggressive, pounding guitar. Oriana is voiced by Sass Jordan, whose voice may be strong but is not particularly feminine. She's a true blooded warrior woman even if she is also known to bed strangers in the woods. Given the sorrowful ending of this song, I'm going to hazard a guess that Sorvahr killed his own son after casting him down and renouncing his name, and then in retalliation, Oriana killed Sorvahr, before rushing to cradle the head of her beloved more-than-half brother.

The war is over, but there are many dead and Oriana must have a very muddled heart. Things are at peace again, but it is time for rebuilding, repairing, patching the wounds. Here Kiske and Simone Simmons duet together, their glorious voices weaving a spell of "Restoration".

For those who have found the plot somewhat confusing, the second cd is "The Story of Aina". Largely instrumentals and re-recordings of the songs on the album, it ends with a 15 minute telling of the entire storyline, with musical accompaniment,as told by our Storyteller, Sebastian Thomson. He has a fine story telling voice, not too heavily accented but enough for my aural pleasure.
I love this line:

"There had only been an echo of a rumour of a legend..."

The story is richer in detail than the lyrics indicated and casts Sorvahr as a monstrous god-like being who reaches down and crushes the life from his son when he is betrayed.
The rest of this CD is much like what we've already heard, with single and alternate versions of selected songs, including "Rape of Oria" in Ainian (I'm guessing) and "Silver Maiden" with Amanda Somerville singing instead of Kiske.

There is also a DVD, containing a documentary on the making of Aina, which is interesting, but mostly in German with subtitles.

Overall, Aina: "Days of Rising Doom" is quite an achievement. It switches from neo-classical to power metal, to folk and the music is richly composed to heighten the experience. The cast of vocalists is impressive. Beautifully realised and very nicely done, a superb metal opera (even if the plot is cheesy).

10/10

Nightwish - Oceanborn (1998)

This has to be one of the most beautiful albums in my (rather large) collection - both visually and musically. The cover is gorgeous - with gentlre indigos and purples, a dragon's eye enfolds the earth - a snowy owl carries a scroll and a woman lies, face up in the water. It is somehow both soothing and slightly sinister. The band photo is intersting too - Tarja crouches at the front, her hair up and in almost Victorian attire, looking slightly gothic-Lolita'ly. Behind her Tuomas gives a sly smug grin and the other three members, all so young and fresh faced, look suitably bored. Inside the lyrics overlay images, all in the varying shades of blue, which make them a little difficult to read.

The music is as refreshing and powerful as the cover. It opens with the epic keyboard and guitar rifts of "Stargazers", the synths soaring wildly and intensely before the guitars surge in to wash them away. Tarja's voice is that of an angel - strong and powerful, rich and a fine soprano. She can scale three octaves and is classically trained.

"Gethsemane" follows. Haunting, beautiful, intense. Words cannot easily describe the delicious wall of epic sound, the soaring vocals and magical interplay of keyboards, guitars, bass and vocals. The mood is flawless and enchanting, taking the listener away across the waves and into a frozen wonderland of fiords and infinite beauty.

Pounding and intense rhythms lead us into "Devil and the Deep Dark Ocean" and the low and menacing, almost demonic vocals, quickly overlaid with Tarja's angelic ones. This is an immense and powerful piece. In the background, the keyboard florishes and soars.

"Sacarament of Wilderness" has the same intensity. The power and might of the instruments, the solid wall of evocative, emotive sound combines strikingly well with the silver-spear of Tarja's voice, which is like a radiant, powerful force. It is easy to imagine oneself in an immense and ancient forest, where moss and frost drip from the tree branches and the trees whisper their secrets to one another with the wind.

Solid guitar leads us into "Passion and the Opera", a magnificant and powerful piece in which Tarja's true vocal range is explored and the music more supports her rather than taking on a personality of its own. That's not to say it is not soaring and diverse and very dramatic. Haunting, melancholic. Breath-taking.

Gentle flute and enchanted melodies heralds "Swanheart", a soft and delicate number; fleeting and gentle as a cascade of feathers. Her voice is one of the most soaring and evocative that I have ever heard, so sweet and powerful it cannot help but touch your heart and bring a tear to the eye of all who behold it. This song is absolutely enchanting.

The instrumental "Moondance" proves how delicate and sophisticated the instruments can be, with a folkish edge, this is probably the most epic reel I have ever heard. It is easy to imagine faeries dancing by moonlight, flutes in hand, their tiny delicate bodies glowing under the gentle carress of her light.

"The Riddler" is gloriously melodic. The vocals sublime and smooth, the music playing both a delicate and dramatic counterpoint.

The rather ominous "The Pharoah Sails to Orion" starts with lows, menacing tones, with guttural  male vocals snarling over the rising power of the guitars, merging with flurries of keyboard; faster, faster, faster. It breaks, more growled vocals, and Tarja's angelic trilling an ethereal counterpoint. The keyboards trill. A flute whoops and soars in sweeps and shimmies.

The superlative and beautiful rendition of "Walking in the Air" has me entranced. The sublime vocals, soaring effortlessly over the melancholic, the bittersweet, the absolutely stunning and beautiful melodies. Words cannot describe how this song makes me feel.

And as if the emotion, the evocation, the splendour of that is not enough, it is then followed up by the even more spell-binding "Sleeping Sun". Supported only by gentle chiming and light guitar (I think), Tarja's voice is filled with emotive glory and power. Gentle, and oh so heart-rending. Magnificant.

