Thursday, February 26, 2015
Right from the intro track, "Vessel" itself, you will be hooked, despite the misleading simplicity. A slow floe of bright, shining chords crashing against Linus Johansson's focused and improved lines and harmonies, it sets up a more somber, melancholic environment bordering on a doom-like quality. And then, with "To New Ends", the illusion is shattered with some of the same heavily melodic speed metal, imbued with some great tremolo picked lines and chord progressions which feel fresher, more modernistic and easily more memorable than anything on the prior album. From there, the album seems to teeter back and forth between these slower, more controlled sequences ("Ecstasy Waltz", parts of "Through Bewilderment") and some sinister, atmospheric power/speed metal like "A Ruined World" in which the riffing is more subversive and angry. In fact, where Vessel hits the hardest, it's a tangibly more 'heavy' experience than The Primordial Temple, with a genuine savagery to it which strides in a lockstep with the band's more elegant, melodic qualities, and it's almost as if the debut were this tapestry of grey hues that the Swedes suddenly decided to splash various colors upon, making the brights brighter, the darks darker...
Memorable stuff, both the individual tracks and as a coherent, functioning whole. The USPM influence circa bands like Fates Warning and Omen is still evident, but on the whole the way the vocal lines are structured just seems a little more unique. No longer does Trial feel as if it's just a 'retro' band the way they were on the first disc, but one which is committed to channeling its influences into something vibrant, bewitching and fully belonging to the current decade. From the fantastic percussion, the wondrous, swooning bass-lines to the progressive, uncanny licks that sneak their way into tunes like "Where Man Becomes All", this album has proven nearly as riffy as the great Pharaoh's Be Gone, an album I was very taken with last decade. Not quite so flawless and melodic, perhaps, but striving towards that same justification that this niche of the metal realm is every bit as viable and poignant as it was 30 years ago. This all adds up to one of the best albums I've heard yet in 2015, deep and rewarding on a good number of repeated spins, and unlikely to fade from my rotation anytime soon.
Verdict: Epic Win [9/10] (let the words be spoken forever)
Tuesday, February 24, 2015
In particular, this debut is an effort which evokes the Metal Blade period of the mid 80s, with some forcibly structured rhythm progressions intricately laced with more melodies than you could fire off a can of hairspray at. In addition to the bands I tagged earlier, I caught the wafting fumes of old Lizzy Borden, Exxplorer, Helstar, Sound Barrier and other bands that wrote these hazy, dreamlike heavy metal escapes which delighted in skirting the realms of the then-fantastic, without the boldest or heaviest production and entirely negligent of the concepts of grooving and moshing that usurped the public perception metal throne throughout the 90s. At its core, much of the composition on this album is a pretty straight shot from the Iron Maiden school of thought, but brought to an Awaken the Guardian level of complexity. Controlled wanderlust. The album lacks nuance or innovation of any sort, but it does seem to tap directly into the lifeblood of what so many of us metal dorks envisioned in our youths when we fantasized about Corvettes and big-haired blondes & brunettes in Def Leppard tees that would not give us the time of day when any greaser of an even cursory muscular physique was present. That is to say, there is little to nothing original about The Primordial Temple, but it sure sounds like a lot of heart and spirit were fomented in its assembly.
Linus Johansson's vocals might be a sticking point for some listeners, since they don't manifest the glass-shattering range or unique qualities that many of the great 80s front men were known for. His syllabic delivery is quite similar to the great John Arch, albeit with less of that unearthly, ethereal shrieking quality, and more of the stunted, everyman quality that populated the middle and lesser rungs of the metal catalogs of that decade. I do think he's a work in progress though, since his presence on subsequent recordings is an improvement over this, and sometimes the wavering notes and 'flaws' in his voice actually give the phrasings a little bit of character and vulnerability. But the real stars on this record are the guitars, the harmonic passages populated the depths of tunes like "Progenies of the Avenger" and the thundering of "The Sorceress' Command". Bass lines here are a little more pronounced than your average recording from the old days, with the notable exception of Steve Harris who is quite obviously an influence. The drumming is solid, with a lot of energy, splash and pop that help kick the riffs in the ass even when they're slacking off a little.
