Magistina Saga - Creaith Anthem

Symphonic/Gothic Metal
Starwave Records
2014










1. Creaith (Intro)
2. 朱ニ染メ狂フ
3. Various
4. Dark Side of the Moon
5. パラレル戯曲トラップ
6. 絡みつく空虚
7. グリード
8. Unplace
9. Persona
10. Deep Affection
11. Fate Gear

The theme of this set of reviews is mostly bands I've never heard before and the theme continues here. This band from Japan is a stranger to me and although they've had a couple of mini-albums/EPs, this is their full length debut. When I saw this band I was reminded of the kind of quirky symphonic sound I heard from fellow Japanese resident Liv Moon (which I completely dig) and decided I'd give this band a shot.

Well what I expected is pretty much what I got and that is not a bad thing. Creaith anthem is full of over the top dramatic delivery, keyboard symphonics, and thick/kind of modern sounding guitar. I know some people immediately cringe at the word modern, but I don't think a thick sound if it's not just simple chugga chugga guitar and the music on Creaith Anthem is absolutely not that. This is more like metal mixed with touches of Trans-Siberian Orchestra flare and with a touch of anime soundtrack. I really dig the fusion and to me the combo of high speed keyboard, thick guitar, and symphonic elements just makes for a great heavy yet dramatic and powerful experience. Any band that pair guitar and keyboard into a majestic experience like this is a winner in my book. Not to leave out the vocals, they're mostly mid-ranged female vocals sung in Japanese and the woman has a good melodic sense which fits well with the overall symphonic yet heavy experience.

Song-wise the experience is overall strong with a fair amount of intricacy to the symphonic/keyboard elements. Stand outs include Various with it's controlled chaos feel and グリード with it's dark jazz feel that would make Tim Burton proud and reminds me a bit of Mechanical Poet 朱ニ染メ狂フ is also worth mentioning with it's nice shapshifting structure between slower heavy moments, mid-paced melodic vocal driven segments, and quick moving passages often driven by the keyboards. Fate Gear is highly enjoyable as well with it's swift melodic feel. There are maybe only two touches on this album I don't like and those are the kind of feedback sounding effects in 絡みつく空虚 and moments of mediocre death vocals in Unplace. Both are fleeting though and don't really detract much. They're more like minor nitpicks.

To sum it all up, this is pretty interesting and involving debut. There's a lot going on and the songs have a lot of pace changes and variation within them. I find this symphonic, complex, heavy, and just plain enjoyable. If you like your music heavily keyboard driven and dramatic this is for you.

Highlights: Various, 朱ニ染メ狂フ, グリード, Fate Gear

Rating - 4.0/5

Timo Tolkki's Avalon - Angels Of The Apocalypse

Symphonic Power Metal
Frontiers
2014










1. Song For Eden (Intro)
2. Jerusalem Is Falling
3. Design The Century
4. Rise Of The 4th Reich
5. Stargate Atlantis
6. The Paradise Lost
7. You'll Bleed Forever
8. Neon Sirens
9. High Above Me
10. Angels Of The Apocalypse
11. Garden Of Eden

The second album is always an interesting one for a new band. The first release is the one that (hopefully) gets you excited, but the second album is the first test of the band's staying power and if they can continuously come up with good material. That is the test for Timo Tolkki here coming off a strong debut in The Land Of New Hope. I really wanted this one to continue to be good as I used to love this man's songwriting before the virtual nervous breakdown he had in Stratovarius. It was really nice to hear him seemingly finding his way again and I went into this rooting for him to succeed.

Well, rooting for Timo to succeed doesn't make it so. This isn't the worst power metal album I've ever heard, but I've certainly heard a lot of this before. A number of bands have tried the collection of guest vocalists thing since Avantasia gained some popularity doing it, but most have been subpar imitations with some of the more generic power metal I've ever heard and a lot of these songs fit comfortably into that category. The trick of sorts with having a cast of vocalists is making songs that fit the vocalists or alternatively picking the right vocalists for the songs. If you're going to bring in a bunch of varied talent than all the talent has to fit into their respective niches. That is largely where the last album succeeded and this one mostly fails. Well, that and trying to be more epic where as the last album was good to me because it wasn't the typical epic ensemble and a bit more subtle.

On The Land Of New Hope there was sort of a melodic/atmospheric nature to a lot of the material. Everything was smooth, flowing, and caught my  attention with the melodies. On Angels Of The Apocalypse there is no real coherent sound or identity. Loosely, this album tries to be more epic/symphonic, but the sound is pretty varied. A great deal of the tracks here sound like a mish mash of the most predictable power metal with some slight flavors of the bands that the vocalists come from. Rise Of The 4th Reich for instance sounds like a C grade Virgin Steele song where the music is too toned down to be effective and Defeis' vocals overpower the music. Jerusalem Is Falling is also guilty of this as Fabio Lione sounds heavier than the music which is similarly uninspired symphonic music that lacks the punch to sell it.

Another problem I couldn't help noticing here is that some of the vocal talent is thoroughly wasted. Some of the best moments of the last album came from Elize Ryd, but here she's reduced to a virtual backup role as she sings only parts of two songs along with 3 or 4 other vocalists respectively. That's certainly a head scratcher for me. Maybe she was only willing to commit so much session time to this band, but whatever the reason the band ends up leaning away from the strengths of the first album. Fantastic singer Simone Simons is likewise only utilized as part of these ensemble tracks which are honestly pretty forgettable anyway. High Above Me is a ballad of little note and the title track Angels Of The Apocalypse is a bloated epic that fails to justify it's own length.

On the positive side, not all of the album is bad though and some tracks that stick to the more simple, catchy, and melodic format do succeed in a way similar to the first album. Perhaps the biggest saving grace of this album is that Floor Jansen tends to pair well with the music she sings on. Songs like the smooth single Design The Century and the melodic and swift moving The Paradise Lost are among the best the album has to offer and make for solid highlights. Fabio Lione does get it right on his other track, Stargate Atlantis, as well which features a more subdued vocal performance more in line with the light power metal fare that makes up that track. It's not mind blowing, but it has a good flow and is not so jarring as his other track.

A few good highlights can't really make up for the bulk of the album just not being that interesting however. This isn't a terrible album, but it's not really a noteworthy one either. In the end this just sounds like something that fans of the vocalists might want to hear once, but that's about it. Basically, a lot of these songs are bonus track quality. Things that are interesting to hear, but don't compare to the usual material from the artists. This is certainly a misstep in Timo Tolkki's rejuvenation and not the review I wanted to write. Here's hoping that Timo can right this ship and find the spark that made the first album. Maybe it would be better for the man if he stuck to a more stable cast of vocalists or one good one. Hell, I wouldn't object to him making an album with just Elize Ryd or Rob Rock from the first release or even Floor Jansen if it could be arranged. Those two just seemed to sync up with his style better.

Highlights: Stargate Atlantis, Design The Century, The Paradise Lost

Rating - 3.0/5

Epica - The Quantum Enigma

Symphonic Metal
Nuclear Blast
2014










1. Originem (Intro)
2. The Second Stone
3. The Essence Of Silence
4. Victims Of Contingency
5. Sense Without Sanity - The Impervious Code
6. Unchain Utopia
7. The Fifth Guardian - Interlude
8. Chemical Insomnia
9. Reverence - Living In The Heart
10. Omen - The Ghoulish Malady
11. Canvas Of Life
12. Natural Corruption
13. The Quantum Enigma - Kingdom Of Heaven Part II

Epica is a band I generally love, but the title for Requiem For The Indifferent was on the appropriate side as it left me with a total feeling of indifference. For whatever reason the songwriting seemed to take a nosedive from the incredibly epic and heavy Design Your Universe. Going into this one I was really hoping for a rebound and it didn't seem at all out of the question. After all, I didn't like The Divine Conspiracy much either so the band has been on a bit of a hit and miss pattern. The thing is that the hits tend to be very worth it.