This album is certainly one of the finest metal albums I have ever heard - powerful and evocative, emotional and heavy in parts, delicate and fleeting in others. It is one of the finest examples of symphonic metal I could ever imagine and is enchanting, haunting and all sorts of other delightful adjectives.

It's gonna have to be another 10/10.

Avantasia - the Metal Opera pt II (2002)

The story of Gabriel Laymann, the Druid Vandruiy and all the others continues in "part two".
The cast is also much the same, except this one also involves Bob Catley of Magnum as the "voice of the tree".

This one has a much more amusing cover - as it features the cast. Although I do rather wish that they had chosen to base the characters off their vocalists, because seeing Michael Kiske as the bearded, helmetted druid would have been hilarious. Maybe I shall have to do that myself. The figure at the back - Gabriel - could look a little like Tobias - from behind. The dwarf could be Kai I suppose. The others are all pointy-eared and therefore probably not part of the main cast (although I'm guessing the fellow at the front is Elderane).

Here's a picture someone did of Vandroiy.

"Seven Angels" opens with the haunting choirs of the Believers (not the band). The three "bad guys" are disbelieving of their failure, whilst the hero - Gabriel Laymann, is whisked away to the beautiful city of Sesidhbana. This song is epic, as we have come to know and love with Avantasia - some slow and mellow bits, monumental builds, great guitaring and sophisticated drumming.
And very long (fourteen minutes).
But you hardly notice, cos it changes styling and vocalist so many times you start wondering if its changed tracks and you've not noticed.

In "No Return" Vandroiy and Gabriel sing in harmony again, celebrating the beauty of the city in which Gabriel now finds himself. To add to the awesome male vocals, we have Matos adding his touch as well. Three of my favourite vocalists in one song... oooh, it's enough to give me chills! Anyhow, Gabriel decides he wishes to laern more about this spiritual world in which he has found himself.

Elderane is prepared to help and sends Gabriel to find the Tree of Knowledge. So, in "The Looking Glass" Gabriel makes the journey to the tree that speaks with Bob Catley's voice, and gets somewhat more confused, because the tree is rather cryptic... (and has somewhat broken grammar too)

"As long as you long for the whole, you can't get a part of at all
How proud would the buildings of Rome look without all single stones"

This is a faster paced, catchy song - rather reminscent of Edguy, actually.

Piano leads us "In Quest For". Here the Tree of Knowledge sings. He still has broken grammar "you're accused for heresy"? Hehe, you're singing a duet with a tree, Gabriel. Anyhow, he looks into the tumultuous waters of a lake and sees someone that resembles his aged mentor, Jakob. no wait, it is Jakob - but as a young man. It's a nicely mellow piece, and a good bit of a calm before the storm that is "The Final Sacrifice", in which we learn more about Jakob's past.Having heard this song an hour ago on the other album, I don't feel I need to say much mroe about it here.

Meanwhile, a bishop, a monk and a priest are lost in "Neverland".

Contains such awesome lines as:

"I know less than all but more than many who know less..."

It sounds a little like Gabriel is taunting them...

More piano leads us into the gentle "Anywhere" in which Gabriel finds himself thinking about Anna again, and also about how he wishes to free the part of Jakob's soul that was caught in the lake.Sammet is pretty good with the ballads, his voice isn't quite as sweet and pure as Kiske's, but it is definitely powerful and emotive. He doesn't share this song with anyone.

Taking his new goals to Elderane, he learns how to free Jakob's soul from being rtapped under Rome - where it is kept captive in "The Chalice of Agony" and guarded by a fearsome beast. Gabriel and Regrin set about this mission using the seals to open the gate. They release the souls and usher them in to Avantasia. The beast comes awake and ravages at them, Gabriel escapes but Regrin perishes.
(Poor Kai - why is it always the dwarf that is considered less important to the plot?).
As far as songs go, it's pretty catchy - nicely melodic and fast paced.

At this point, Gabriel is sent back to the real world. He's been away a while - I hope Vandroiy has been watching his body well. In "Memory", Vandroiy convinces Gabriel to head to safety, whilst he will rescue Anna. He hires some men and goes there to find that Jakob (soul restored) is waiting there to help him. Together they rescue Anna, but in the process Vandroiy is killed.
(And now Kiske - why are you killing your metal idols? Or their characters, anyway).
It's heavy and fast, and kinda dramatic in parts.

And Anna mourns Vandroiy in the next song - "Into the Unknown". She finally gets to sing again!
Now we get a lovely duet/ballad between Gabriel and Anna and a melodious conclusion to a magnificiant project and an epic album.

Brilliantly conceived and well organised. Sure, the plot is a bit crazy, but it's many steps better than Skylark's confusing concept album, and so masterfully cast that who cares if its a little bit cheesy.

I'm gonna give this 10/10 too, and then maybe listen to the first track again.

I think I feel some fanart coming on...

Avantasia - The Metal Opera (2001)

Tobias Sammet's Avantasia would have to be one of the most awesome projects this century. His idea - to get together a group of guest musicians - with many superstars of  the European Metal scene and produce an album. And oh, what an album it is!

I remember when I first heard about it. I don't think I have ever ordered a CD so fast, nor been so impatient waiting for it to arrive. Oh, the ripping off of the plastic, the laying it in the cd player (I'm not sure I even had a computer then), hearing it for the first time...

This album is, in one word, EPIC.