The album also seems to grow in quality as it proceeds through the seven cuts, with "Opener of the Way" and the 13-minute epic "Phosphoros" numbering among my favorites, though I'd say the strength of the material overall is consistent enough across the entire 40 minutes. Trial doesn't make broad leaps in style or substance here over its inspirations (with even lyrical callbacks to Fates Warning, though they might not be conscious), and there is no reason to believe they are in any shape to do more than tickle the nostalgia centers of our brains, but if you're looking for a direct, dextrous exhibition of melodic heavy/power metal which eschews the prospect of modernity and conventional, overly loud and compressed production, this does serve as a decent second stringer to the formative works of In Solitude and Portrait, and if you're constantly mining the rosters of labels like High Roller and StormSpell for a new aural time machine, I can save you some of the trouble and instruct you to just check this band out right now.
Verdict: Win [7.25/10] (this is my home, I'm here all alone)
Thursday, February 19, 2015
Almost immediately (after an intro) you're dialed back to the frenetic power/speed metal guitars that placed Scanner on the map alongside their countrymen Rage, and introduced to the new vocalist Efthimios Ioannidis, who performs with a less-shrieking, more controlled mid range thank you'd expect on a time machine album like this. He occasionally shifts up the scales, for a few frilly Halford-meets-Henning Basse, high-pitched lines, but he simply doesn't excel at that uncontrolled, explosive scream which characterized the band's classics, and dwells more in an area that Peavey Wagner has been rather comfortable with ever since HIS band abandoned their 80s volatility for maturation, at the expense of momentum. In fact, some tunes here like "Nevermore" felt almost like an analog for that guy, with a few James Rivera-like barks ("Warlord") thrown in for good measure, and plenty of versatility, even when he hurls out a low, guttural growl. He has some character, but for whatever reason there are just too few choruses or individual lines that 'nail' something memorable, and in the end it seems as if the writing itself holds him back from really busting a nut in your earspace.
The rhythm guitars are tinged with a number of small, interesting melodies that lend a little more compulsion to the chord patterns, but I have to say that about half the guitar riffs on the disc are quite predictable, typical connect-the-dots second-tier Euro power which relies far too much on the upper strata of atmosphere that the vocals and harmonies just can't pull off. Now, some would say that these guys were always on that level, but there was something so impactful, so crystalline, so off the hook about Hypertrace and Terminal Earth that I still spin them both today and they haven't aged at all, while I struggle to retain The Judgement even after a few hours. The overall performances here are consistent and solid, and Julius still has an ear for a melody that elevates most of the tunes above the level of boring mediocrity, but it wasn't until "The Judgement" itself that I really started to bang my head and pretend I was listening to a successful Scanner album; it builds into a pretty potent Euro power metal anthem circa Gamma Ray, but still lacks a chorus that will floor you. "Battle of Poseidon" and "Pirates" are also decent, the latter having some of those gang shouts you might remember on the first album; and the closing pair of "The Race" and "The Legionary" are likewise highlights, most of these having a fairly immediate and bracing atmosphere.
In the end, though, all of the components of the band simply don't gel together. When the guitars are going strong, you haven't got great vocal lines. When the drums are battering away with a fervor, the chorus just never hits that interesting, unexpected string of notes that you'll be singing to yourself for the next 25-30 years. Is The Judgement a worthy wayback machine to when Scanner was one of the most promising lesser known acts on the impeccable Noise Records roster? Perhaps, but what it does possess in spirit, it somewhat lacks in actual songwriting quality. Competent power metal which does service to the dystopian and science-fiction atmospheres the band was always so swathed in over the decades, but not the killer comeback I'd have hoped. Hell, for all its flaws, I think at least the first two cuts on Scantropolis were more memorable than these. Having said that, this is very far from a bad album, or even much of a letdown. The lineup is tight and capable, and now that this one is under their collective belts, I wouldn't put it past them to dig into whatever asteroid field they reside, mine for some even better material, and go streaking back across the universe.
Verdict: Indifference [6.75/10]
Tuesday, February 17, 2015
Beyond the fact that it's just so massive, with over 70 tracks, it also features a lot of damn fun tunes that would not wind up on the band's better known studio efforts. In fact, you could probably pick out a dozen or so cuts on this that, if polished up, might have made for a great studio album themselves. The style is largely British goregrind-influenced (Carcass, Napalm Death), with a few tunes veering off into a thrashier territory, some others representative of a more old school US death terrain circa 80s Death and their like. Unlike a lot of other grind-evolved acts, Exhumed had a lot more structure to the material, with songs generally hovering around the 2-3 minute mark, not just 30-60 seconds of spastic excess but a very riffy take on the medium which took the more political overtures of earlier Carcass and transformed it into a serial killer streak inspired by serial killers and other staples of horror, both real world and cinematic. The Carcass naming conventions thrived in a lot of tracks like "Necrovores: Decomposing the Inanimate", "Dissecting the Caseated Omentum" and "Carneous Corneal Carbonization", but they also had some good old 90s brutal USDM silliness like "Necro Transvestite", "Oozing Rectal Feast" and "Bone Fucker".