First listening to this I have to say that the album was making me slightly nervous. After the intro track the first few tracks are good, but also seem a bit disjointed and chaotic at times as they seem to heavily lean on the death metal side of things. Elements like the quick switches between operatic and death vocals in Victims Of Conspiracy for instance strike me as just a bit jarring. I was enjoying the material through the first four tracks, but I wasn't completely sold.

The best was yet to come however as by track 5, Sense Without Sanity, things start to get really good. From here on out the music doesn't try to be overly complex or heavy and instead finds it's groove with a good heavy beat, nice atmospheric passages, and the choral elements giving the material an epic kick. From this track on the album really doesn't let me go at all and it became increasingly hard to pick favorites. Now THIS is the Epica I love. The rest of the album just finds a better balance between heaviness and operatic/symphonic elements and delivers. At many points the music seems to alternate between heavier passages and then slower ones which allow the vocals to breathe and is a winning formula.

Highlights are many, but include Chemical Insomnia with it's alternating heaviness and more mid-paced vocal passages, Reverence - Living In The Heart with it's similarly shapeshifting tone, the epic Sense Without Sanity which is driven by a slow burn heaviness, and Omen - The Ghoulish Malady which has sort of an energized ballad feel to it and features some excellent vocals from both Simone and from the backing chorus. Perhaps the fitting crown jewel for an album like this though is the closing title epic which clocks in at 11:53 and keeps the listener's attention for the duration. This is the kind of album and band that thrives on epics with symphonic movements and this is no exception. Amusingly the title track is also subtitled The Kingdom Of Heaven Part 2 and the first one is my favorite Epica song. That's a good trend to keep going. Also worth noting are tracks like Unchain Utopia with it's level of catchiness in it's operatic mid-pace, Natural Corruption with it's high energy, and the beautiful ballad Canvas Of Life that could easily made this list as well and I only leave them off the highlights at the end of the review because I can't list Everything and had to choose favorites somehow. These could easily be singles in their own right(s) however.

To sum it up, The Quantum Enigma is pretty much a total win for Epica. The only slight mark against it is the slow start, but after the first few tracks this album is pretty much pure gold and around thirteen minutes on this huge hour+ album is pretty forgivable. Especially when those songs are still pretty good. If you like female fronted symphonic metal then you totally need to get The Quantum Enigma. This is just everything I could have hoped it would be.


Highlights: The Quantum Enigma - Kingdom Of Heaven Part II, Chemical Insomnia, Reverence - Living In The Heart, Sense Without Sanity, Omen - The Ghoulish Malady

Rating - 4.5/5

Delain - The Human Contradiction

Melodic/Symphonic Metal
Napalm
2014








1. Here Come The Vultures
2. Your Body Is A Battleground
3. Stardust
4. My Masquerade
5. Tell Me, Mechanist
6. Sing To Me
7. Army Of Dolls
8. Lullaby
9. The Tragedy Of The Commons

Delain are the sort of band I was hoping would rebound going into this release. I really enjoyed the bands first two albums of melodic metal with symphonic touches, but We Are The Others kinda dropped the ball. It just sounded too mainstream rock and lost a lot of the little symphonic nuances that made their sound. Really what I was hoping was the band would take a step back from the chuggy riffs and modern sound and get back to the sort of smooth, flowing, majestic music that made them good on the first couple of releases.

It seems in wondering if they'd go with more of a modern rock sound or a more atmospheric, majestic sound I missed another consideration. That is that Delain would just write a completely different album with an identity all it's own and come out sounding fresh and re-energized, but that is exactly what the band accomplishes here. The Human Contradiction is just a totally different Delain experience as the heaviness is really turned up and the music often sounds surprisingly dark. The sound is thick, but less in the chuggy alt way that the last album went with and more in the way a band like Epica dialed up the heaviness on Design Your Universe. This isn't as epic as that, but it's a comparable shift in terms Delain's own sound. This still has the melodic/atmospheric quality, but some of these riffs are thick in the way that a band like Nevermore managed to pull off. Reminders of Within Temptation's shift from their lighter melodic fare to something a bit more upbeat melodic also come to mind. When listening to this album I just have absolutely nothing to complain about. The vocals soar, the riffs sound thick and heavy, the atmospheric and symphonic nuances are there, the guest vocals from Marco Hietala make a reappearance, and the album is just loaded with memorable hooks. Hell in terms of the vocals I even like the death metal guest vocals from George Oosthoek and I am not exactly the world's biggest death metal fan. All the pieces here just fit together really well and form a hell of a soundscape. I never really thought of Delain as a band who could pull off this kind of heaviness and still keep their identity, but this is a most welcome expansion of their sound.

Song highlights include Stardust which has a great driving energy. If you don't get pumped listening to this one I'm not sure I understand you. Beyond that the front is loaded with some of the best songs which include the dark, haunting, yet majorly heavy Here Come The Vultures and the symphonic yet attacking ride that is Your Body Is A Battleground. Also well worth noting is Sing To Me which is made by a simple, but completely infectious chorus and the potent combo of an extremely catchy rhythm and piano touches that make the track Lullaby.

Simply put this is way, way better than I was expecting. Delain just managed to go from a band who's future I was uncertain about to a position as one of the more promising female fronted metal bands out there. Seriously, I never saw this album coming and it turned my perception of the band back around 180 degrees. I was really excited when I first heard April Rain and suddenly I remember why. This is far from being another April Rain though. It is better and more unique than that. Not to mention a hell of a lot of heavier. If you dig symphonic/atmospheric female fronted metal with some edge and a whole lot of catchiness then you want to hear this album. This is really top form and I richly enjoyed every song. At minimum this one is bound for album of the year consideration. Do more of this Delain. Please.

Highlights: Stardust, Here Come The Vultures, Sing To Me, Your Body Is A Battleground, Lullaby

Rating - 4.5/5

Within Temptation - Hydra

Gothic/Melodic Metal
Nuclear Blast
2014








1. Let Us Burn
2. Dangerous
3. And We Run
4. Paradise (What About Us?)
5. Edge Of The World
6. Silver Moonlight
7. Covered By Roses
8. Dog Days
9. Tell Me Why
10. Whole World Is Watching

It would be hard for me to overstate my excitement early on about this album. Within Temptation is a band that has been steadily climbing up my list of favorite bands. The band's last couple of albums have been nothing short of spectacular in my opinion and I could not wait to hear more. Then upon hearing the jaw dropping single Paradise, my expectations just grew higher. It is not without a smaller hint of concern I listened to this one though. I mean the band has set a pretty high bar, so that is one thing, but there's also something else that gave me pause as I heard more about the album in advance of it's release. The sheer number of guest vocalists is noticeable enough, but far more concerning than even that is the choice of vocalists. Sure Tarja is a fine inclusion, but choices like metalcore vocalist Howard Jones or particularly rapper Xzbit are much more questionable. To say that good metal and rappers don't mix is an enormous understament and the commercial influence this speaks to is a bit disturbing. Still, the band has been on a hell of a roll so I was definitely ready to give Hydra a shot. Even if I had to disregard some rap experimentation... much like I do with Anthrax.

Let Us Burn openers the album up well in familiar fashion with a solid melodic approach and that underlying majestic quality I tend to like about the band. This one is pretty typical of their last couple albums, but that is no kind of complaint. After this one we head into a run of three tracks with guest vocalists though and I had to consider this a bit of a test of the album... so let's dive in deeper shall we?