Here's the Cast:
Tobias Sammet (from Edguy) as Gabriel Laymann
"Ernie" as druid Lugaid Vandroiy*
Kai Hansen (Gamma Ray) as Regrin the Dwarf (a dwarf! Ha, go Kai!)
David DeFeis (Virgin Steele) as Jakob the Monk
Andre Matos (Angra) as Elderane the Elf (perfect, he does have the voice I would associate with the elven-kind)
Oliver Hartmann (At Vance) as Pop Clemes IIX
Sharon Del Adel (Within Temtpation) as Anna Held
Bob Rock as bishop Johann Adam von Bicken
Ralf Zdiarstek as bailiff Falk von Kronberg
Timo Tolkki (Stratovarius) as the Voice in the Tower
And playing the instruments:
Henjo Richter - rhythm and lead guitars
Markus Grosskopf (Helloween) - bass guitar
Alex Holzworth - drums
Frank Tischer - piano on one track
Norman Meiritz - acoustic guitars on one track
Tobias Sammet - piano, keyboards and orchaestration - because he's THAT awesome
Jens Ludwif - lead guitars on a couple of tracks

Wow, quite a star-studded line-up! From what I understand, Markus and Kiske got on okay, despite Kiske's earlier "divorce" from Helloween. And he and Kai still get on well, and have banded together once more.

The cover is pretty awesome. There's witches and jesters and spooky woods and a very cool emblem in the centre. Very High Fantasy. Inside are the lyrics and a rather lengthy synopsis of the album's plot, which I should really read some day. Like Right Now would be good.

Okay - before the Metal Opera begins, Gabriel is working as an inquisitor with Friar Jakob. He has been commended for getting confessions and so forth, and has been summoned to see the latest suspect - which turns out to be his stepsister, Anna, who was more like a real sister to him.

Could she really be a witch?

He seeks advice from his mentor, Jakob, and finds Jakob in the library. Jakob is acting a bit suspiciously, and has acquired a new book. A sinister book. Troubled by this, Gabriel later sneaks in and sneaks a peek at it. It is Old. And potentially Evil. And has a message at the back from a druid called Lugaid, addressed to the witch, Else, whom has recently been condemed. Also, a cryptic message about Rome that he doesn't understand. However, after reading the book, Gabriel finds his fingers permanently marked - and it turns out that the Friar had booby-trapped the book. Thus has Gabriel broken his trust and thus is to be arrested.

When they come to take him away, the old Friar says nothing just stares at the floor in silence.
And that is where the story begins:

Like all good Euro metal albums, we have an atmopsheric instrumental "Prelude" to welcome us in.

Then it rips into the inspiring "Reach Out for the Light".  Imprisoned in his dreary cell, Gabriel watches as his cell-mate paces, and together they share their stories. It turns out, his companion is one of the last Celt druids, no less than Lugaid Vandroiy. This is a duet between the two, aka Kiske and Sammet. Together their voices combined are a powerful force - especially with a chorus behind them. Noone has a voice like Kiske - it is quite unmistakable.

In the next track, "Serpents in Paradise", Gabriel begs forgiveness - from Else for her death  and worries about Anna. He pleads Vandroiy for help. This intersects with Jakob taking the stage, himself awash with  guilt over his betrayal of the novice, whom he loved like a son. This is a rather more aggressive song, filled with tortured anxieties.

In "Malleus Maleficarium" things take a turn for the sinister as Gabriel remembers Else's trial - of how she was threatened and killed. The music swells ominous and poisonous around the hiss/snarled vocals.

It splinters and unleashes "Breaking Away", which also brings Lugaid back on stage. Another epic and inspiring song. Realising that the only way to help Anna, and themselves, is to escape, Vandroiy and Gabriel stage a daring escape, the old druid knocking out the guard and the two of them fleeing the castle. However, Vandroiy urges him that they cannot rush straight to Anna's aid, and he must, for the time, bid her "Farewell" in a beautiful, and haunting, combining the three finest vocalists on the album -  Sammet's slightly raw edge lends itself well versus Den Adel's sweet tones, and Lugaid provides back-up vocals, softening Sammet's edges. Sadly, Den Adel is under-used and this is her only track on the album.

Meanwhile, in Rome.

Another heavier and nastier sounding number, "The Glory of Rome" brings the bailiff and the bishop together as they welcome the addition of Jakob and his book. Secret documents have been located - secrets revealed. By bringing seven seals together - the seals of Holy books, then ultimate wisdom, illumination and truth shall be revealed. The racing drums and snarled edge to the vocals suggest that it is not a kindly conversation.

The seals are brought together, and a new door opens, into the creepy and haunting little passage of "In Nomine Patris", over before it really begins.

For, Avantasia is, as you may have guessed, a spiritual world - not really Heaven, because it's a bit more fantasy-esque than that (although I suspect itmay be a kind of Heaven for Tobias) and it can be entered in two ways - spiriutally, by having your spirit transcend through a special place (and probably a ritual too) or physically - which is what happens should all seven seals be put together.

Therefore, many miles away from Rome, Gabriel and Vandroiy are in the forest. They have just been attacked by bandits and left for dead. The only way they can help Anna, Vandroiy declares, is if he sends Gabriel's spirit to Avantasia (a dangerous enough endeavour) and he'll stay behind and make sure nothing happens to Gabriel's body, which will be left in the forest glade.

And thus we enter into the most valiant song on the album - "Avantasia". Combining the master vocals of Kiske and Sammet once more. Yeh, I'm biased. I love Kiske. So what.