As much of a treat as it is to hear tunes from the 92-95 demos, I think the strongest material is some of the split work like the whopping 11 cuts they did alongside Hemdale (In the Name of Gore, 1995), which are more or less full-blown Exhumed constructions that feel flush with the studio material they'd put out a few years later. There are also a few covers present here which are thankfully NOT redundant with the Garbage Daze Re-Regurgitated covers album they put out later. Granted, a few like Possessed's "Death Metal" just come across as cluttered, clamorous and forgettable, and other obvious choices like Carcass' "Exhume to Consume" are too close in nature to the originals and just nowhere near as compelling, but hearing them mince up King Diamond's "No Presents for Christmas" is worth a laugh or two, though I think the irony is self-evident and I might have preferred they left off the shrill vocal tribute and just went all out gore on the thing, making it 100% their own.
The second disc features a lot of the content, and some of it sounds bloody fresh despite the decade that had elapsed before they were released on this compilation. I think the one disc that just doesn't hold up to the rest is the third, featuring a lot of alternate and live radio recordings of tunes that are redundant to those you'll find elsewhere. Not that they sound bad in that context at all, but it's hard to pair up stuff like this with old, rare tunes I genuinely haven't heard and maintain my interest level. It's a solid close to the compilation, but personally I found most of the hideous highlights confined to the earlier discs. All told, though, this is a pretty thorough retrospective of a band that is honestly among the brightest and most visceral we've had in the states through the late 90s and 21st century, surely derivative but actually honoring their forebears and then putting some genuine, energetic spin on the formulas, not ignoring other inspirations in their metal canon and imbuing some thrash and melody in their momentum away from just Reek of Symphonies of Necroticism Part III.XS. Awesome band, and even though I'd make a line straight for their studio full-lengths first, if you did find this lying around at a decent price then it's packed with gut-sawing entertainment.
Verdict: Win [7.5/10]
Thursday, February 12, 2015
Now, I didn't have a lot of quips with the production of the original, but I think the point of this was to bring the guitar tones and mix of the other instruments into a more level balance with their recent records, and that certainly works, but at the cost of the record feeling a lot less vulgar and grotesque. But the biggest change here is how those higher-pitched deathgrind rasp vocals that were originally cultivated from the Carcass influence, in how they interacted with the gutturals, have here been supplanted with a voice that is more akin to the splatter-thrash of filthy 80s punk/crossover/thrash bands, most notably Blaine Cook of The Accused. It really makes this sound a little more unique within its niche, and the dirtier fuzz on the guitars helps to make it feel a lot more like the proto grind this band was partly reared on through its formative years; while some of the faster mute chugging sequences (as in "Open the Abscess") bring to mind the early years of Death, Autopsy, and so forth. Exhumed is also a band which has consistently developed its frenzied lead style through the years to incorporate a lot more melody and structure, something they interestingly seem to eschew here as they adhere more to that random Slayer lead style that became so vital to the death metal groups that actually gave a shit about incorporating them to begin with.
Gore Metal: A Necrospective has a more 'organic' feeling than its forebear, a bit more of an earthen depth and tone to it than the pure flesh-carving of the original which felt like a more 'street' version of stuff like Symphonies of Sickness meets From Enslavement to Obliteration. But that said, for any of its flaws, I really preferred the original to this, even if it wore influences a little more boldly on its sleeves, I just feel like it hit me a lot harder then than this one does now. So, if you were fond of Gore Metal 1998, as I am, I really don't know that I can give this a recommendation. It doesn't lack that level of energy, and the vocal change is surely a good one, but maybe one I'd like to hear them explore more on an album of new content altogether. The songs overall on this simply do not 'fire' the originals, and if I want some organ-grinding sickness, I'd rather go with those. But if you're open to a mildly altered mutation of the tunes, with a few different musicians in the mix (but a lot of the original guys doing guest spots), then this is by no means bad. Maybe the creator really wanted it to sound like this all along? I just won't reach for it over Gore Metal, Slaughtercult, Anatomy of Destiny, or even the last two albums for that matter, and time is in short supply these days, so it's not much more than an ugly curiosity I'll forget about. But it's nothing to get my panties in a bunch over, unless of course it leads to Slaughtercult 2.0. Don't do it, guys!