Dangerous with Howard Jones (formerly of Killswitch Engage) does not start this experiment off well. It's not a terrible track musically, but Howard Jones adds nothing to the song at all. In fact his vocals are pretty distracting and don't seem to suit the music or blend with Sharon Den Adel's vocals in harmony. Everything that worked about Keith Caputo of Life Of Agony on What Have You done is wholly absent from this track. There's nothing subtle about the delivery here as Howard Jones virtually shouts through the whole song. It's not harsh hardcore shouting or anything, but it none the less has the subtlety of a donkey hee-hawing as loudly as possible to music. Needless to say, this song is kind of ruined by the guest vocalist presence so that's strike one. Well, on to And We Run with Xzbit which is instantly nothing like I expected. The song actually starts off slow with piano and way more of a classical influence than I would have expected from a song with a rapper on it. The strings and piano are nice and actually gave me a bit of hope... and then it was crushed as soon as Xzbit came into it. I seriously want to know what kind of potent drugs whoever decided Xzbit should be on this track was on. I can't even comprehend the level of meth addled insanity that could lead to a song such as this. If this yo yo shit doesn't make you puke I'm tempted to revoke your metal card. What a fucking trainwreck this one is. Switching from heavy classical influence to ghetto tough guy rapping is the most confusing thing I think I've ever heard in my life. I realize I'm writing about these tracks a lot though so I should move on before dwelling on them too much leads to an aneurysm.

Now that I'm free of that garbage I can tell you what I already knew about the third guest vocal appearance. Paradise is a masterpiece of a song and ranks up with the best this band has ever produced. This is everything Within Temptation should be with it's heavier riffing mixed with fantastic melodies and incredible vocals. Tarja's performance hear is nothing short of fantastic and hearing two of metal's best female vocalists together is a virtual dream come true. I can not say enough good about this song and it's just a confusing stark contrast to the last couple of turds. How does one even rate an album that goes from a zero star song to a five star song in the span of one track? At this point I was already entirely confused about what to make of Hydra. Mixed feelings would be an understatement.

From here on out things get more normal which is a welcome return to sanity. Silver Moonlight establishes itself a definite highlight with it's melodic sound coupled with an energetic pace. There are some backing death vocals on this one which is a slight nod back to older Within Temptation, but they're pretty subdued and don't distract from their newer sound. Roses follows it with a similar sound (minus the death vocals) and has just as much success with it, becoming another highlight. This is exactly the sort of material I like from Within Temptation. Majestic, powerful, and catchy with a good rhythm. The shame is that I had to suffer through some pretty hard to swallow songs to get here. After that the mellower Dog Days is alright, but not incredibly memorable and the riffy Tell Me Why is likewise not a real standout, but not bad either. After that comes the final guest vocalist in the form of Dave Pirner from Soul Asylum who does better than most of the singers here. This song is a little sugary sweet, but a melodic alternative rock vocalist is a better fit for Within Temptation than Howard Jones or Xzbit. I don't love the track, but this not being a disaster is enough considering the shit I heard earlier on in Hydra.

Thinking about this album, Hydra is probably an appropriately named one. Each song is a distinct head of this beast... unfortunately at least a couple of the heads are brain damaged and some of the others have fallen asleep. This is probably one of the most challenging albums I've ever reviewed to rate. One one hand, 4 of the tracks here are worthy of the last couple of albums (Paradise, Silver Moonlight, Roses, and Let Us Burn), but on the other hand... Xzbit and mediocrity dominates 6 out of 10 tracks. The highlights just can't save that kind of ratio even if only one of the tracks is truly atrocious and one kind of annoying. It would have taken a total effort to redeem this one and some of the more mediocre tracks fail to give the album that kind of a recovery. Over half the album is a bit much to forgive and this just isn't an exciting release from Within Temptation. I can't honestly see myself listening to the album, as a whole , very much in the future. This is just a middle of the road album between it's high peaks and deep valleys and those valleys are awfully hard to deal with.

Highlights: Paradise, Silver Moonlight, Roses, Let Us Burn

Rating - 2.5/5

Rhapsody Of Fire - Dark Wings Of Steel

Symphonic Power Metal
AFM
2013








1. Vis Divina
2. Rising From Tragic Flames
3. Angel Of Light
4. Tears Of Pain
5. Fly To Crystal Skies
6. My Sacrifice
7. Silver Lake Of Tears
8. Custode Fi Pace
9. A Tale Of Magic
10. Dark Wings Of Steel
11. Sad Mystic Moon

Rhapsody Of Fire has a lot to prove to me from the very start. They come out with the burden of having to prove that they deserve to exist. I suppose every band has that burden to some degree, but it is really apparent here. Luca Turilli's Rhapsody pushed out an album much faster and it absolutely kicked my ass. I mean, Rhapsody has always been Luca Turilli's band in essence so the odds on which band would success always favored Luca's group. That being said, I do like vocalist Fabio Lione a lot and I don't want to dismiss Alex Starpoli who have been involved in the band since the beginning. My best hope would be that both pursue their own direction and they each have a different vision and good music to offer. I just couldn't help having the feeling that Luca was going to school these guys on who owns the band Rhapsody after the monster Ascending To Infinity album. So I guess the question is... Do we need two Rhapsodys?

After listening to Dark Wings Of Steel the answer is kind of yes and no. Certainly, Rhapsody Of Fire has a different focus as this sounds less orchestral and more like Rhapsody's old school fantasy power metal driven by keyboards. In that way the band does take a step back to older Rhapsody and that could appeal to some fans. The material does beg the question of whether or not there is a need to revisit this material or if this is simply retreading old ground though. Personally, I have to lead towards no with this material coming off as somewhat derivative. Sure, it sounds like older Rhapsody, but the band has grown since then and this is kind of like removing that growth, removing the songwriting power of Luca, and coming up with some typical power metal that sounds like what you've heard before. It's not too bad for what it is, but I can't really get that excited by any of the songs here. Nothing really has the epic punch of Luca Turilli's Rhapsody and the neoclassical shredding is not really up to Luca's level. Maybe I'm being a bit harsh here as this isn't bad power metal. I mean in relative terms this is pretty competent in structure and musicianship, the vocals are good, and some of the songs are pretty enjoyable. The album and the band face a big problem though and that is obvious. Can this live up to previous Rhapsody material or what Luca is doing now? Based on this first album the answer is no. I'd probably see them live if they came around, I'll check out what they put out next, but will I reach for this album when I want some music of this type? Probably not often. The bottom line is Luca Turilli's album has more epic punch and better songs. This really is a silver medal for Rhapsody fans and I'm not sure that will cut it.

All in all, this is a decent symphonic power album in a familiar Rhapsody style. It's probably worth it for fans to listen to, but as a fan myself, I have to maintain that my reaction on this one is really middle of the road. I'm still not certain we need two Rhapsodys and the other one kicks the shit out of Rhapsody Of Fire. It's just an unavoidable fact I'll be looking forward to Luca Turilli's material way more and it's hard for this band to seem all that relevant in comparison.

Highlights: Rising From Tragic Fire, Tears Of Pain

Rating - 3.0/5

Leaves Eyes - Symphonies Of The Night

Symphonic Metal
Napalm
2013








1. Hell To The Heavens
2. Fading Earth
3. Maid Of Lorraine
4. Galswintha
5. Symphonies Of The Night
6. Saint Cecelia
7. Hymn To The Lone Sands
8. Angel And The Ghost
9. Elenore De Provence
10. Nightshade
11. Ophelia

Right about on schedule comes another new Leaves Eyes album. The band has gotten into a rhythm of releasing one every couple years at this point. Really, it's been awhile since a Leaves Eyes album has surprised me for better or for worse. The band isn't my favorite of the smooth female fronted type, but they always release enjoyable material. I had no reason to expect anything else here. Nothing particularly wrong with being consitently competent.

