Equilibrium - Rekreatur

Equilibrium

Rekreatur

2010

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This review is for Oakenson, as he would have penned it in my place I'm sure, were he around to do so.

With only a small amount of listening to “Turis Fratyr” before encountering Equilibrium's latest offering, I didn't have much to go on. At the time when I first discovered Equilibrium, I was not one for harsh vocals at all, and so it didn't get much play time. Now that I've done some more listening and my ears have become attuned, I've turned back to Equilibrium. They're symphonic, epic, and a little bit over-the-top, all of which mean that they're right up my alley.

It seems to me that “Rekreatur” has been getting a bad rap now that Equilibrium have had their breakthrough and gained some popularity. It's been accused of any number of failings, from poor vocal performance and repeating their old material to being “too light-hearted”. However, this review is not an attack on anyone's poor opinions. Rather, let's start from the top.

If you're reading this, you're most likely already aware of Equilibrium's work, so you know just what to expect from them. Things haven't changed, though they are perhaps a little bit more upbeat this time. These are the same crunchy, synth-drenched battle songs that Equilibrium has been doing since their inception, and will likely continue to do. The vocals are all harsh, and perhaps not the greatest for the genre. I admit I'd probably like the music better if the vocals were clean or at least more akin to those used by bands like Ensiferum and Wintersun. The music isn't very deep either (heck, you can't even understand the lyrics if you don't speak German); it's the sort of fluffy fantasy/folk metal that you listen to when you're in the right mood and want something catchy and uplifting. I for one love it.

I am not the greatest judge of harsh vocals, and so I'm hardly in a strong position to critique Rober Dahn, nor compare him to previous vocalist Helge Stang. If nothing else, they have a heck of a backup band, and one that excels at writing fluid and catchy melodies. The greatest thing about Equilibrium in my opinion is the absolute thrill and grandeur of their keyboard-topped melodies, and these are as sweeping and majestic as ever on this album. Everyone has their own favorite picks on this album, mine include “In Heiligen Hallen”, “Der Ewige Sieg”, and “Der Wassermann”.

Aside from the keyboards, the music is solid. The guitars largely play a rhythm role, but are able to break in with a galloping lead from time to time. Because of the ridiculous style of the music, the presence of the bass is largely glossed over, which is a pity, though I'm sure it comes through better at live shows. The percussion is another impressive part of this and every Equilibrium album. Simply to keep up the blazing pace that the band sets would seem to be a significant feat. The percussion is occasionally varied as well on “Rekreatur”, expanded beyond the standard metal drum kit in some areas, though I do not know if these sounds are electronically generated or not.

Suffice it to say I can't understand nay-sayers of this album, as it's pretty consistent with what the band have been doing. Saying that songs are fluffed-up re-writes of old tunes is not true. Like most bands, Equilibrium's style is pretty unvaried, and it becomes a matter of listening intently enough to be able to distinguish one song and one album from the other. Just because it's all keyboard-driven epic melodic death metal doesn't mean it all sounds the same. Now, based exclusively on the style of music that the band plays, this album is going to turn a number of people away because of its sound. For those that don't mind or enjoy the style, “Rekreatur” is certain to satisfy. Both authors of Black Wind heartily endorse Equilibrium's latest effort, and hope for an equally strong outing their next time around!

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The Protagonist's Rating: 8.75 out of 10

Angra - Temple of Shadows

 Angra

Temple of Shadows

2004

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Ah, Temple of Shadows. One of Angra's greatest works, and a classic power/prog album no matter who you ask. Along with "Rebirth", this album gave Angra the undisputed crown of power metal supremacy in South America. However, I think I'm getting ahead of myself, so I will digress.

"Temple of Shadows" is a concept album concerning a Christian crusader, "The Shadow Hunter", and his spiritual journey questioning the Catholic faith. Lyrically, this album is fascinating, and I feel that there is a great amount of thought and feeling poured into the music. Written by guitarist Rafael Bittencourt, the story of the Shadow Hunter, from the awe-inspiring "Wishing Well" to the speedy and furious "Temple of Hate", is spellbinding.

Instrumentally, the band has never been tighter. Dual guitar aces Bittencourt and Loureiro are in perfect sync as they spit out lightning solos, killer leads, glorious rhythm lines, and lush acoustic support. "Temple of Shadows" is much more of a power metal album than the band's two most recent releases, and the difference in tempo on fast tracks like "Spread Your Fire", "Angels and Demons", and "Temple of Hate" is remarkable. Save "Rebirth", this is the fastest release that Angra have ever produced.

Be that as it may, there are a number of incredible mid and slow-tempo offerings as well. The most remarkable being the absolutely jaw-dropping "Wishing Well". No matter the listener's preference in music, the band must be given credit for this spectacularly well-written tune. With a highly memorable, touching chorus and some really fine guitar work, this is probably the single greatest moment on an already formidably strong  album (given my general distaste for ballads, this is lofty praise from myself).

Another song of great interest is "The Shadow Hunter". Brimming over with flamenco-styled acoustic guitar and folky percussive talent, it provides the Brazilian flavor that the band incorporates into their music so well. At just over eight minutes, it's also the longest song on the album, with several distinct sections.

I find myself dwelling, as you may have noticed, on the first half of this album. The more that i listen to the album in it's entirety, I am convinced that the second half just doesn't stack up to the first half, at least for myself. "Morning Star", "Sprouts of Life", and "No Pain for the Dead" are quality tracks all, but I find them failing slightly when compared to the more catchy, dynamic, and exciting songs that fill the first half. Now granted, this tendency fits the story of the album well, since the latter songs are more brooding, sorrowful, and emotional, and this might be the real reason that they don't excite me as much. These tracks are mellow and interesting, but without the depth seen in their latest release.  An exception to this general rule is the more driving "Winds of Destination", featuring Hansi Kursch of Blind Guardian with an excellent guest vocal performance.

Saying that the latter half of the album isn't as good doesn't much diminish the overall greatness of "Temple of Shadows" however. This is, after all, still Angra doing what they do best. It's a superb album that furthered the band's hold on the hearts of many. I hadn't listened to it in its entirety for a good long while, and it has grown on me. Excellence.

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The Protagonist's Rating: 9.0 out of 10

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