Verdict: Indifference [6.75/10]
Tuesday, February 10, 2015
The Cure's "A Reflection", which opens this disc, is probably the most out of place; they basically just heavily electrified and harmonized the central melody, a cover of an intro serving as an intro, and it doesn't exactly reflect the 'fun' tone of the majority of choices here. Prevalent are the punk and violent hardcore tunes (Samhain, GBH, Siege, etc), the best of which is probably the brutal chugging and dual growl/snarls used on Amebix' "The Power Remains", though none of these are particularly memorable beyond the fact that they are successful transplants into a medium arguably nastier than their original forms. Where Exhumed excel is once again those harmonies in the bridges and lead, which really breathe fresh air into this track, as well as Master's "Pay to Die" which just fucking rips in their murderous mitts, and is ironically my favorite cover on the disc, despite what I mentioned earlier about how I'd rather the bands stayed out of their stylistic safety zones. The middle of the album does have a pair of semi-safe choices in Zeppelin's "No Quarter" and Metallica's "Trapped Under Ice", they grind up the latter efficiently but I'd have to say neither of these were really among the highlights here.
A couple more West Coast thrash tunes, Sadus' "Twisted Face" and Epidemic's "In Fear We Kill" seem like natural enough fits, but despite being slathered in Matt Harvey's Carcass-esque ravings they lack the visceral punch of their original incarnations. On the other hand, Pentagram's "The Ghoul" sounds just monstrous with the raunchy crunching rhythm guitar tone, baleful harmonies, and the toilet bowl level gore vocals. Unseen Terror's "Uninformed" is the sort of selection I would have expected all over this album, but of all the tunes it takes the least liberties and I'd rather just throw on the original. Then again, that's the case for everything here...songs sound loud, vulgar, and straight to the face, but it all just lacks that carnal punch of Exhumed's original material. Oftentimes you'll get a death metal cover like Cannibal Corpse doing Razor's "Behind Bars" which is surprisingly fun, but here I felt most the moments I was most interested in were the leads, and there are really no strange choices made anywhere except the intro, which is just a brief instrumental. Sounds like the guys had some fun putting this together, and I've certainly heard worse from these sorts of projects, but it's a solid 'pass' from me in the end, I'd rather spin Gore Metal, Slaughtercult or Anatomy is Destiny again than bother.
Verdict: Indifference [6/10]
Thursday, February 5, 2015
The two deciding factors on why I enjoyed this more than their other albums are just how far they've come along with the ambient components and frisky leadwork, the former imbued with all manner of raw percussion, vaporous swells and pads, brooding chants, articles of ethnic antiquity. The solos in tunes like the intro "Fires of Prometheus" are just amazing, slicing and frivolous exhibitions of chaos that remind me of death metal cult classics like that first Nocturnus album, only embedded within chord progressions that are purely black metal circa older Bathory, Mayhem, Marduk, etc. There is a constant, unhinged feeling throughout the record due to the abusive charisma of vocalist Acherontas V. Priest, whose garbles and grumbles function both when they're straightforward and ugly, and also bouncing off the vaulted ceilings of the recording thanks to some tasteful reverb. Many of his lines might fall within the same wheelhouse of structure and tonality, but I found it nearly impossible to predict what syllables he was going to spit in any succession and thus the album, while possessing a solid rhythmic backbone, feels fresh and sporadic (not unlike that latest Varathron).
Riff phrases are nearly as psychotic, shifting between banks of turgid, bleak chords and flightier ascensions into tremolo pickings to accompany the blasts. Percussion is everywhere on this disc, from thundering toms to hissing cymbals and it all contributes to a sense of this black vortex which does a service to the excellent, alluring cover art. Bass lines swerve and cavort among the sickly coupling of the beats and guitars. But what's better, once the band segues into this completely dusky, ethnic piece like "Convolut-ion, Manifestat-ion, Secret-ion, Karma-Iravatl the Thunders Emerged" it really fits into the patchwork nature of the ritualistic concepts. I was ensnared by every single dark ambient distraction on the entire effort...even when they're placed back to back like "Permutations in the Aetheric Void" and "Shaman and the Waning Moon". Fortunately they'll often toss of a few of the grimier black metal rasps or whispers in among these to keep the experience coherent.
