Tag Archives: Sonata Arctica

On The Road… with Nightwish, Children of Bodom, and Sonata Arctica

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Nightwish has been positively killing it in 2015. With their recent album Endless Forms Most Beautiful (Sony/Nuclear Blast), the band continues to bring their immaculate stage show to their global fan base. Following a sold-out US tour, Nightwish has been touring Europe this summer and nested back home for a massive show last weekend at Ratinan Stadium, in Tampere, FI. Holding upwards of 32,000 people, with a huge crowded soccer stadium, Nightwish’s evocative symphonic-influenced metal is a transcendent experience for the fan. The band took full advantage for their theatrical talents on this night, as if they play in this type of venue every day. Maybe they should! They were joined for this special occasion by their countrymen Children of Bodom and Sonata Arctica, for a tremendous bill. Captured here for Ghost Cult by Pekka Konttinen Photography, you can see what you are missing out on if you don’t live in Europe.

Nightwish, by Pekka Konttinen Photography

Nightwish, by Pekka Konttinen Photography

Nightwish, by Pekka Konttinen Photography

Nightwish, by Pekka Konttinen Photography

Nightwish, by Pekka Konttinen Photography

Nightwish, by Pekka Konttinen Photography

Nightwish, by Pekka Konttinen Photography

Nightwish, by Pekka Konttinen Photography

 

Nightwish, by Pekka Konttinen Photography

Nightwish, by Pekka Konttinen Photography

Crowd at Ratinan Stadium, by Pekka Konttinen Photography

Crowd at Ratinan Stadium, by Pekka Konttinen Photography

Children of Bodom, by Pekka Konttinen Photography

Children of Bodom, by Pekka Konttinen Photography

Children of Bodom, by Pekka Konttinen Photography

Children of Bodom, by Pekka Konttinen Photography

Sonata Artica, by Pekka Konttinen Photography

Sonata Arctica, by Pekka Konttinen Photography

Sonata Artica, by Pekka Konttinen Photography

Sonata Arctica, by Pekka Konttinen Photography

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Xandria – Fire And Ashes

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With the EP Fire & Ashes (Napalm), German Symphonic Metal band Xandria releases their second work to feature vocalist Dianne van Giersbergen.

Only the first three songs on the EP are new and original works. Opening number ‘Voyage of the Fallen’ is impressive with its use of orchestra and choir, but it lacks features that set it apart from other symphonic bands. In fact, it sounds like After Forever, Epica, and Nightwish rolled into one. ‘Unembraced’, however, has a much more unique feel with some guitar riffs and synths that feel more like NDH (Neue Deutsche Härte). This is new and interesting, and is something they should pursue if they want to really stand out from the crowd as the prospect of more high operatic vocals over NDH is very exciting. The final original song, ‘In Remembrance’, is very pure and small, and coupled with the theme and classical style this brings to mind ‘When I am Laid in Earth’ from the opera Dido and Aeneas.

The EP also features two re-releases of old songs, namely Ravenheart, previously on Ravenheart and ‘Now & Forever’, previously on India (both Drakkar). They are both good songs, but neither have enough individuality to really set them apart from other Symphonic Metal bands.

Then there are the two covers. One is Meatloaf’s ‘I Would Do Anything For Love (But I Won’t Do That)’, and that actually works really well once they really immerse it in their own style. The other shows a serious lack of judgement, because it is Sonata Arctica’s ‘Don’t Say A Word’. Since this is the same genre of music, everything but the vocals is identical to the original. And the operatic vocals miss the sting that Tony Kakko gives to a line like “Open your blue eyes, tell me that you love me, whore!” Only the bridge is done in a very original manner. This would have been great as a live performance, because Xandria fans are bound to know Sonata Arctica, but it doesn’t have enough that’s recognisably Xandria – or at least, that’s not Sonata – in it to earn its place on an album.

With only three new songs, two old songs, and two covers, it is not clear to me why the band actually made this EP. The new material is good, and has a little more individuality than the older material, but it would be much better suited to an album of its own.

 

6.5/10

 

LORRAINE LYSEN


Serious Black – As Daylight Breaks

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Well, that’s shut me well and truly the fuck up

(You wish…)

It’s apt to begin a commentary on a release from one ex-Helloween guitarist (Roland Grapow) with reference to the man he succeeded in the pumpkin-obsessed kings of Power Metal, one Kai Hansen, who titled the third Gamma Ray album Insanity & Genius (Noise) and referenced in the lyrics how thin the line between the two is. Well, the line between generic and uninteresting pap and Power Metal Glory is even thinner, perhaps as thin as the hair-line on Herr Hansen’s fivehead these days. But with As Daylight Breaks (Nuclear Blast) Serious Black (contenders for best new band name – certainly best Harry Potter themed one) have released a debut that is so far over the line on the side of quality, the line is a dot to them (answers on a postcard if you get that reference).