A short and haunting passage heralds Gabriel's journey into "A New Dimension".

Now that he's "Inside" we have elves. And dwarves. Regrin the dwarf finds Gabriel and takes him to visit with Elderane, prince of the elves and head of Avantasia. Matos has a beautiful clear voice, that rivals Kiske's for clarity and perfection.

Anyhow, something dark is brewing in the beautiful, once-peaceful kingdom of Aina** Avantasia - Ancient Evil forces have mobilised a large army and they are reaping Terror and Destruction. In "The Sign of the Cross", Gabriel is required to join the humans and take back the seal to prevent all the nice creatures from being forgotten and vanishing***. No word on rescuing Anna. I hope she's just been forgotten and isn't being tortured for witchery as we speak. No, wait, all the bad guys are already in Avantasia, so I guess she's safe for now. This is a song with FIVE vocalists - on one hand we have the three "good guys" - Regrin, Elderane and Gabriel, on the other side we have the bishop and the pope. It's a pretty epic song.

Meanwhile, back in the real world, Vandroiy is pondering the purpose of "The Tower". If all the seals are taken to the tower, then Avantasia will be forever locked. He also has a mental connection with Gabriel and pushes the young man to follow the path as the Avantasians suggest and not run off after Anna. Gabriel is a bit perplexed about how helping Avantasia can help Anna. So, I think the bad guys (the pope and the bishop) are trying to seal Avantasia forever and the others are fighting to keep it "open".

This is another complicated song, where a great deal is made about "the voice" in the Tower. Is it the voice of God? No, it's Timmo Tolkki but as the main guitarist of Stratvarius, maybe Sammet considers him a god. No wait, it appears the voice in the tower is "their father, they had broken with, because he had wanted to bring chaos to earth." So he's a devil?

Multiple vocalists, epic scale song, complicated structures and ever changing rhythms weave a damned fine symphonic power metal song.

Anyhow, it appears that Gabriel steals the seals off the Pope and runs away, dodging and weaving until he gets snatched up in an elven flying machine and thus Avantasia is saved.

Jakob bemoans:

"How could the stranger steal the seal away? Was it my fault? OR was it noone's fault?"****

...but Anna is still captive, so I guess we'll have to buy part two as well...
Actually, sod it, I'm not going to go straight on to B, I'm going to listen and review it now, because I want to know if they rescue Anna and I can't wait another 20 or so cds to do so. Plus I wanna do Aina next time round. Or Ayreon. Why are all the metal operas starting with "A"?

Then we have "Avantasia" again because it's so awesome that you shouldn't even need to flip tracks to hear it again. It's the edit version - so it's one minute shorter, not sure if there are any other differences. They should have got every vocalist to do a verse.

It is followed up by "The Final Sacrifice". This is an angry duet between Gabriel and Jakob. From the lyrics, it sounds like Gabriel has cast Jakob into Hell. I'm not overly fond of it.

Get ready for the Brimstone, getting blisters on the eyes.
The power of the spirit was their final sacrifice.

Anyhow - a damned fine album, very complex and masterfully composed and arranged by young Tobias. It's kind of funny to psycho-analyse this actually - he has portrayed Kiske and Defeis as sort of "father figures" to his young novice, and Kiske in particular is probably one of the most admired voices of metal - even if he wants to break the ties with metal and become a Rock God instead. So, one cannot help but think that perhaps this was why he created the character of Vandroiy. It was a grandiose project, and one that came to valiant fruition - and he has gone on to create further Avantasia metal operas - not just the sequel to this one but many others. They even toured! I would dearly, dearly love to see Avantasia live (with Kiske, please with Kiske).

I couldn't possibly give this epic masterpiece anything less than 10/10.

* For reasons of his own, Michael Kiske did not wish for his name to appear on this album. Possibly because he did not want to be considered to be getting back into metal. Not that his voice isn't instantly recognisable anywhere.

** Whoops, wrong metal opera, we'll do that one next time.

*** Directly quoted from the booklet. I wish someone could have done that on Earth so that we could still have some of our lost "nice creatures".

**** "...Stranger steal the seal..." wonder how many times he tripped over those words. And how come he didn't recognise his own novice?

Helloween - Keeper of the Seven Keys (part one) (1987)

Helloween are my favourite band. And this is one of their best albums.

Of course, to my one loyal reader, you already know of my love for this German band - or at least the way they were back in the late 80s, when they were at their finest. So, you don't really need me to tell you this twice. But it's worth repeating anyway.

It is not, alas, a long album - having only six entire songs and a couple of short bits. But do not let that deter you - for one of the songs IS 13 minutes long. The cover speaks volumes - it shows a hooded, faceless figure, levitating a ball of glowing keys (seven of course) whilst behind him - through an open window, you can see a serene lake, surrounded by mountains. Evocative - it makes you wonder - who is he? What do the keys open? Unforunately, for the answers about the keys, you have to wait for the next album.

This is the first album with the adorable Michael Kiske on vocals, and with Kai Hansen taking most of the guitaring roles, as Michael Weikath had injured his wrist and was unable to perform.

It is a simple single-fold sleeve, but does manage to fit all the lyrics in - although the font is rather small.

Let us begin with our "Initiation" into the glory that is Helloween. Tolling bells; triumphant, swelling guitars. Ahhh, it makes your heart soar to listen to it.

"I'm Alive" is a joyous celebration of being, well, ALIVE! The lyrics are not earth shattering, but the energy, the sheer intoxication of this song cannot help but fill your soul with hope and joy.