Well, this release actually did catch me a little off guard early on. Symphonies Of The Night comes out swinging with a little more heaviness than I'd usually associate with the band. The riffs on the first three tracks in particular come out both meatier and more uptempo than what I was necessarily expecting. Pretty headbangable stuff really and I like the force they bring to the songs. A nice change of pace from their more atmospherically geared material really. These songs also make good use of the gruffer back up vocals of Alexander Krull. From there Symphonies Of The Night does get a bit more melodic through the middle of the album and the material seems familiar. Not bad, but nothing really jumps out at me either. Hymn To The Lone Sands does pick up the heaviness again, but is a bit jarring and maybe pushes it a little too far the other direction. Not my favorite track. From there the remainder of the album is a mix of some heavier and more atmospheric ones. None of it really has the staying power of the first few tracks though as the album settles into a more expected groove. All competent, all good, but really only the beginning of Symphonies Of The Night ends up wowing me. The rest of the album just doesn't keep up the energy level or expand on the sound enough based on what is established early on.

There was some potential here to reach that next level so to speak, but the album ends up being about the quality I expect of Leaves Eyes. Pretty solid. There are far worse criticisms to have of an album. I think this is more or less a good offering and what fans want to hear out of Leaves Eyes so if you've liked the band in the past, this is worth it. It has some good highlights early on and the rest is pretty much expected, but not unwelcome.

Highlights: Fading Earth, Hail To The Heavens, Maid Of Lorraine

Rating - 3.5/5

Turisas - Turisas2013

Folk/Symphonic Metal
Century Media

2013

1. For Your Own Good
2. Ten More Miles
3. Piece By Piece
4. Into The Free
5. Run Bhang-Eater, Run!
6. Greek Fire
7. The Days Passed
8. No Good Story Ever Starts With Drinking Tea
9. We Ride Together

Turisas' last album was one that kind of caught me by surprise. I hadn't really heard much of, or listened to the band, prior to Stand Up And Fight. It was a pleasant surprise though as I found the album heavy, epic, and addictive. The album pretty much made me a fan so I was looking forward to hearing some new material from Turisas.

As the release of Turisas2013 drew nearer though a couple things gave me some pause. Number one was the extremely uninventive title and number two was samples I heard in advance of the release. Neither filled me with a lot of confidence and after listening to this one through it seems my concern was justified. Where as Stand Up And Fight was a lesson in sounding epic, this one tries to be a bit more whimsical and just comes off as goofy a lot of the time.

The biggest problem for me on Turisas2013 is that the songs just don't have the same kind of build to epic choruses and don't strike the same heavy notes. The orchestration is there, but it just doesn't seem to have the same significance or lead to the same kind of bombastic power. Most of the tracks are decent, and their sound hasn't Entirely changed, but they never really find that next level. Nothing that makes me want to yell out "Rising! Fighting!". Worse, some of the material just seems random, often with misplaced shouting, and lyrics that are just plain dumb.

Some songs that just entirely lose me on this one are Run Bhang-Eater, Run! and No Good Story Starts With Drinking Tea. I'm not even opposed to some vaguely comical songs. I mean, I'm a Tankard fan so that should tell you all you need to know about that, if you know the band. The problem is Turisas' symphonic stylings and sound aren't really made for this approach. When the band growls out lyrics like "Public erection, gives little affection" it gets more of a groan from me than a laugh. This is just the wrong direction for the band in my opinion.

On the other hand, one bright spot here is Ten More Miles which sounds fairly epic and has a fun music video that accompanies it. The video is more successfully amusing as it shows some guy day dreaming in his dreary office job of warriors, etc. Basically, this one finds a way to be fun without becoming entirely too silly, and still has a good amount of power. The Days Passed is also pretty enjoyable with a nice energetic roll. This is the kind of thing I want to hear from Turisas. Give me songs about them hunting pirates or fighting for glory and keep me the songs about their boners.

Overall, this is an ok album, but it's rarely more than that. This is certainly a big drop off in quality from Stand Up And Fight as the band just doesn't bring the same kind of majestic and heavy tunes to the table. This might be an alright pick up for fans, but it's not their strongest effort. Maybe the comical nature of this album will sit better with some others, but I want my symphonic stuff to have a little more of an epic air than this. Turisas2013 just doesn't have the kind of power I want out of the band.

Highlights: Ten More Miles, The Days Passed

Rating - 3.0/5

Tarja - Colours In The Dark

Gothic/Symphonic Metal
earMUSIC

2013

1. Victim Of Ritual
2. 500 Letters
3. Lucid Dreamer
4. Never Enough
5. Mystique Voyage
6. Darkness (Peter Gabriel cover)
7. Deliverance
8. Neverlight
9. Until Silence
10. Medusa

I've said it before and I'll say it again... When Tarja left Nightwish the talent went this way. Or maybe, in fairness, Tarja just landed on her feet better. Nightwish just hasn't been the same since Tarja left and meanwhile she seems to have a better grasp of how to sound operatically powerful. It's still up to either to make material as good as Oceanborn or Wishmaster again though. I like what she's been doing well enough however and her voice is excellent so this was on my list of albums I had to hear.

Getting into listening to this new effort, Victim Of Ritual starts the album off well and is a perfect example of what I like about Tarja. The music is grounded in a heavy classical influence and if there is one thing Tarja knows, it's how to sound melodramatically awesome. I love the way she rolls out "Victim of Riiiitual!" and projects her voice. It's perfect for this sort of material and brings the kind of operatic power that Nightwish just doesn't have anymore. It's powerful, it has passion, and it's a total keeper. Following that, I also need to point out 500 Letters which is smooth and somewhat more subdued and melodic, but also keeps an element of heaviness and features a vocal performance positively dripping with passion and emotion. This is perfect material for Tarja and she really shines here.

Beyond that the quality does dip a bit with Lucid Dreamer which has an ok sound, but is a bit too sedated and long winded. It's about 7 and a half minutes that just don't have the same kind of energy. Basically, it sounds decent, but it doesn't keep me as invested. Never Enough charges in with some heavy riffs mixed with melodic passages though and has a hell of a powerful chorus so things pick up again quickly. My only gripe with that one is it gets a bit discordant and noisy at the end. Overall though, it is a really good song.

From here on out the album doesn't hit quite the same heights as early on, but there are some good tracks. Deliverance is a more melodic track boosted by some really strong operatic vocals and Neverlight is a heavier one with some edge to the guitar that is also lifted by a great vocal performance. None of these songs are bad and I enjoy everything here to some extent, but I do have to point out that there does seem to be a bit of a pattern with Tarja's solo releases. They start off with a bang and go out with a pew pew. The albums always promise a lot and then kinda peak early. If everything was as good as the first couple tracks this would be an album of the year contender, but they never seem to quite keep up the energy level. I can appreciate some variation and I like some slow tracks, but I'd stick with what works a little more. Those high energy single type tunes work for her and her voice.

Overall, this is another good Tarja album that narrowly missed on hitting the next level. It's certainly good for what it is, but I can't help feeling the band could be better if they kept the energy level a bit more constant. Still, I can say as a fan of Tarja, that this album is worth it for fans and still a well above average release. Really, this brings some good new songs for the live stage and a lot of above average/good songs to back it. That's not the worst thing in the world by any means. If you like operatic female vocals this is pretty appealing.

