Revelry on the Horizon

As we move into the winter season, I'm happy to welcome a greater number of readers to our blog. As I'm taking some time off of work this week to head home, posts may be sparse. On the other hand, maybe the lack of work and stuffing of my face will leave me stranded in front of a computer with naught else to do. In any case, here's what's tentatively on the menu for this week, some ideas I've been tossing around:

1. Review of Angra's "Temple of Shadows" per reader request.
2. Review of one or two new albums (any requests here? I'm momentarily out of new albums to review for The Metal Observer, and have some spare time)
3. An overview of the French power metal scene, something that's been on my mind lately. Doesn't seem to be a great amount, and I like to delve.

In Minnesota, we've had some nasty precipitation and bad roads (500+ accidents in the metro area last weekend), so I want to wish all would-be revelers in the United States and beyond this coming week(end) a safe drive and visit to families. If you're bored inside this weekend, explore! Read through our past posts and visit some of the other quality sites we've linked to!

Nightwish- Dark Passion Play

Nightwish

Dark Passion Play

2007

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When one of the most popular metal bands around drops their lead singer to worldwide drama and takes a noticeable change in style, you can bet that you're going to cause quite a stir. This is exactly what happened with Nightwish in 2007 before their release of “Dark Passion Play.” Band and fan interactions aside, this latest offering from Nightwish was somewhat controversial, and has set the band in a bit of a new direction.

The new singer, Anette Olzon (previously of AOR/hard rock band Alyson Avenue), brings an entirely different style to the table than that of Tarja, and this is clearly the largest audible difference in their new music. Foresaking the enormous operatic vocal sections (excepting “The Poet and the Pendulum”) that have been Nightwish's trademark sound, the band has made a move more towards a more poppy, melodic metal sound, rather than operatic power metal.

Anette's voice is quite pleasant, and she serves the band quite well. Had the band continued in the same style as before, she would have made a poor replacement for Tarja's soprano brilliance. As it is, she fits the band like a glove, and has fallen quickly in sync with the creative talent of Tuomas Holopainen. Tuomas himself is probably the biggest disappointment in this album to me, as there are various tracks like “Bye Bye Beautiful” and the above mentioned first track where he conveys a bit of self-centeredness, though not enough to detract too much from the music.

The other problem with this album is its movement towards the commercial side of metal. I don't know if this is an intentional move for the band, or if it just sort of developed in the writing of material, the departure of Tarja, and the influences that the band have had lately. I'd still label it as metal, but more like melodic American metal in places than what we're used to. Tuomas has reacted rather negatively when asked about this, so he clearly feels that he's still writing metal himself.

“Dark Passion Play” has a very polished production, and a harder sound than ever before, while also being a little more boring on the instrumental side of things (guitars are taking more of a rhythm role this time around). Songs like “Eva”, “For the Heart I Once Had” and “Amaranth” show that the band have undisputedly placed a greater emphasis upon well-defined and accessible vocal melodies. This works both ways. I absolutely adore “Amaranth”, though I don't think of it as the same Nightwish as I once knew.

That's really the big factor on this album. If you expect this to hit you the same way that “Once” and “Century Child” do, you'll be pretty darn disappointed. If you step into it expecting something new, you'll be pleasantly surprised. I can firmly say I don't care for “Dark Passion Play” as much as I do older Nightwish, but it's not a poor album by any stretch of the imagination. It just fits into a style of music that I don't enjoy as much. I find the music a bit more redundant and unexciting, and while still carrying a measure of novelty, it's not the trademark Nightwish sound that so many have come to love.

Nightwish are still creative, just in a different way. Probably, this new style is going to continue onto the next album. I can't say I'm too disappointed, as every band ultimately evolves (or devolves) and dies. “Dark Passion Play” crosses genre lines, but is quite accessible and will still appeal to many older fans of the band. I'm looking forward to the next album, where perhaps they've worked things out and will mature this new sound.

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The Protagonist's Rating: 7.25 out of 10

Ancient Bards- The Alliance of the Kings

Ancient Bards

The Alliance of the Kings

2010

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I actually first discovered this album by reading Oakenson's review of it on The Encyclopedia Metallum, shortly before we became fast friends. I was blown away by his spectacular review of the album (giving it a 100%), and decided that I must have it!

Months later, I am as enraptured by this album as my brother is, and have decided to pen my own review. This album deserves to be well-known, and I've yet to read overall negative feedback on it.

First things first, Italy is a country that is running over with fantasy flower metal bands, and this generally describes the Ancient Bards as well. BUT, and that is a big but, this band does it all with so much passion and talent that it's really hard to compare them to bands like Derdian, Kaledon, and others. Even the mighty Rhapsody of Fire have a considerably different approach. Personally, I've never been an incredible fan of Rhapsody's work, and something like this appeals to me much more.