This feeling continues into "A Little Time", although it has its gloomier moments. So much metal is so angry and aggressive - Helloween chose instead to play the sort of music that thrills and excites you, making your spirit soar. Clever interplay, quirky little guitar gimmicks and the playfulness of the vocals and music add to this impression.

The energy and pace of "Twilight of the Gods" makes it a masterpiece. No need for fancy synthesizers or orchaestras (although those would be wicked) - Helloween achieve a climax of sound with just guitars, drums, vocals and choirs. Masterful, beautiful. It brings a tear to my eye and I've pretty much cranked my speaker volume up as high as it can feasibly go.

Hell, my neighbours deserve to learn the power of Helloween. They play their music all the time, anyhow (at least they have reasonable taste and it's rock, not rap or dubstep).

A softer, heart-breaking number - "A Tale that Wasn't Right" allows Kiske to truly shine, the emotion and power in his young voice - he's only 18/19 here. Wow. Damn, those tears are back...

When I was a teenager, most of my peers had crushes on movie stars or boy bands (yup, we had them in my day too) - but me, I was "in love" with Michael Kiske. I'd still love to meet him (although I no longer fantasize about marrying him).

And now "Future World" - the first Helloween song I ever heard. It was on the "Thrash the Wall" compilation cassette*. From its celebratory opening chords, to its highly sing-a-long-able chorus, to its positive, positive message

"... cos we all live in future world, a world that's full of love..."

 Even the band admit that the lyrics are fluffy and over-idealistic (I believe Weikath dissed them in an interview I once read - I read a lot of Helloween interviews - claiming they'd never write that sorta nonsense again) but to a teenage girl, facing (albeit pretty mild) bullying, peer pressure, teen angst and a lack of friends - it is a message that sticks - and it was right - my "future life would be glorious" - or at least pretty damned good.**

The jarring beginning and crashing beats of "Halloween" are powerfully evocative. Like being steamrolled with music. The vocals are magnificant, the music stupendous, little quirks like the tinkling of magic in the air, the whispering voices... all combines to create a wonderful, dramatic, evocative, melodramatic and overall wonderful aural experience. Masterfully clever, and even at 13 minutes long (the video is much abridged), it changes pace and style enough to keep you entertained.  Oooh, that sounded like a flurry of bats!
 (Btw, if you watch the video, make sure you check out Kiske's expresion when the demonic voice tries to corrupt him. It's priceless. If he didn't decide to follow the path of using his glorious voice, he would have made a decent actor, I reckon - he's definitely charismatic and expressive enough.)

The haunting little instrumental, with whispering voice, bids us to "Follow the Sign" and probably subtly encourages us to buy the next album. Which, if you've heard this one (and if your music mood sensors are wired like mine) - you will anyway, since one is NOT enough.

 THIS is the essential album for every speed metal, power metal fan's collection. If you like this genre of music and you do not have this album - BUY IT NOW. And, while you're at it, you might as well get the second one too, because together they are EPIC.

I'm sure you don't need me to tell you my rating - but I will anyway - a triumphant 10/10.

 * Oddly enough, I don't think I liked it that much on the first listening (my brother can probably recall my comments). I believe at that point I was in my "Sepultura phase" which lasted about one week and then I turned up the volume on "Future World" and it hit the pleasure synapses in my brain and I fell instantly, irrevocably, in love. Back in those days (remember, I was around 13), I used to watch RTR countdown, which was the NZ music chart show, counting down the top selling cassingles for that week (nowadays, that would be itunes downloads, for all you modern-day teens) - and every week I would make my own list. This song stayed at #1 for an awfully long time, until finally getting shunted off by the Escape Club's haunting "I'll Be There".

** Although I am sure my 13-year old self would have considered it more glorious had Michael Kiske come and whisked her away!

Diablo Swing Orchaestra - Pandora's Pinata (2012)

Thank you to my brother for this delightful CD. It is truly a gorgeous little package and definitely quirky and weird - the kind of music I love (along with Heavy Metal, that is). This is going to be a hard album to categorise and will be a fun one to review. No two tracks are alike!

The Diablo Swing Orchaestra are a Swedish Octet. According to wikipedia (and their website) - Ancestors of their band performed in historic Sweden in defiance of the ruling religious beliefs of the time, forcing them to go into hiding. They would put on clandestine performances to the peasants and eventually had a bounty put on their heads and decided to put on a spectacular final show before being matyred by the church.

The packaging is beautiful - it's a digipack, which always look neat but never fit in my CD rack, and thus must languish in an unsteady pile beside it, on the coffee table. However, instead of being a flimsy cardboard affair, this is a solid little hardback book, with pages and all. The cover is whimsical and colourful, reminiscent of childhood and innocence - two children in a forest - a pinata, from which a snake has emerged, seizing the stick from the girl's hand. The inside is filled with psychadelic treats of dice and candy, the font playful and bright.

Truly a delight.

The music is similarly playfully eclectic, with the musical styles switching and the rhythms changing and evoking a wild and crazy carnival feeling.

The album opens with "Voodoo Mon Amour" with its trumpets and chugging bass. Swing or jazz? I'm not really up with my non-metal classifications. Anyhow, the vocals match, this is crazy stuff. Crazy but awesome. The lyrics are equally crazed:

"...we reek as mammals do..."

 "Guerilla Laments" starts with a percussion and a triumphant cascade of horns. I also detect something of a latin feel in their music.