Having written off Power Metal in my mind as a genre that, no matter how well its composite parts could be put together, was done, creatively redundant and in the type of artistic morass that Death Metal found itself in for twenty years, nevertheless, like the child poking the disembowelled frog with a stick and hoping for some twitch or reaction, with morbid curiosity I find myself drawn to it. See, when Power Metal is on it, there’s very little better for invigorating the mind and soul. And Grapow’s latest offering slapped me round the chops, leaving me with a fiendish grin, a rediscovered  enthusiasm for the genre and a frog named Lazarus.

The brainchild of Grapow and former Visions of Atlantis bassist Mario Lochert, with the rhythm section rounded out by former Blind Guardian tub thumper Thomen Stauch, Serious Black absolutely nail everything that is joyous about Power Metal infused hard rock, from the driving opening pair of ‘I Seek No Other Life’ and the simply massive ‘High And Low’ through to the theatre-y and slightly camp closing ‘Older and Wiser’.

The band is led by the underrated and under-celebrated vocal talents of former Tad Morose pipes, Urban breed who avoids being one of a million Kiske-clean wannabes by injecting power and tone; at times channelling Jon Oliva, particularly on the keys led title-track, at others Mike Howe (Metal Church), and able to carry a faster verse alongside the ubiquitous sizeable choruses.

Musically, you can bandy about names such as Kamelot (‘Akhenation’), Within Temptation (the uptempo rock romp of ‘Trail of Murder’), Savatage, Stratovarius, and Sonata Arctica if you like; there definite elements of Blind Guardian and Helloween,  and that’s absolutely fine, as Serious Black sit as a kind of summation of all that “is” from the polished end of Power Metal.

As Daylight Breaks benefits from a great, full, vibrant production and above all exudes the sensation of a band really enjoying their work. As they rightly should. I once incorrectly tagged Grapow as a Janick Gers figure who had ruined one of my favourite bands. He well and truly proved me wrong – I even quite like Pink Bubbles Go Ape now, and I’m one of the few people on the planet who love Chameleon (both EMI) – and with Serious Black he’s done it again, proving as Edguy did with last years’ Space Police (Nuclear Blast) that, when done well, Power Metal can be fulfilling rompy-pompy.

 

7.5/10

Serious Black on Facebook

 

STEVE TOVEY


Orden Ogan – Ravenhead

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Perhaps it says all you need to know about German Power Metallers Orden Ogan‘s fifth outing, Ravenhead (AFM/Nuclear Blast), that not only did I assume on first listen it was a debut release, but that I hadn’t realised I’d actually seen the band live a couple of years back when they were completely overshadowed by both Freedom Call and especially Luca Turilli’s Rhapsody until reminded by our fellow scribe Richie HR (who had to endure me drunkenly bellowing the wrong words in his ear all through the headline set).

See, if by your fifth album the endearing features are “promising for the future”, “naïve energy and charm” and if you don’t have a distinctive sound of your own so as to be so unremarkable as to not be remembered, then NINETEEN YEARS into your bands’ existence maybe it’s time to sit down and take stock.

But does knowing that this is a fifth album (I tend to do my research after a first listen, if research is required, so that initial impressions are as untainted as possible) make the difference in how Ravenhead should be judged? Damn skippy it does. Because you know that “promise for the future” then becomes “Oh, this is probably as good as it’s going to get” and, if we’re being honest, “naivety” really means not quite doing it right or not yet realising what needs to be done to live up to the masters (or indeed apeing the masters a touch too much to be a successful band in your own right). Having lived with Ravenhead for a while it becomes obvious that, like so much else in today’s consumer society, while superficially it’s all shiny and nice, as an album it lacks any real depth,  substance or character.

Borrowing heavily from Blind Guardian and their school of fantasy-tinged Power Metal, this is exemplarily well played, but as a million death/metalcore bands show, technical expertise certainly doesn’t equate to innovative songwriting ability and Orden Ogan will always be so far in the shadows of their countrymen that they may as well be invisible.

There are decent tracks on here, but after two decades and five albums I want more than a band that sounds a lot like one of their contemporaries with a touch of Sonata Arctica (on ‘A Reason To Give’) or an added folky, shanty feel to a ‘At The End Of The World’. Meanwhile ‘Deaf Among The Blind’ may as well add the word Guardian to the title and serve to sum up Orden Ogan’s status in life.  Some of this may seem harsh because this is a perfectly pleasant proficient and professional Power Metal product, but where there is wheat, all else must be termed chaff.