Highlights: Victim Of Ritual, 500 Letters, Never Enough

Rating - 3.5/5

ReVamp - Wild Card

Symphonic Gothic Metal
Nuclear Blast

2013

1. The Anatomy Of A Nervous Breakdown: On The Sideline
2. The Anatomy Of A Nervous Breakdown: The Limbic System
3. Wild Card
4. Precibus
5. Nothing
6. The Anatomy Of A Nervous Breakdown: Neurasthenia
7. Distorted Lullabies
8. Amendatory
9. I Can Become
10. Misery's No Crime
11. Wolf And Dog

It's no big secret that I'm all about vocal ability really. It's not by any means the only thing important to me, but it does go a long way and I place a lot of importance on a strong singer. One reason death metal rarely does anything for me. Back on point though, this band certainly does have one hell of a talented singer in Floor Jansen. She's pretty well regarded for her operatic ability, something that landed her in Nightwish as well, and she's done a fair amount of guest work, etc around the metal scene. I found the first album a good showcase of her ability so I was looking for more of that here.

Listening to this one, the basic formula remains intact. This is female fronted gothic material mixed with a nice dark/aggressive edge and backed by some symphonic elements. One thing I do notice though is the riffing does seem a bit more harsh and in your face on this one. The heaviness is good, but I do find that this album does not immediately jump at me as much as the debut. Perhaps it's the fact that the melodies aren't as smooth and the it loses a degree of catchiness as a result. After listening to this one a bunch of times the songs just didn't stick with me quite as much. The material is good, but not as loaded with the kind of hooks I like in female fronted gothic material. There's something to be said for the aggression if you're in the mood for something heavier, but I would have liked a bit more balance perhaps. One track that does get it right while being pretty heavy is Neurasthenia which has nice melodies and some solid backing vocals from one Devin Townsend. That one is easily my favorite on here. Also worth noting is Distorted Lullabies which stands out with some nice softer moments, and On The Sideline which has a standout chorus and opens the album with driving energy.

Overall, this isn't a displeasing album by any means and I quite like it. It just doesn't have the kind of standout songwriting that the debut had. A solid overall experience, but Wild Card does try just a bit too hard to be biting while not playing up Floor Jansen's smooth voice enough. It's always wise to play to your strength's when you have a superior talent in your band. This is still solid though and I'm sure fans of Floor and the last album will find enough to enjoy here.

Highlights: Neurasthenia, Distorted Lullabies, On The Sideline

Rating - 3.5/5

Lingua Mortis Orchestra - LMO

Symphonic Metal
Nuclear Blast

2013

1. Cleaned By Fire
2. Scapegoat
3. The Devil's Bride
4. Lament
5. Oremus
6. Witches' Judge
7. Eye For An Eye
8. Afterglow
9. Straight To Hell (Rage cover)
10. One More Time (Rage cover)

Lingua Mortis Orchestra aren't really a stranger to me going into this one. Sure they're sort of a new band, but this is also Lingua Mortis Orchestra featuring Rage where as before Rage featured Lingua Mortis Orchestra. It's not a huge change, but you could feel why the distinction was being made from the start. Basically, Rage and particularly Victor Smolski wanted to bring the orchestra to the forefront and not be concerned with making an album that had to sound like Rage. This being Lingua Mortis Orchestra allows a certain freedom in the songwriting and style. It's basically what side projects were made for. The idea is an interesting one though and I was looking forward to this release.

Listening to Lingua Mortis Orchestra though, I've gotta say it still pretty much sounds like Rage. The guitar sound and style is mostly familiar, we have Peavy's vocals, and the band is no big stranger to classical inspiration in some of their material anyways. That being said, there is more of an emphasis on classical structure and instrumentation as it is present throughout the album. It's just not Quite as dominating as I expected considering this is named after the Lingua Mortis Orchestra itself. All expectations aside though, the sound here is extremely good and very epic. I don't really have a problem with top shelf Rage songs that mix Victor Smolski's signature sound with more of a XIII era style. Really, this is the best, most cohesive classical fusion that the members of Rage have produced to date.

The album opens with some nice classical/operatic elements on Cleansed By Fire and the whole song is one big epic masterpiece for certain. I love this song to freakin death. Between the subtler classical moments, operatic backing vocals, and a perfect big Rage chorus this is pure win. Also worth noting is Scapegoat which brings in some death growls that have a nice heavy impact from the start and some heavy as fuck riffing. Once again, not exactly what I expected with a fair emphasis on the guitar, but the classical touches are there and play a good backup. This just continues the trend of somewhat surprising, but in a good way. Another highlight for me is the ballad Lament which features some nice smooth piano and great heartfelt vocal deliveries from Peavy and one of the female vocalists from LMO who I am not familiar with by name. There are a couple on there and I'm honestly not sure who is who, but it's nobody I'd really known before this album. Peavy still takes center stage for the bulk of the material, but all the vocal talent here is good and I do like duet tradeoffs. The two listed are Dana Harnge and Jeanette Marchewka. Not to be left out, Eye For An Eye has a nice rhythm heavily driven by the strings section.

I also have to point out that two Rage songs have been covered. Neither blew me out of the water as it's pretty much the old songs with a bit of classical accompaniment that don't add or subtract a lot from the impact. Still, these are basically extras at this point of the album as it is a good 54 minutes in length even without them. There's no shortage of content here and I look at these kinda like bonus tracks. Neat extras, but not really the best stuff here. It makes for some Rage tracks they can easily throw into the live set probably and that's ok by me.

All in all, this is a very good album for Rage fans. It's still pretty much Rage, but there are by far worse things to be. This is a strong classically inspired album from the band. There are some tweaks to the sound in the addtional female vocals and the album is pretty freakin epic. I can't be displeased with that and I don't think any fans of Rage's more orchestral stuff will be either. I think if they use this band for more of the classical material and Rage for more straight up metal than a good balance can be struck between these two different band names and fans can know what to expect from both. Anyone who likes their metal with a good dose of classical instrumentation and feel should check this one out.

Highlights: Cleaned By Fire, Scapegoat, Lament, Eye For An Eye

Rating - 4.0

Timo Tolkki's Avalon - The Land Of New Hope

Symphonic/Melodic Power Metal
Frontiers

2013

1. Avalanche Anthem
2. A World Without Us
3. Enshrined In Memory
4. In The Name Of The Rose
5. We Will Find A Way
6. Shine
7. The Magic Of The Night
8. To The Edge Of The World
9. I'll Sing You Home
10. The Land Of New Hope

I'm not really sure how much I expected going into a new Timo Tolkki project. There was a time when I probably would've been excited by the prospect, but that was before Tolkki kinda went off the deep end and there was all the Stratovarius drama. Not to mention nothing he has done since Stratovarius has been very noteworthy, while that band has continued on to make some good albums. Still, there was a time when I really enjoyed his neoclassical style and songwriting so I felt the need to take a look into this. The vocal power he's enlisted in Rob Rock, Elize Ryd, Sharon Den Adel, Tony Kakko, Russel Allen, and Michael Kiske is also intriguing.

I have to say this is much better than I was willing to hope it would be. The Land Of New Hope is exactly what Timo Tolkki can do well in that it's focused on good melodies and in kind of a happy power metal style. There is some backing symphonics, but it's really the melodic guitar and good vocal performances that make this album. This just sounds like a good ensemble of musicians that complement each other well and it makes me want to sing along. All in all, I think this kind of metal opera project suits Tolkki and is a very worthy comeback by him. I would not mind at all him continuing in this vein and it is nice to hear something I like from the man again. Back around Visions through Infinite particularly I really did enjoy this man's songs and maybe now I can again. I think this is the kind of album that could be pretty satisfying to Stratovarius fans of old as it does show a lot of the trademarks that made his better albums with the band memorable. This isn't the showiest thing in the world in terms of neoclassical shredding and the like, but I do hear a lot of the catchiness of Stratovarius. As far as the vocals go, I do find Elize Ryd steals the show and her powerful female vocals suit this kind of catchy, light-ish power metal beautifully. Rob Rock also turns in a very worthy performance though and I like the vocal variety here.