We begin "Kevlar Sweethearts" with cellos. The vocals are gentler, soft and sweet. However, like kevlar, there is a harder edge as well. It is quite a haunting song.

The cellos lead us in to "How to Organise a Lynch Mob" too with their slow and longing voice. Then, it is consumed by "Black Box Messiah" as the synths and a far more modern sound takes over, reminsicent of the 80s pop explosion and peppered with strange vocals. Okay, so I have no idea how to classify this, but the vocals are a little Muse-ish, along with their rising power and striking the inner core of the soul in a slightly chaotic manner.

A rather heavier number, "Exit Strategy of a Wrecking Ball" has the force of the great ball itself, swinging in ponderous and threatening arches, getting closer and closer to contact. The chugging bass intermingled with twanging cellos. More synthesizer. Vocals quite Muse-esque, but with more horns and trumpets, and violin or cello,  and therefore superior. The intermingling of thrash, synth and classical instruments is masterful.

Not that I don't love Muse.

 "I have come to erase you, I'm here to replace you..."

There are also some aggressive numetal vibes here too, which are made more impressive with the addition of cello. I do not like numetal, but I REALLY like this!

"Aurora" starts like a starburst. Little percussive lights flickering over the horizon, exploding into fire. The vocals are almost-opera but more reminiscent of a musical. There are also some soothing folk vibes. Beautiful, transcendent and brought to life by the orchaestral melodies.

They're back into the cellos with "Mass Rapture", building into something epic, with a chugging more modern metal sound, but jerky rhythms from another era. The melodic, chanted choruses are haunted, beautiful, with a hint of opera.

We're back into the musical-meets-Muse vibes with a "Honey Trap Aftermath". The lyrics are staccato, punctuated by horns and with a distinctly jazz (?) vibe.

Dramatic staccato and horns deliver us into the mighty "Of Kali Ma Calibre".  The rum-tum-tum-tum of the drums leads us into the operatic vocals.  This is pure, symphonic Power and Might. Swelling from the speakers, pounding us with its majesty, before falling into chaotic rhythms, and then descending into a few brief chords of grindcore, swelling and slowing into the purity of violins. This is insane and wonderful.

The final track, "Justice for Saint Mary" has rather slower vibes and is also pure symphonic metal - violins and cellos weaving a fine web of power. Slow, melodic; haunting and rich. The drama builds, the tension mounts... the music becomes more frantic, the violins desperately against the deep howls of the cello, the drums, and other instruments rising, rising into an almighty storm, intense in its power and fury. Rising... Rising... Rising... And then it quiets and comes crashing down into....

... okay, I'm not going to tell you how this piece ends. Listen to it instead!

Pure majesty, power and originality - such an eclectic blend of metal, symphony, swing, jazz, latin and, well, everything else, can create only two things - a confused cornucopia of noise or this - something that truly needs to be listened to - and listened to LOUD - something that will reach deep within the core of your being, spark all the synapses in your brain that relate to auditory delight and invigorate you with boundless energy and positive vibes.

This is one album that you will play, and play again, and again, just to experience the full blend of emotions and sheer epicness of this album. It is extraordinary.

Yeh, you understand it - I really, really, really like this album. In fact, I'm going to rate it 11/10.
That's to say, it's currently the most interesting and intense album in my collection, and I feel a little sorry to listen to something else, as I suspect after this one it will be rather an anticlimax.

So in advance, I apologise to you, Eluveitie, for Diablo Swing Orchaestra are a hard act to follow.

And special thanks to my awesome brother for finding me another new favourite band - first he introduced me to Mercury Rev, now Diablo Swing Orchaestra. He is truly the Best Brother Ever.
(His blog is: Dances for Architecture and he writes better about music than I do. Check him out).

Candlemass - Nightfall (1987)

Ah, the beauty and majesty of Candlemass. I know this band well, having discovered them way back when I was in my early Metal Years. This was, if I recall, my first of their albums, and I originally purchased it on cassette tape. I own the CD now, of course.

Messiah Marcolin, vocalist at this time, is a Metal God. He has the voice of an angel - albeit a somewhat large one and slightly sweaty one. That is to say - it is a lovely, beautiful voice but so much power - the sort of power that could devastate buildings or rise mountains from the sea.

He is magnificant.

This is the first of the Trinity of Divine Candlemass albums.  As I own them all, they shall all be listened to, dissected, admired and enjoyed. I am undecided as to which is my favourite, but as this is the first, it defnitely rates highly.

Okay, so you get the idea, I love these albums. I love Messiah. They are beauty and power and... let's just listen to it already, shall we? Actually, I vaguely remember analysing some of these songs for a  school project/poetry assignment. We had an awesome English teacher.

And don't worry, I'll try and find you some videos too - in case you are one of the unintiated.

Firstly - this album jacket is beautiful, taken from "The Voyage of Life: Old Age" by Thomas Cole. It depicts an aged man, in a boat afloat on a lonely ocean, dark clouds looming overhead, a ray of light splitting them asunder. Before him hovers an Angel, a vision of white and glory. In the very centre, small and unassuming but very easy to read, is the band name and the title. The sleeve itself is a simple affair - a one fold cover with all the lyrics printed in small but legible font, set against the twilight clouds.

As I noted previously, most metal albums from this era begin with a short intro piece with haunting music or - in this case - crashing lightning or perhaps a cracking "Gothic Stone".

Whatever it is, it quickly fades into the looming majesty of "The Well of Souls". Messiah's soaring and powerful voice rises above the doom-laden chords, filled with his passion and dedication to protecting the world from:

"...hatred and scorn..."