Now, I'll be honest, I haven't the fucking clue what the band is on about most of the time...the '-ion' suffix gimmick is an interesting one that had my head reeling. I am just not ancient enough. I know it scares me, and I would not want to be abducted by these guys while I was on a summer vacation in Crete or Mykonos or somewhere. Is this entire album just one massive love letter to the Gorgons? A serenade for the serpentine embodiment of the Medusa? It certainly turned me to stone, no easy feat when you consider that with 70 minutes of material this could very easily have gone off the rails. Oh, it does, it does so with pride, all the while plummeting with a cackling joy into the Underworld it longs for. At times calming, at times frenzied, a night storm sweeping across the Aegean, the best of Acherontas yet.
Verdict: Win [8.5/10]
Tuesday, February 3, 2015
Oi Magoi was ultimately my favorite metal record of 2014, but listening back to this, I can't honestly tell you it was that massive an improvement. Catchier, perhaps, but the genius bastardization of genre was already in full flux a couple years earlier. Lots of 'expected' folksy and proggy instruments here, like organs and old synths, loads of cleaner guitars performed with a bluesy tinge, crested by Theoharis disgusting harsh vocal and his wavering, accented cleans which often seem like a Hellenic Nick Cave or Johnny Cash hovering over the edge of perdition. Chords contribute to slower, dramatic riff progressions here that almost feel strangely Beatles-esque, only if you the Fab Four had ingested countless mushrooms and frolicked naked in the fields within satyr-nymph love trysts. Pneuma possesses an idyllic and ugly dual nature which is captivating through the end, even when a few of the individual riffs might not shine as much as the overall work; there's even a tint of trashy old Cleopatra Gothic vibe in a handful of the tunes like "Let Your Devil Come Inside" which in at least a few spots sounds like Christian Death or Mephisto Walz performing occult rock. I couldn't tell you if that were some conscious decision, but the real wealth of Pneuma is in that esoteric reaction.
I'm also reminded pretty often of Nocturno Culto, especially his presence in the band Sarke, where you get those raw, unfettered post-Frost vocals mired in some fuzzy, caustic primal metal chord patterns ("Against the Curse, We Dream"), but they really evade so many direct comparisons to any one source because you just never have any idea of what will happen next. Some parts seem like Opeth if they were much better at evoking that archaic prog rock nostalgia, only tainted with the fabric of nightmares; others are more fluidly black metal, just the really fundamental kind that groups like Vultyr shat forth in their own aspirations to rewrite the script. I would actually go so far as to say that, while there aren't songs here nearly so evocative as "Satan is Time", this debut is a fraction more consistent in construction than the followup. Great drums, nuttier percussion, fuzzy and spurious little lead harmonies, variation everywhere, even in the track lengths. An amazing debut that sets up what I dearly hope with be a lengthy career in which the experimentation and fusion never ends.
Verdict: Epic Win [9/10] (let your fantasy grow wild)
Thursday, January 29, 2015
I find the first few minutes of this record slightly obnoxious, if only because they seem to have put all this effort into layering these disparate elements into a unified whole but along the way forgot to make it catchy. Thankfully, as soon as the digital dust clears, and the band remember that they can sound like they're scoring a large budget German computer RPG by just being themselves and not TRYING to sound that way, Beyond the Red Mirror is actually a pretty damned solid outing which embodies much of what the band represented over the last 25 years, albeit with that slightly more fulfilling stereo production which supplants a little of that processed, heavily layered tone which they have been gradually distancing themselves from since that 1992-2002 creative pinnacle. Don't get me wrong, Olbrich's rhythm guitars still pop a lot here, and he's not bringing many new tricks to the kennel, but everything about this album sounds much 'richer' than the last few, immersive and fully modernized to the detriment of only those fans who wish they still sounded like Follow the Blind or Somewhere Far Beyond...only, they kind of do. Behind the sweltering studio facade, the Germans still beat with the dorky power metal heart that has pumped from the start, with a substantial selection of those flighty, simmering speed metal licks that put them on the map.
Apart from the intro, the orchestral arrangements through the album actually do it justice. Strings and other instrumentation used to great effect in "At the Edge of the Time", which evolves into a pure triumph that wouldn't have felt out of place on Nightfall in Middle-Earth or A Night at the Opera, only with far more bombastic horns leading the charge of the palm muted, constantly shifting rhythm guitar patterns; not the fastest Blind Guardian material, but quite complex in how they structured that all out, constantly attempting to one-up their inspirations Queen if not quite succeeding when it comes to the raw ability to deliver an unforgettable melody or chorus. "The Throne" is another great implementation, which almost has a spy-like aesthetic that felt like they were writing some metal for a future installment of the James Bond franchise. "Miracle Machine", a non-metal tune, is probably the closest they come to Queen or Journey with all those pianos and vocal arrangements, but I don't find it essential whatsoever (would have been a better bonus track/B-side). That said, the entire album has this enormous, worldly sense of momentum which is felt in both the neoclassical harmonies gleaming from within the meaty, punching rhythms and the occasional flare for a more exotic, Eastern note progression. Hansi is as always the central focus of the band, but while he delivers as always, it's Olbrich and Siepen who seem to be having the best time, and it's their frolicking little nuances in tracks like "Sacred Mind" that make, rather than break, the album.