I wouldn't have predicted it, but I'd say this album is actually more solid than the last release by Stratovarius. I think if you take anything away from this review though, it should be that there is room for both to succeed. The best case scenario from a band split is you get two good products out of it and that seems to be what's happening now. This is one album, and I'm not quite ready to call it yet, but this is an extremely promising restart for Timo Tolkki. A nice debut from an old favorite.

Highlights: Enshrined In Memory, Shine, We Will Find A Way, The Magic Of The Night

Rating - 4.0/5

Gloryhammer - Tales From The Kingdom Of Fife

Symphonic Power Metal
Napalm Records

2013

1. Anstruther's Dark Prophecy
2. The Unicorn Invasion Of Dundee
3. Angus McFife
4. Quest For The Hammer Of Glory
5. Magic Dragon
6. Silent Tears Of The Frozen Princess
7. Amulet Of Justice
8. Hail To Crail
9. Beneath Cowdenbeath
10. The Epic Rage Of Furious Thunder

Gloryhammer's debut is one I've been looking forward to since I heard it was coming around. Christopher Bowes of Alestorm starting an over the top symphonic power metal band seemed like a natural fit. Going from pirates and folk to symphonics, dragons, and wizards seemed just about right somehow. The guy knows how to make things epic and fun. Hearing the single Angus McFife only got me more excited for the album.

After listening to this I can say Tales From The Kingdom Of Fife is pretty much just what I expected. That is to say cheesy and fantastic. Gloryhammer basically just indulges in fully nerding out on D&D metal and it completely works. Calling this a spoof would be a mistake though as it's more like a tribute that takes stereotypes and revels in them. Gloryhammer does not shy away from what they are. The band just has total fun with all the things that are in fact really fun about this kind of power metal. This sounds epic and glorious as hell and the songs stick with you. It's hard not to like something with this much energy and catchiness. Soundwise this is an album powered by keyboards and symphonics in a way that only tends to come around when a keyboardist starts a band. As far as the vocals go, Thomas Winkler has a voice that soars with just enough muscle to have that perfect "warrior" sound. Think of this band as somewhere between Rhapsody and Manowar with a bit of Tad Morose/Urban Breed vocally and the fun of Alestorm.

Fun is the key word here so think of the whimsical yet powerful take that Alestorm brings to the table and apply the same sort of results to Gloryhammer. I just love what the band is doing here really. I would completely recommend this to those who love epic power metal like I do. This is one nicely done debut with a vision for the band.

Highlights: Angus McFife, Magic Dragon, Quest For The Hammer Of Glory, Hail To Crail

Rating - 4.0/5

Avantasia - The Mystery Of Time

Symphonic Power Metal
Nuclear Blast

2013

1. Spectres
2. The Watchmaker's Dream
3. Black Orchid
4. Where Clock Hands Freeze
5. Sleepwalking
6. Savior in The Clockwork
7. Invoke The Machine
8. What's Left Of Me
9. Dweller In A Dream
10. The Great Mystery

I'll be honest, I have no idea what to make of Avantasia or Tobias Sammet at this point. Certainly, I've enjoyed Tobias in the past as the frontman of both Avantasia and Edguy, but the recent output of both bands has been anything but consistent. Avantasia's The Scarecrow turned the band away from symphonic power and had some downright shitty pop songs on it. Then you have Edguy who has been putting out mediocre albums ever since Rocket Ride in this reviewer's opinion. It's true that as recent as The Wicked Symphony and Angel Of Babylon that Avantasia has been very good, but I'm just not ready to forget that a large part of Tobias' recent output has been mediocre to bad. Burn me once, shame on you. Burn me like 5 times (Rocket Ride, Tinnitus Sanctus, Age Of The Joker, The Scarecrow) and well... shame on me. I've gotta go in with some skepticism here.

Listening to The Mystery Of Time it is better than I could bring myself to hope it could be. This is more symphonic album for sure and the orchestral instrumentation lets itself be known immediatly, not content to just be a background element. I find it to be a really nice touch and I like that the album is willing to revisit the roots of the project a bit. This isn't as straight up speedy symphonic power as the first couple releases, but it is powerful in a more melodic and subtle way. Basically, this album tends to sound more dramatic than bombastic. Not a bad approach at all, and I find the sound here totally enjoyable. Really, this seems like a good approach to both make something that sounds fresh and to deliver some storytelling through music. I wouldn't go into this expecting something totally heavy, but if you like that sort of broadway theatrical feel than this has a very cool sound and there is enough heaviness to satisfy me. Basically, this manages to have a lot of feeling and some softer moments without sounding as poppy as some of the tracks on The Scarecrow. All around the approach is just way better.

It's true the lead single Sleepwalking is kind of poppy and Tobias has said as much himself, but I'd consider it more of a ballad and not really that much poppier than some other power ballads. I question the wisdom in making it the lead single, but it's not a bad song. Some ballad moments are acceptable to me in the right context and if they have some power to them. That one does and so do the other ballad moments like in What's Left Of Me.

All in all, on The Mystery Of Time Tobias seems to really be onto something in terms of the sound/style. This album seems to have found a good delivery method for Tobias and I like that this feels happy and majestic. It actually takes me back to what I liked about early Edguy though this is not exactly the same sound. What The Mystery Of Time is is some very engaging music that keeps my attention with good melodies.

Also worth noting is that the vocal performances are better than I necessarily expected them to be. I don't think The Mystery Of Time has quite the vocal power of amazing talents like David Defeis and Sharon Den Adel for instance, but Kiske and Joe Lynn Turner do a pretty admirable job here and they suit the music this album delivers. I also totally dig the inclusion of Biff Byford on anything. He's an unusual choice and maybe not the most dynamic singer the band has ever seen, but he does bring a lot of personality and presence to the songs hes a part of. Ronnie Atkins' contribution on Invoke The Machine is also nice as his slightly rougher voice adds an element of heaviness to that track.

In conclusion, there is a lot to like about this memorable and powerful album. Easily digested, but not easily forgotten. I'd certainly recommend this to Avantasia fans and really any power metal fan. The Mystery Of Time is a unique and well put together album that I think will have a good deal of staying power. There are a lot of great songs here and picking highlights was extremely difficult. I just like the album more every time I listen to it. Credit where credit is due... Tobias can really make some great music when he has a vision and that's what this is. An epic one. This is a very good year for happy power metal already.

Highlights: Black Orchid, Invoke The Machine, The Watchmaker's Dream, Savior In The Clockwork, Dweller In A Dream

Rating - 4.5/5

Liv Moon - The End Of The Beginning

Symphonic Power Metal
Victor Entertainment

2012

1. Prologue
2. Free Your Soul
3. Fountain Of My Pleasure
4. And Forever More
5. Black Fairy
6. The End Of The Beginning
7. Valhalla
8. Midsummer Eve
9. Hell
10. Kiri No Requiem
11. Land Of Spirit
12. Immortals
13. Oogon No Namida
14. Voyage
15. Free Your Soul (Reprise)

Not sure if Liv Moon is going for the most prolific artist award or what, but this is the second album I'm reviewing from her/the band this year. Between her releasing in 2009, 2010, and 2011 as well this is a pretty remarkable rate the band is writing and recording albums at. No real complaints since I have liked them all, but it does seem a little like this will be a hard pace to maintain.