So what is it that makes “The Alliance of the Kings” so fresh, so exciting, and so novel? There isn't a quick and simple answer, I'm afraid. It is glorious, epic, passionate, and utterly brilliant musically. Let's begin with the very first and perhaps most impressive item, and that which I normally do not care for in metal bands: a female vocalist. I am NOT a sexist, but neither have I been a great fan of women as lead metal vocalists (gothic metal and bands like Nightwish, Luna Mortis, and early Dark Moor notwithstanding), particularly in the genre of power metal. Sara Squadrani of Ancient Bards has made me a believer, and I confidently state that this fine lady is already on par with Tarja Turunen in terms of talent and respect in my book. While she is a soprano, she's clearly not as operatic. Her voice is powerful and silky smooth, at times a gentle breath, mounting to fortissimo melodies on many tracks. She slides so gracefully between some notes that, much rather than sounding amateur, her vibrant and melismatic singing is a joy to listen to.

Oh, and instrumentally! Most of this group's work is so incredible that the guitars are almost the low point, believe it or not. The bass is audible, and there are at least two short sections featuring the bass in a solo, which is almost unheard of in this genre. Choirs and synths complete the transformation into a project that has little trouble transporting the listener from an office cubicle to a fantastic land fraught with peril, pride, and promise.

Like many Italian bands, the lyrics are written in English but are occasionally difficult to understand (sword comes out repeatedly as “surd”). This is a slight imperfection in the otherwise flawless majesty to which the band aspires. Musically, the compositions are breathtaking. Long song lengths find the listener repeatedly finding themselves swept up in an orchestral interlude or a tasteful demonstration of the ample guitar shredding that is also to be found. With symphonic metal this well-crafted and exciting, I almost don't care what I'm listening to, story-wise. Here also, the band excels. This is the first entry into an ambitious project for these young Italians, being part one of the “Black Crystal Sword Saga”. The difference being the means of telling the story. The lyrics are perhaps easier to understand, and the story not entirely so bombastic and dramatic. There is more...story-telling if you will, than many other outfits see fit to provide.

While upbeat, technically proficient, and bombastic tracks like “The Birth of Evil” and “Frozen Mind” are my favorites (you CANNOT find better symphonic power metal, ANYWHERE), there is a wide tempo spread and a beautiful ballad in the form of “Lode Al Padre. As with all excellent metal releases, words don't quite do the music justice, as it's impossible to bottle the essence and energy of such a dynamic and unique band and then spread it across so many sheets of paper.

With that said, if you get even a shred of enjoyment out of symphonic or orchestral power metal, or if you feel that you may want to look back into a genre you've given up on, this is the time to do it. The genre itself seems to have been limping a bit the past couple of years, but Ancient Bards are one of the several bands from Europe that have re-energized the genre and given it a sublime recovery this year. This album should not be ignored by any fan of power or heavy metal in general. Friends, you owe it to yourselves to discover this wonderful and majestic gem of an album.

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The Protagonist's Rating: 9.5 out of 10

The Protagonist's Album of the Week 11/14-11/21

Crystal Tears

Generation X

2010

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An album that I reviewed this past couple of days for The Metal Observer, "Generation X" really surprised me with the punch and aggression that is not typical for power metal coming out of southern Europe. Still, they remain melodic and with some pretty good fretwork. Even better, they've got Ian Parry of various projects (Ayreon, Elegy, Infinity Overture) on lead vocals, and man does he ever tear it up!

Good power metal with a few thrashy moments in the vein of bands like Primal Fear. Check this stuff out, it's got a lot of promise!

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Crystal Tears- X Generation

Revolution Renaissance - Trinity

Revolution Renaissance

Trinity

2010

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Like Gandalf the wizard, Timo Tolkki has long been wandering in strange lands, trying to find his path back to the world. Claiming shock when the members of STRATOVARIUS carried on without him (and resumed being badass), Timo sought refuge in his own project, REVOLUTION RENAISSANCE.  “New Era” was a mediocre release, and “Age of Aquarius” started slipping out of the realm of metal.  As a matter of fact, I’d just about given up hope on Timo entirely. I knew that the third and final RR album was coming out this year, and figured I’d give him one last shot.

Well, he hasn’t redeemed himself quite for all of the poor to mediocre power metal he’s made, but “Trinity” is a BIG step up in quality. This is no “Saana- Warrior of Light”, and it’s not watered-down like the self-titled STRATOVARIUS release. “Trinity” is the sort of power metal that you’ve forgotten that Timo once made.  Pretty straight-ahead in its formula, this album has dropped former attempts at silly atmospheric and symphonic elements. The guitars are back, the tempo has been turned up, and the rhythms are strong.