 

6.0 / 10

Orden Ogan on Facebook

 

STEVE TOVEY


Sonata Arctica – Ecliptica – Revisited; 15th Anniversary Edition

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Considering Spinefarm released a re-mastered version of Ecliptica in 2008 resplendent with new packaging and bonus tracks, in order celebrate the 15th anniversary of their debut, Finnish melodic Power Metal masters Sonata Arctica had to do something different, so chose to head to the studio to re-record it. As you do. The intention seems honest enough, with only vocalist / mainman Tony Kakko and drummer Tommy Portimo playing on the original, and with songs from what is a genuine genre classic still featuring heavily in their set, the rest of the band wanted to pay tribute to the original.

So, where do we stand on re-recordings, people? Yep, thought so, that seems pretty unanimous to me… I’ve yet to come across a re-recording where the original has been improved upon too. While some are worthy curiosities worth a listen from time to time, the best example being Anthrax’s The Greater Of Two Evils (Sanctuary) – which was a compilation of older tracks with John Bush on vocals rather than a straight re-record – in the main, they are creatively redundant, futile efforts. And don’t get me started on Kings Of Metal MMXIV (Magic Circle).

The re-record is slicker and “sounds” better, with Kakko’s vocals less fresh-faced and more professional, it does lack the naivety and, well, charm, of an original that had a rawer guitar sound, less polished mix and more ‘oomph’ to it. The key of several of the songs, most notably opener ‘Blank File’, has shifted down a notch or two to better suit Kakko’s range, and some of the solos have switched between instruments.

But, minor aesthetics aside, it is pleasing to report that, at least, they haven’t fucked around with it and Ecliptica – Revisited; 15th Anniversary Edition (Nuclear Blast) is pretty much a straight re-record. Why is this pleasing? Surely you’d want the band to do something different? Nah, because different isn’t always better and this faithful re-imagining serves a reminder of just how good the songs are and just how promising a band Sonata Arctica were in their early days.

Ultimately, it must be said, this is a very, very respectable re-recording of a great album, and about as a good a job as could be done to stay true to the original, but as with all of these types of things, the original is the King. If the debut didn’t exist, I’d be reigning down recommendations on this from on high – Ecliptica is a classic for a reason, all in, a collection of great songs.

The 15th Anniversary Edition, I’m sure, was fun for all concerned, but if you’re interested in dipping into the Stratovarius influenced Power Metal world of Sonata Arctica at their peak, pick up the originals of the first three.

 

7.5/10

Sonata Arctica on Facebook

 

STEVE TOVEY


DragonForce – Neonfly: Live at Colchester Arts Centre, UK

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More bands should take the same “back to basics” approach that DragonForce are applying to the UK leg of the Maximum Overload world tour. Rather than taking in the usual 5 shows in the same 5 major cities, this time around the sextet are taking in  20 smaller venues in 20 towns that don’t get to see many non-local bands.

And the people of Colchester, saved the £30 fare and hour journey to London to take in a show, have responded enthusiastically. The Arts Centre, a converted church that is actually a rather fine venue, is absolutely rammed, and the opening band aren’t even on.

Neonfly, a badly named band who thus far have flown under the radar, take to the stage and are greeted enthusiastically and respond as if they’ve just strolled out as a festival headliner. And it’s lapped up as they run through a selection of AOR influenced widdly Power Metal that veers between Sonata Arctica and UFO. They have all the poses (including some classic Priest choreography), all the solos and in Willy Norton, all the voice with his excellent Michael Kiske meets Tony Martin delivery, and a stage patter that’s part children’s entertainer and part Danny Bowes on happy pills. It’s 1988 again, and no one is complaining as single ‘Gift To Remember’ is met by a healthy number of hands in the air to its rocking riff and massive chorus. While closer ‘Morning Star’ may be a slightly disappointing end to a very enjoyable set, no damage is done as Neonfly have made a lot of new friends tonight, as songs aired from their upcoming new album Strangers In Paradise (Inner Wound) touch on Avantasia. And they have a guitarist called Fred Thunder.

DragonForce have quite the mixed live reputation, but since the arrival of vocalist Marc Hudson they seem to be a different beast these days. Hudson’s first album with the band, The Power Within (Essential/Roadrunner) was their best since debut Valley Of The Damned (Noise/Sanctuary) and the strength and reputation of their live show has grown since his arrival. Heading out on the road with a new album, Maximum Overload (earMUSIC), that picks up where Power… left off, could they continue the upward live curve?