After listening to The End Of The Beginning, my predictions from the start seem to ring true. This is a pace that's going to be impossible to maintain and the band might want to take a bit more of a break between albums/songwriting sessions. Nothing here is bad by any stretch, but this album does not quite have the same impact on me as the last two. A lot of what is here is good, but familiar straight up symphonic metal. It boils down to highlights for me and I don't really find an unforgettable tune here.

Certainly, there is good production, good singing, and some pretty solid melodies and instrumentation too. All in all though, this does seem like a slightly less interesting version of the past couple. This isn't a huge slip and certainly not an irreparable one. I just kinda listened to this without finding huge highlights and it's missing some of the quirky notes of the last couple. The only song that's a little bit different, The End Of The Beginning, doesn't really succeed. Funny that the title track should be my least favorite, but I don't like the weird blast beat sounding speed ups in this one at all. Just sounds kind of discordant and does nothing for me.

The best track on here is probably And Forever More which is a nice duet. Nothing I haven't heard before and it seems like every female fronted band does at least One of these, but it's catchy and well done. Think of Within Temptation's What Have You Done now and the like. The others I highlighted are pretty much above average symphonic metal. Nothing hugely Different, but the best tracks do have some nice flowing melodies. Unfortunately, these do come early and the album is a little front loaded.

The End Of The Beginning is basically a symphonic band doing well, but not quite finding those Special songs. All in all though, Liv Moon is still enjoyable and offers a good sound. I'd say if you're first checking out Liv Moon try Golden Moon, but this is worth it for her fans and serious fans of female fronted symphonic metal.

Highlights: And Forever More, Black Fairy, Fountain Of My Pleasure, Free Your Soul

Rating - 3.5/5

Luca Turilli's Rhapsody - Ascending To Infinity

Symphonic Power Metal
Nuclear Blast

2012

1. Quantum X
2. Ascending To Infinity
3. Dante's Inferno
4. Excalibur
5. Tormento e Passione
6. Dark Fate Of Atlantis
7. Luna (Alessandro Safina Cover)
8. Clash Of The Titans
9. Of Michael The Archangel And Lucifer's Fall

I'm just going to start off saying I had no idea what to make of this release going in or the idea of having two Rhapsodys out there. Not really sure we need two bands mining the same back catalogue and probably mostly the same sound. I'm also not sure who will come out the 'winner', if anyone, so all I can do is listen to this and judge it on it's own merits vs the old Rhapsody right now.

Well, listening to this it pretty much sounds like Rhapsody. I mean Luca Turilli was the brains of the operation/the leader of the band. I didn't expect huge changes and I don't really get them. New vocalist Alessandro sounds quite a bit like Fabio Lione in style and the music is over the top symphonic neoclassical. I have to express a bit of a preference for Lione over the new guy, but he's still a good and fitting replacement.

Overall, not a lot has changed here to write about. As I said, this is unmistakeably Rhapsody music. There are some tweaks to the sound though. On this release, it seems like they took a little step back towards their earlier sound. The biggest change to me is that the neoclassical guitar is more dominant in the music, taking the lead and letting the symphonics be the background. This is a positive in my book and it reminds me a bit more of their earlier stuff than their later more produced material. It did seem of late that Rhapsody of Fire had let the backing symphonics come a bit too much to the front and this album does not suffer from that. Don't worry though... it wouldn't be Rhapsody without some pomp and I'd say there is more than enough.

The only song on Ascending To Infinity that's a bit too overblown is the song Of Michael The Archangel And Lucifer's Fall which just seems long for the sake of it. Not a bad track really, but not a huge epic highlight either. This could have been trimmed down a bit. And while we're talking about trimming I have to mention the cover Luna, which is too mellow for me and seems a little out of place. The smooth guest female vocals and subdued music just don't really gel with the rest of what's here despite the moments of male operatics. I'd have just cut this one or left it for bonus material.

In the end, this is a pretty damn good Rhapsody album with strong lead guitar that sets it up for success. Luca Turilli shows here that he's still got it and that he can do it without the other guys in the Rhapsody Of Fire camp. Despite a couple minor hiccups on the album, this is overall very strong and has a great sound to it. The old Rhapsody story may have been retired, but the lyrics are still of epic story themes, the music over the top neoclassical, and everything you'd expect from Rhapsody. I certainly would recommend this to fans of symphonic power metal and Rhapsody (of Fire or whatever). It's up to the other guys to measure up to this bar now and show what they can do.

Highlights: Ascending To Infinity, Dante's Inferno, Excalibur, Dark Fate Of Atlantis

Rating - 4.0/5

Liv Moon - Symphonic Moon

Symphonic Power Metal
Victor Entertainment

2012

1. Amen!
2. 零の天使
3. Alchemy
4. Kiss me Kill me
5. 氷の棺
6. Fugitive
7. Black Serenade
8. 心月世
9. The Last Savior
10. 堕天使の笑み
11. Interlude ~ By the Ruin
12. Masquerade

Liv Moon's last album, Golden Moon, was my first experience with her and I found that one interestingly different. Never been into much of anything to come out of Japan so it was a bit of a novelty to hear something good from that country. Loudness are ok, but that's about it as far as I've heard.

What we have with Symphonic Moon is something a little less quirky than Golden Moon. The sound here is not as prone to experimentation and comes off as more of a pure symphonic power album for the most part. This is really neither good or bad, just different. I liked the experimental feel of Golden Moon, but Symphonic Moon is also pleasing to the ear as it creates more of a stable and flowing soundscape. The band definitely still has a sound that is their own and there are still some oddballs like Fugitive. That one sounds a bit modern rockish, but works at the same time. It's just kind of a fun song... weird, but fun. This is the sort of track where you hear a bit of the Japanese cultural influence on their brand of metal. Also worth noting is the band's ability to put together a good ballad. It's sort of on the rare side for a ballad to make my top tracks but 氷の棺 with it's title that I can't read makes the list.

To sum it up, I found Golden Moon just a little bit more catchy and interesting, but this is a solid follow up and an enjoyable symphonic album. It didn't grab me quite as fast as Golden Moon, but it's a grower and will also grab a 4/5 rating. If you like Symphonic metal with operatic touches to the vocals and aren't opposed to something just a little quirky with Japanese lyrics than check it out. I personally enjoy an album like this when I'm feeling like something a little outside the norm.

Highlights: Amen!, Alchemy, 氷の棺 , 堕天使の笑み

Rating - 4.0/5

Epica - Requiem For The Indifferent

Symphonic Metal
Nuclear Blast

2012

1. Karma (Intro)
2. Monopoly On Truth
3. Storm The Sorrow
4. Delirium
5. Internal Warfare
6. Requiem For The Indifferent
7. Anima (Interlude)
8. Guilty Demeanor
9. Deep Water Horizon
10. Stay The Course
11. Deter The Tyrant
12. Avalanche
13. Serenade Of Self-Destruction

Requiem For The Indifferent has got to be one of my most anticipated albums of this year. Epica's last, Design Your Universe, has grown into a major favorite of mine and I do love symphonic metal when done right. Orchestration can really add a nice extra heaviness to metal when done right and I do love epic flair. Design Your Universe, to me, was just a perfect blend and a very intense album.

Well, I'll be blunt and tell you that Requiem For The Indifferent seems to shrug off the perfect formula on Design Your Universe and is a total miss. Epica are just frustrating here as they had such a great sound and this one does not capture the same formula at all. It isn't the first time I've felt this way about an Epica album as The Divine Conspiracy did nothing much for me, but following Design Your Universe this one becomes even more of a let down. I guess I should have had a bit of doubt somewhere in the back of my mind, but the last album was too exciting.