Perhaps because Messiah's customary attire is a robe, crucifix and he pretty much looks like an epic avenging monk, it is very, very easy to envisage him as the "old man" whose life is dedicated to protecting the world from the looming threat of Satan.

Lyrics indicate that he is unsuccessful in this endeavour, yet like in the earlier track "The Sorcerer's Pledge", the battle is a non-climactic one. In this case, daylight destroys the darkness. Let us just be thankful that they write lyrics, not novels.

"Codex Gigas" is another pounding instrumental, with ominous, slow beats and brooding atmosphere. I am imagining someone carrying a heavy load, ponderously through the dark.

Ah, the opening chords of "At the Gallows End" bring a shiver to my spine and a tear to my eye. Partly it is nostalgia - but also it is a beauty lead-in - slow and haunting, with Messiah's wonderful voice dripping with raw emotion and loss. I am standing with him, waiting for my death. What a swan song.

"Only the vultures will come to see me hang..."

Pounding bass, dramatic and chilling. 

And oh, now we have the most beautiful "Samarithan". Every song a memory. Slower rhythms, slightly lower vocal register; sorrow and compassion weigh down the words. A homeless man, offered sanctuary - a simple act of kindness that brings with it much reward. This song is a thing of beauty.

I am never quite sure if Candlemass are technically a Christian band - their lyrics are filled with Christian imagery, but they seem to regard it with more honour and respect than the bands that preach about hellfire and damnation. It feels biblical in the oldest sense of the word, and noble.

The ponderous and dramatic "Marche Funeral"  bridges us between this song and "Dark are the Veils of Death". This is a faster paced, and somewhat more dramatic slightly hectic song, almost desperate at times. Messiah's vocals are no less than stupendous.

"Enter the great adventure, just wait and see..."

I think Candlemass helped me to "survive" my teen years. Whilst they are, technically, a doom band, their lyrics are not filled with as much death and despair as other bands of that ilk* - they have hope - of the afterlife, of redemption, of the triumph of good against evil.

The devastatingly beautiful "Mourner's Lament" follows. A song laden so much with mourning, loss and anguish. A father mourns his deceased son. A song that sends shivers down my spine and a thrill in my heart. The power... the raw emotion... The whispered "Rest in peace" brings a tear to my eye.

Why, you could almost say that I'm "Bewitched" - which is coincidentally, the next (and almost final) track on this album. It is a song with decidedly pagan elements, putting it at odds of every other track on this album:

"Bewitched by delight, you'll reach the night dancing and singing to my fiddle. So take my hand, and understand, that no-one will see you again." 

It is a splendid song, and somewhat more upbeat than the rest of the album. Of course, the video is something of a letdown, thanks to be exceedingly cheap and cheesy and rather silly. I suspect that the band are not quite as serious as they pretend to be. Still, noone is immune to a little fun.

Candlemass are an amazing band, and this is an awesome album. Along with the other two Messiah-vocaled Candlemass albums, they are some of the finest doom and gloom albums ever made. Even the nostalgia aspect notwithstanding, it would be a crime against metal to give this album anything less than 10/10.


* Stay tuned for Confessor (music to kill yourself to). But they'll probably have to wait until I've looped through all my Candlemass. Ironically, Confessor helped me in those angst-ridden years too.

Alpine Fault - Iraena's Ashes (2011)

This is my newest CD*. So new, in fact, that I received it three days ago and only listened to it today for the first time - I was saving it until I worked my way through the alphabet for the first time.

You've probably not heard of Alpine Fault - unless you have a facebook page and similar interests to me, and clicked on the promotion link when it appeared in your adds feed. That's what I did - and I would like to report - that sometimes those adds are very useful!

Alpine Fault were formed in New Zealand, like the right-lateral, strike-slip fault that runs the length of both our islands. They now make their home in Brisbane. With any luck, they might be performing when I head that way later this year (*fingers crossed, pretty please*). They combine classical music and metal, with operatic female vocals, melodic male vocals, and the occasional snarl or scream. For a band that have only been around for seven years, their sound is very polished, very complex and very, very good. They have recently replaced their vocalist, so it shall be interesting to see how she differs from the singer on this album, Nadia Vanek.

"Iraena's Ashes" is something of a concept album, based on an incident that happened in Auckland, in 2004. A young schoolteacher/model named Iraena Asher called the police expressing fears for her safety. Instead of sending a police car, a taxi was sent instead. To the wrong address. Iraena was then found wandering by a couple, who took her into their home for several hours. At sometime after midnight, she left and was last seen, semi clad, walking towards the beach. When approached by others, she ran away. She was never seen again. It is suspected she drowned, although her body was not found. She suffered from bipolar disorder. This album is a tribute to her and follows the themes of loss and separation, love and death. It is a beautiful, moody album.

The cover is hauntingly melancholic in shades of blue and grey - a woman stands alone, looking down and into the ocean. She is off-cetred, to the left, further enhancing the atmosphere of sorrow and loss. It is beautifully rendered, flawlessly professional. The interior holds more of the spectral sea, rocks merging from its treacherous depths. Further through, and the band stand in the whispy fog, their small figures looking lost and alone against the vastness of their environment. Their poses look almost amusingly forced, their expressions alternate between moody and bored.