Absolutely. In spades. From the rapid fire power metal, to the guitar duelling of Sam Totman and Hermann Li, who both make the fastest and most complex of guitar techniques seem effortless, to bassist Frédéric Leclercq’s facial comedy show and underpinning rumble and Hudson’s near flawless vocal performance, the ‘Force are on it.

Everything about DragonForce on this tour elicits grins and a feeling of joy, and it’s clear this comes from the stage, aided by Totman’s understated self-deprecation and ongoing banter with Leclercq, the two of them mocking Li, each other, the lyrics (the sword motions in ‘Black Winter Night’ were childishly brilliant), the crowd and themselves throughout while still delivering. It’s great to see. Li, on the other hand, is pulling every Guitar-God shape, including pick-sliding with his tongue, while in between Hudson, the bastard love-child of Chris Jericho and Sebastian Bach, has learnt the master of ceremonies role, padding and filling well in the longer than usual gaps between songs caused by technical issues to Vadim Pruzhanov’s keytar.

Highlights are hard to choose, but a mid-set ‘Seasons’ goes down a storm, a thrashy ‘The Game’ opens up a pit, and ‘Three Hammers’ is a colossal slice of One Direction meets ManOweeN, before all too soon it’s time for the bands best song, ‘Cry Thunder’ which concludes the set proper to rapturous cheers.

Immediate a holler rises for an encore, and the band oblige, camping through their dreadful version of ‘Ring of Fire’, before a vibrant ‘Through The Fire And Flames’ (I’m sure some guy near me was actual air Guitar Hero-ing) and a triumphant ‘Valley Of The Damned’ wrap things up to send a happy crowd spilling out, talking nearly as quickly as the flurrying fingers of Totman and Li about how much they enjoyed the show.

This is what a Power Metal gig should be about, a packed crowd singing along to hymns of cheese and metal with a band turning in a great performance, all creating a symbiotic exuberance. Simply great fun.

And I was sober…

 

DragonForce Set list

Defenders

Fury Of The Storm

Three Hammers

Black Winter Night

Seasons

Tomorrow’s Kings

Symphony Of The Night

The Game

Heroes Of Our Time

Cry Thunder

 

Ring Of Fire

Through The Fire And The Flames

Valley Of The Damned

 

DragonForce on Facebook

STEVE TOVEY


HammerFall – (r)Evolution

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An undercurrent to 2014’s metal story, particularly within Power Metal circles, has been that of a rediscovery of their essence and, ultimately, redemption by the more established bands whose works had shown diminishing returns since early vaunted and lauded releases; bands that have diluted, lost their way and their spark. Bands like Sonata Arctica and EdGuy have found the old magic and produced albums that don’t just throwback to yester-Golden-year, but are resplendent in the fairy dust of Power Metal brilliance, returning to form gloriously.

Despite pretty much being the catalyst for the return of Power Metal to a post nu-metal world with their classic debut Glory To The Brave in 1997, on (r)Evolution, their ninth album (all for Nuclear Blast), HammerFall find themselves needing to follow the narrative of other successful comebacks after the disappointing, limp and creatively redundant Infected and a decade of albums that whimpered in the shadows of their glorious first two.

The first thing to note is the return to Studio Fredman, and the reappearance of Fredrik Nordström in the producers chair for the first time since Legacy Of Kings, still to this date the band’s best outing, and the vibrancy he brings to their sound. Returning to the style that conquered Europe so many years ago, (r)Evolution hurtles out the gates with the self-referential ‘Hector’s Hymn’, a joyful call-to-arms that reasserts HammerFall’s trademarks, and screams that they are back on track and back on brand, mentally, lyrically but most important musically.

All the classic HammerFall elements slot into place, with main man Oscar Dronjak  revitalised and doing what he does best, pulling out Dio-esque riffs on the fists-in-the-air ‘Live Life Loud’, or twisting the Priest strangle grip on the intro to ‘Tainted Metal’, with plenty of chugging power chords and flowing leads throughout. Where Joacim Cains sounded stifled on Infected, here his distinctive tones are free, as if he is enjoying life leading a heavy metal band playing traditional heavy metal once again, effortlessly finding the right melodies to turn songs into anthems replete with collosal choruses.

Both in the title of the album, and in several of the lyrics, there is an acknowledgement of what HammerFall is, does and should do, and by implication, the limitations that were exposed when they tried modernising and changing their sound too much. But the thing is, when HammerFall do what HammerFall does best, such as on the likes of ‘Bushido’ and ‘We Won’t Back Down’, it matters not that it has been 16 years since their last great album, only that on (r)Evolution they have found themselves again, and have lived up to their own legacy, the legacy of kings of Power Metal.

7.5/10

HammerFall on Facebook

 

STEVE TOVEY