Requiem For The Indifferent can pretty well be summed up by the first track, Monopoly On Truth. From the start something seems amiss as the sound is not as heavily symphonic, the death vocals take over most of the track, and even Simone Simons doesn't sound very good. There's a certain element of discord in this track that just doesn't sit with me and there are times when I just wish Simone would be more operatic. To add to the problems is the fact that this track seems to lack any kind of real structure and meanders in a somewhat random fashion for 7 minutes without a good build or chorus. It almost seems as though this song is trying to be a bit progressive death or something and it falls flat for me. The only good moment comes in a few nice operatic moments from Simone, but there frankly aren't enough of them. I know as I write this that it is a lot of dissection of one track, but this song pretty much represents what gos wrong here. As a longer epic, symphonic track it isn't worthy of being Kingdom Of Heaven's bitch, which blended a perfect 3 way attack of death verses, choral sections, and operatics from Simone.

Moving on, the rest of the album pretty much follows suit. Storm The Sorrow kinda ends up being the highlight just because it seems like the most coherent, structured, and catchy song here. All in all, I'm not over the top on it and it could have used more of an orchestral backing, but it's a decent single and the best this album pulls off. Listening to this album over and over I just couldn't latch onto much here. The music isn't symphonic enough, the vocals don't go operatic enough, and this just doesn't give me my epic metal fix. Moreover, there really is a sound of discord on this album as Simone and the music tries to sound tortured and dark or something that I do not like one bit. Add in a ballad, Delirium, which sounds too much like a pop ballad disguised behind a thin veil of none too impressive symphonics/piano and you have a perfect recipe for disaster.

There's no way around this. Requiem For The Indifferent is just a total letdown and way below the standard this band is capable of. Maybe Mark Jansen's work with Mayan is spreading the songwriting a little thin or perhaps I just don't like the direction this band wants to head. Then again, maybe this band just didn't have a good songwriting session. Only time will tell on that one. What I can tell you is that this album isn't really worth your time in this writer's opinion. I tried and tried again to like it, but it didn't happen.

Highlights: Storm The Sorrow

Rating - 2.5/5

Within Temptation - The Unforgiving

Symphonic/Gothic/Melodic
Roadrunner

2011

1. Why Not Me
2. Shot In The Dark
3. In The Middle Of The Night
4. Faster
5. Fire And Ice
6. Iron
7. Where Is The Edge?
8. Sinéad
9. Lost
10. Murder
11. A Demon's Fate
12. Stairway To The Skies

Within Temptation set a high bar for me with the last album. The Heart Of Everything really did strike all the right chords with me as it was passionate and epic... beautifully symphonic yet completely metal. Really this band has been like a fine wine for me and has improved with age. I've always liked them, but that last album sealed the deal in a serious way as it just seemed heavier and more intense. The questions for me had to be if they could maintain this new standard they had set and where the ceiling was.

Well, I'm still not sure where the ceiling is because the arrow is still pointing upwards. The Unforgiving does not disappoint at all and the band continues to grow in sound. This is not just a rehash and once again the band finds a new sound within it's own trademark. This is the kind of thing I love to hear. Familiar in that it won't alienate fans, but not just the same old.

While The Heart Of Everything seemed to focus on being larger than life, this one takes a little different approach. There's still a big feel to this one as it is a concept album with varied moods, but at the same time this seems smoother and more geared at being catchy. I might add that this album absolutely succeeds at it. The choruses are addictive, the rhythms are energetic, and the hooks grab you. Really, I think the songwriting and production of this album are completely top notch. The nuances are great as well. A prime example would be the perfectly placed acoustic solo section in Lost that brings a lot of feeling to the tune and just gives it that extra something to push the song over the edge. Also worth noting is the great feeling some of these songs bring to the table and I have to point to a song like Murder for atmosphere. That song's creeping nature is positively dark and I love it.

Some of the songs surprised me a bit by being more upbeat than I'm accustomed to as well. An example of that would be In The Middle Of The Night which just moves along with a pace I'm not familiar with from this band. Very fast paced with some nice symphonic touches that give this a serious metal punch. I can't stress enough how gratifying it is when a band branches out to give you something new and interesting while not forgetting their own sound.

In conclusion, this a new high for Within Temptation who really set quite a high standard with The Heart Of Everything. In a way this album feels slightly more commercialized with more single ready tracks, but the songs work and the band does not lose who they are. This album kinda reminds me of Lacuna Coil's Comalies in a way. Not so much in sound as much as the point of the band's career. Great ideas and songs stepped up with smooth production that benefits this kind of a band. Let's just hope they keep remembering who they are and where they came from better than Lacuna Coil. I may be a bit of a Lacuna Coil apologist and still like their music, but I wouldn't deny they've strayed and were better in the past. Remember your fans Within Temptation... and they will keep loving you.

Highlights - In The Middle Of The Night, Shot In The Dark, Faster, Murder, Lost

Rating - 4.5/5

Rhapsody Of Fire - From Chaos To Eternity

Symphonic Power Metal
Nuclear Blast

2011

1. Ad Infinitum
2. From Chaos To Eternity
3. Tempesta Di Fuoco
4. Ghosts Of Forgotten Worlds
5. Anima Perduta
6. Aeons Of Raging Darkness
7. I Belong To The Stars
8. Tornado
9. Heroes Of The Waterfalls' Kingdom

A new Rhapsody release is always something I look forward to. And yes I still refer to them as Rhapsody. None of this Rhapsody Of Fire business... they'll always be just Rhapsody to me. Some people complain this band has become somewhat stale, but honestly I don't really get that up to this point. Sure they have a familiar neoclassical style about fantasy topics, etc but it's pretty much always worked for me. For the most part anyways. I consider them more of a band who found their niche. Band leader Luca Turilli has actually said that this will be the end of an era and the conclusion of the Rhapsody sagas lyrically. What this will mean in the future of this band I'm not entirely sure, but it's interesting to think they're finally wrapping the story around the lyrics that has been going for so long at this point.

Well, if it's to be the end of this lyrical theme, etc than it makes for a pretty suiting one. This release certainly sounds like the Rhapsody we know. The leads have that familiar neoclassical style and there's some good guitar work displayed here. The energy on this album is strong with some pretty upbeat songs that remind me of their earlier material. Not to mention more paced moments like Anima Perduta and I Belong To The Stars that bring to mind the orchestral stuff in more recent days. Actually, I Belong To The Stars does seem like a mix of both old and new with the more keyboard heavy parts. Overall, I'd say this is a pretty satisfying release stylistically and in terms of songs.

I will say that this one actually Does seem a bit familiar, but I guess reaching back to the roots is to be expected on a conclusion of sorts. It doesn't really bother me anyways and there's enough which seems relatively fresh to keep me interested. This album is also boosted by solid standouts such as From Chaos To Eternity which is patented Rhapsody neoclassical energy. Aeons Of Darkness which makes good use of some harsh vocals and comes across as heavy is also pleasing to my ears. Tornado is also worth mentioning as another ripper with some well places harsh vocals. I think my one other gripe would be Heroes Of The Waterfalls' Kindom which seems a bit overinflated and maybe not worthy of over 19 minutes. It's not a bad song, just not the super epic they wanted it to be perhaps and the narrations get a bit much. This does drag the rating down just a bit for me as it is a significant portion of the album and doesn't quite seal the deal.

Overall, it's what I expected from the band though. Maybe it's not a surprising release or a perfect one, but I don't think it will disappoint fans who have hung with the band this long. I certainly found it enjoyable and a good end to an era. To me, Rhapsody (Of Fire) really are that band who found their niche and did it well. Now I wait to see what the future of this band holds.

Highlights: From Chaos To Eternity, Aeons Of Raging Chaos, Tornado

Rating - 3.5/5