The opening track, "Into the Night" is infused with heavy guitars, intermingled with violins and with Nadia's sweet voice like a melancholic wail. Male vocalist, Anthony Royle, joins her on the chrous, his voice performing the "Beauty and the Beast" counterpoint. This is the song about walking into the sea, and the tumultuous nature of the music corresponds with the heaving, confused emotions of the lyrics. It fades on a heart-rendering, wailed, note of despair.

"Above the Storm" brings in the violin and gentler guitar, before falling into a steady, haunted rhythm.The tune is tinged with desperation and despair. The violin adds a fragile thread of loneliness.

Strumming and violin again lead us into the mesmorising "I'll See You Soon"

A heavier song, tempered with mourning violins, is "Mourning has Broken (sleep)" here the vocals are exclusively male and the mood flavoured with anger.

"Requiem" is bewitching. With its spectral murmurings of the ocean, over the gentle intro music; forlorn vocals and haunting lyrics.

A largely instrumental piece, "The Watcher Beneath" allows the violinist full scope, creating a mood of misty haze, hanging in sullen clouds over the dark and treacherous depths of the ocean. Beneath lurks the unknown.

Insanity and aggression seems to be the theme of "Severance" with the music becoming a frenzied, untamed beast.

"March of the Tides" is a beautiful violin instrumental. I do not think I have seem a symphonic band in which the violin is as integral as in Alpine Fault. It adds a special, haunting, mesmorizing tone and an element of mournful longing.

"Under a Dying Sky" is as haunting and forlorn as you might expect from the title.

I've only listened to this album maybe two or three times now, and I can already say - with assurance, that I am a big fan of Alpine Fault and that I am very, very keen to see them live. They are performing in Auckland later this year - as part of AetherCon 2012 (although I would not consider them particularly steampunk, but who cares?) but not sure if my budget extends to taking another overnighter up to the humid city for another concert this year. Still, as they now hail from Brisbane and we will be headed that way later this year, maybe I'll luck it. Anyhow, with sounds like this - they're going to go far and should be around for some time yet.

Let's give them a 10/10.

You can buy Iraena's Ashes from here: Alpine Fault's website

* Note for my sole reader: My second-newest I shall be reviewing when I reach "D"

Mercury Rev - All is Dream (2001)

My brother introduced me to this band (well, their music, I've never met them - alas). He is responsible for some of the stranger albums in my collection (most of which I haven't got to yet) as he sees it fit to educate me on non-metal genres. And occasionally metal genres as well.

This is probably my favourite album this century (although "Secret Migration" is also magnificant). I ADORE Mercury Rev's middle albums (not so much the older or the newer ones, however). Their delicate combination of vocals and instruments, the evocative, playful nature of the music... Not to forget Jonathan's beautiful voice. There's just something so joyous, so rousing, so alive about this album.

I have no idea how to classify them. According to Wikipedia, they're "dream pop" and similar to Flaming Lips. These guys are far better, however. Not that I've really heard much Flaming Lips.

The album cover is beautiful - a psychadelic array of colour - a whimsical acrylic painting that is utterly over-complex. To complicate matters, the lyric sheet is out of order, but I'm going to conclude that mine was merely assembled incorrectly. As was my brother's. Hrmmm.

We begin with the stirring "Dark is Rising", a song that lights a chord in my heart and makes my spirit soar. With its melancholic bridges, and soaring choruses, it is haunting and magnificant and just damned beautiful.

Following it is the gentler "Tides of the Moon". A sweet and sensitive song.

"Chains" starts with piano and a bit of a rock beat. Jonathan's voice is sweet - and he would be the first non-female vocalist I would label as sounding "ethereal".

The ghostly "Lincoln's Eyes" sends shivers down my spine. With lyrics like:

"... fragile as a seahorse..."

This song actually feels quite fragile, ephermeral, like wisps floating in the air. Actually, now that I'm actually reading the lyrics - they're really very random and weird:

"... covets like a dragon, grows to a shark length contracts to amoeba lives in your soul an' loves you like I do..."

I'm not sure what it means, but I love it.

"Nite and Fog" is a simpler song, which, because this is Mercury Rev, means not very simple at all.  It has a bit more of a beat to it, a little faster pace. The instruments seem to speak.

Now, looking at the lyrics to "Little Rhymes" I wonder is that a typo? "Staighre... to nowhere climb..." I'm pretty sure it's "stairs" right? No wait, it's a type of folding attic stair - haha, I just learned a new word. That'll be useful in Quiddler. It sounds sweet, but the lyrics are tinged with a hint of the sinister and sad. Like a lonely child, huddled in the attic, making little rhymes and taking pills to try and forget the harshness of the world outside.

My favourite song is the wonderful "A Drop in Time". I love the playful nature of the music, the way it flits and flickers like a hummingbird darting on the air. It skips and dances in my ears and sets my soul to fly with the instruments. The lyrics are kind of romantic too. I could listen to this song all day. Maybe I shall (I'm already playing it for the second today). What's with

"... a fleeting thought caught inside of Leonard Cohen's mind..."?

I think my favourite bit is the twiddly bit with the birds. Especially as I've been drawing hummingbirds today.

"You're My Queen" is another sweet, sensitive number. A song with few lyrics, but a good rhythm and a great chorus - every woman should be told that she is someone's Queen.

 "Spiders and Flies" is a cute little song, with lots of piano.

We conclude with "Hercules", a strong finale that starts soft and gentle but soars and expands in power and majesty.

For its atmosphere, its poetic nature, its vibrant music and beautiful vocals, I shall rate this CD 10/10.