I would like a Blind Guardian record with better bass guitars. Most of Barend Courbois' lines (on loan from Vengeance) are scantly noticeable, and this is a region in which the band has long suffered from a deficit that would better support all those booming symphonic swells, eclectic riffs and leads. I notice the instrument is there once in awhile, but it becomes too easy to forget about amidst the constant piling on of dramatic orchestration and Hansi reaching for the vaulted ceilings of whatever cathedral he imagines himself singing in when he records one of these things. Frederik Ehmke, on the other hand, manages all of the band's vivid eccentricities with firm planning, loads of potent fills and a lot of attention paid across his entire kit. The choirs, strings and other instruments thrown in here all sound high end, though they don't always consistently add much beyond breadth to the riffing. It's a vast, airy, state of the art record, which is going to titillate the modern metal audience while further alienating those who covet their copies of Tales from a Twilight World and cringe at change, which let's face it, already happened a very long time ago once the band decided to put out a concept album about The Silmarillion.
I flounder about in both camps, really, but considering this band even wrote a song about Peter Pan that could find emotional resonance with me, I have no aversion to the scope of what they were trying to accomplish here. With the caveat that the intro and "Miracle Machine" are things I could very easily skip, I find that the guitar work and the song arrangements here are marginally better than the last full-length. Is it on par with that decade of excellence now removed by another 13 years? Not on your life, but it's aspiring, dramatic. Far more functional than it isn't. Pompous. Elegant. As goofy as ever. Still Blind Guardian, still plucking at the heartstrings of men. Halflings. And elves. And that hot chick at the LARP. You know the one.
Verdict: Win [8.25/10] (Gods will come and gods will go)
Tuesday, January 27, 2015
Herbie Langhans continues to voice his slightly silky, slightly acidic timbre to a refined set of riffs that at points through Shadows presented me with the hypothetical union of what it might sound like had Andi Deris been chosen to front the first few HammerFall records in place of Joacim Cans. He does get a little more grit in there than Deris, especially when he's barking out in an edgier mid range, but lacks the truly sticky melodies so consistently delivered by the other. In other spots, the texture and layering of his delivery manifests a lot of Piet Sielck and Jens Carlsson comparisons, which is a given considering this band runs in pretty much the same circles as Iron Savior, Savage Circus and Persuader. Firm and driving rhythm guitar components dominate the songs, seasoning up a handful of rather bland chugging patterns with sleeker, melodic chord progressions in tunes like "Bleed", but even though they cater to a crowd very likely to also enjoy anything from U.D.O. to Stormwarrior, I still felt like there was a distinct lack of memorable individual riffs; for all the professionalism and variation on parade, the album is still conjured from a set of German power/heavy metal tropes that feel a little on the safe side, already delivered with far more bravado on those first two Iron Savior discs, far more balls on Primal Fear's better efforts.
But of course, if decades of power/speed charge licks worked on you then, cuts like "Far Too Long" are very likely to work on you today, and I'm not entirely immune to their charm. The album is mixed clean and bright, perhaps clean to the extent that it feels a little forced or processed in its struggle to deliver just the right amount of 'punch' to those rhythm guitars, but consider the peers these folks run with, I don't think that's going to prove much of an issue. Leads are uniformly well tended, with a few classical hints in construction, never outlasting their usefulness. The choruses are generally pretty standard for this German power anthem style, most built from fragments of better songs to come before, but there really wasn't a weak one among the bunch, even though they don't do much to rival the classics in the field. All told, Shadows is a little more exciting than their debut, and marginally superior, but they're just not the most interesting band in this scene. I liked the slightly thrashier, angrier touches, the few touches of choir-like vocals ("Broken Wings"), and the polished razor atmosphere of their approach, but the songs are just north of standard fare. Unless you're heavily invested in the sub-genre, there are far better albums to turn to for the same thrills.
Verdict: Win [7.25/10] (by a thousand tongues I swear)