The vocal lines sung by Gus Monsanto are very heavily reminiscent indeed of STRATOVARIUS, and I keep expecting his voice to cease, replaced by Timo Kotipelto.  There are some pretty dumb lyrics on a couple of songs here (“Life is a highway, we’ve got one chance!”) that will make most listeners roll their eyes, but this is hardly the epitome of bad flower metal. Gus is definitely a competent singer, and his voice has a not-unpleasant edge to it. I personally feel that this is a personal best vocal performance for him, having heard a number of his projects.

Now, I’ve heard some rumors suggesting that Timo didn’t actually record the guitars on this album himself, and I have no idea if that’s true or not. In any case, the quality solos are back, and it is a very refreshing feeling. I haven’t felt a Tolkki solo that really SOUNDED like a Tolkki solo in quite some time. This nostalgia for classic, conventional power metal is what makes “Trinity” remarkable. It’s one of the genre’s masters (say what you may about his recent subpar work) making a hefty stride towards a return to form. The rhythm is crunchy and tight, the leads dynamic and excellent, and the solos are superb!

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The Protagonist's Rating: 8.25 out of 10

Originally written for The Metal Observer

Oh Timo Tolkki, you're so fickle...

Ok, so everyone knows good ol' bumbling Timo Tolkki. He's probably one of the most troubled figures in metal music. After putting Stratovarius through a pretty serious rigamarole, he abandoned them (after which they got back up on their feet and start kicking butt liberally once again) for his new project, Revolution Renaissance.

Tolkki was "shocked and hurt" when his former bandmates from Stratovarius took the rights for the band's name and profits and went on running, but stubbornly put his nose to the grindstone and churned out the trio of RR albums. These aren't bad albums, but they're not spectacular either. The first, "New Era", is a relatively unimpressive piece of work, perhaps most comparable with Tolkki's last album with Stratovarius. "Age of Aquarius" was a step in a different direction, being darker, slower, and less metal, but again not a bad release. Many were expecting the final Revolution Renaissance album, "Trinity", to be weaker yet. Fear heightened when, before the album was even released, Tolkki declared the breakup of RR, claiming to be taking a hefty or permanent break from music.

However, Trinity turned out to be a pretty decent piece of work (I'll have my review of it up here very soon), and it left me hungry for some more of Tolkki's material. He finally made a comeback to some GOOD metal, and then looked like he was going to give up altogether!

Recently, however, there was an announcement that Tolkki, along with a number of other well-known metal musicians, would be forming a melodic metal supergroup entitled Symfonia (including such big names as Uli Kusch and Andre Matos). Symfonia is currently recording material for their first album, and will also begin live shows February of 2011. The first record is due out spring of the same year.

So, while perhaps not the driving creative force behind Symfonia, it seems we'll get to see Tolkki back in action after all. Despite his bumbling lately, his original work with Stratovarius established him as a veteran guitarist and songwriter. Despite all of his dishonesty and mental issues, I see Mr. Tolkki as a troubled but well-meaning individual. The Revolution Renaissance project, while not stellar, was a reasonably interesting piece of work, and his upcoming cooperation with Symfonia is promising. Timo is well on the road to redeeming himself for many people, and already has in the eyes of this fan (besides, it's not like Stratovarius needs him anymore anyways :P).

A Brief Pause

Hail readers! (or what few of you there are so far),

I want to take a break from the typical posting to give you a more personal check-in, and to answer a few questions that we've had :)

1. Yes, Oakenson is not currently contributing to the blog. He's taking a break from it for a little while. Yes, I also know that my reviews are not as good as his, and he knows it too. Hoping he'll be back with us soon, until then you have to put up with me.

2. We've had a few requests for reviews, including Angra's "Temple of Shadows", Christopher Lee's new Charlemagne project, and the latest Symphorce album. My schedule is quite busy at present, and as much as I love the blog, it's a side project to what else is going on. Not that people are breaking down my proverbial door with these requests, but I am thrilled to have been asked and want to oblige. Balancing things like school, work, writing for a couple of different sites, etc. gets a bit hectic at times, and this site is a very fun recreational break from the rest of our lives. That being said, thanks for the communication and keep it up, we love hearing from you :)

3. Something that I've forgotten to mention is a radio show held on Wednesdays from 5-7pm Eastern time by a metal friend of mine from the Buffalo area of New York. Specializing in dark emotional metal (and whatever crap the college station makes him play) but taking open requests is Jake Brew with "The Cold Embrace" metal show. Check it out at the college radio's website, it streams easily in Windows Media Player, and Jake is a fun and knowledgeable host.

That's all that comes to mind for the time being. Thanks again for checking in. Good evening, and as my good friend would say, "Let the winds blow fairly upon you."