Album Review: Devin Townsend's Infinity (Remaster)

Time for honorable mentions fellow Otaku & Metalheads!

That’s right, time to look at the albums of 2023 that didn’t quite make the cut. Like I’ve said numerous times on prior lists, just because an album made it to the honorable mentions section doesn’t mean that it’s bad or mediocre. Most if not all of the honorable mentions I’ve spoken about are genuinely quite good, and the subject of today’s review is no exception, and is from Devin Townsend, who I’ve spoken about many times in high regard. However, today’s review marks the first time that I will be throwing some criticism at a release of his. Some pretty big criticism, to be exact. So, without further delay, here’s my review of the remaster of 1998's Infinity. Let’s begin!

Background
Taken from Devin’s website about the original Infinity:

“I remember once I had finished Ocean Machine and City, the idea of duality became a big thing for me. I began to find myself fascinated by the concepts of ‘this and that’ and ‘yin and yang’ (or whatever metaphors supported that idea). I realized that the things that were motivating me were (in hindsight) a relatively common ‘coming-of-age’ type of artistic view. I found myself engaging in drugs and relationships that were unhealthy, yet playing into the whole metaphoric nature of that period to the point where my whole world resonated with a very deluded sense of self importance that ultimately had much invested in the music itself.

I felt a very arrogantly gratifying sense of martyrdom in ‘sleeping on the studio floor’, feeling ‘persecuted’, and ultimately winding myself up to believe that what I was doing was of some sort of great significance. At the time it was very romantic, but in hindsight, it was very obviously engagement in chemicals and drugs that I was unfamiliar with. These experiences threw me into a psychological tailspin that resulted in a chaotic, dense, (at times glorious), but mostly very confused statement.

It was done on ADAT in my friends basement, and the recording was unfortunately a self-imposed hellish mess. Again, hindsight is 20/20 and currently it’s much easier to recognize what is legitimate drama from artistic gratification. At the time, I believed it was the last record I would ever make. Strangely, I feel that about most records I’ve done. Ultimately, Infinity is one of the most important records I feel I’ve been involved with, and it was a rewarding time for my process.”

Taken from Devin’s website about the original Christeen EP + 4 Demos:

“Nowadays, when I record too much music for a single disk, it comes out in double disks or bonus editions etc, but at the time, (without a label or management to guide), I would put out the bonus songs as things like this, or the ‘Ass-Sordid’ stuff. Japan wanted to make a video for Christeen with a famous photographer that ultimately got edited by someone other than him and was a disaster. The inclusion of the video, however, seemed an appropriate excuse for me to put the additional songs into one place that existed in tandem with the Infinity sessions.

Some interesting stuff here, with the final song ‘Love Load’ causing quite a ruckus among friends and band mates as being a horrible statement. A statement that distanced myself from the things that actually defined Infinity in the beginning. (Selfishness over community)”

Taken from Metal Injection in September of 2023 about the reissue/remaster:

“As I move into a new phase of my work, (one that requires the next two years to be spent writing and recording), I reflect on the Infinity album and the period it all happened in many ways. This was my first attempt at engineering and mixing an album, and without it, I wouldn’t have gotten where I am now on a technical level. It was like going to college at the time, and although it is primitive in many ways, it also reminded me of the amount of passion it takes to reach a new level.

The whole process during the making of this album was fraught with learning, turmoil, growth, and psychological development. In fact: I didn’t think at the time that I would even get through it, (let alone be here 25 years later writing and working with the hard-won experience that came as a direct result of making Infinity).

I realize now how pivotal this period of expression was for me, and how it was a testament to tenacity in the long run. As such, I’m proud that we’ve decided to re-release the record with all the bonus tracks and personal artwork from that period in one place. I was even asked to do an updated version of the naked cover album cover (!!!) so in the name of authenticity… I did that too.

I believe this to be the quintessential version of the record. It was a statement then as it is now. And for those who were there during that period as well as those who are perhaps interested in how it all began, I present to you ‘Infinity’ in an updated fashion. I’m grateful for the opportunity to release it in this light and thank you all for the support all these years. Please wish me luck as I delve into this next phase, and being able to reflect on Infinity during the start of this process has proven to be very useful.”

Basic Description
Welcome yet Disappointing.

Let’s get this out of the way: Infinity is not a bad album, and the Christeen EP + 4 Demos release is not bad either. Having the two on one record (Split among 2 CDs) is a great way to re-introduce classics to a new generation that might not have heard of it, while at the same time giving longtime listeners a huge nostalgia blast. That being said......it’s not a great remaster. If anything, this is one of the most incredibly subtle remasters I’ve ever heard of. Just to check to see if I was having auditory hallucinations, I went back & listened to the original release to listen for anything different from them & this record, and if there’s any difference between the originals and the remasters, it’s an exceedingly small difference. Which is a crying shame, as again I find the original music to be great, and this re-release of it is great for bringing in old & new fans alike, but the lack of remastering signs really hurts it.

Best Track
Like I said in my review for the original Infinity (Read Here), I was a big fan of both Christeen & Noisy Pink Bubbles. They were the most normal sound & feeling tracks of the album, and I still stand by that. However, I can’t deny that even on these two songs, there’s still at least a little bit of weirdness (Especially on Noisy Pink Bubbles) to be felt, which I guess is a good thing.

Christeen

Noisy Pink Bubbles

And then there’s Sit In The Mountain. If the two previously mentioned tracks are the most normal on Infinity, then the middle track of the Christeen EP is the most normal for that release (Read Here). A groovy little number, it’s simultaneously peaceful, while still providing quite a bit of heaviness to the listener. Definitely a nice mix!

Sit In The Mountain

Finally, there are the 3 bonus track included, which I suspect are the only pieces of music that actually had the remastering work done on. They include an acoustic version of Sister & Hide Nowhere off of his prior album Ocean Machine, as well as a demo for the song Man, which I have no idea what that one was going to be on. Regardless, these little musical nuggets do round out this reissue rather nicely, and add a little extra meat onto what is already a beastly dish.

Sister (Live Acoustic)

Hide Nowhere (Live Acoustic)

Man (1996 Demo)

Worst Track
Again, this remaster’s only fault is that it’s so incredibly difficult to tell that it’s actually been remastered. Like I said above, I listened to the original versions then this one to see if there’s a difference, and if there was, it’s so small it might as well not be a remaster in the first place.

(The Acoustic tracks & Demo track are exempt from this, as they’re new material which, as far as I know, weren’t on the original Infinity release or anything after it.)

Other
If you’re curious about listening to this album, then click on the link below:

Infinity: Remaster

Overall Impression & Rating
Infinity: Remaster is a baffling one for me. On the one hand, as a remaster it stumbles somewhat. The way it was redone makes it difficult to tell that anything has changed in any meaningful way. On the other hand, it’s great that HevyDevy still recognizes Infinity & it’s EP as important steps in his career, as he is more than willing to put it back out for the public to listen to. If you’re buying this as a remaster, you’ll be incredibly disappointed. If you’re buying it for the general level of quality however, then you won’t be upset in the slightest!

Infinity: Remaster gets a 10 out of 10 for overall quality, but a 5 out of 10 for the remastering.

And that was my look at the remaster for Devin Townsend’s 1998 classic, Infinity, as well as it’s EP. The quality might be fantastic, but it still feels the same as it was over 25 years ago.....for better or for worse. Well, I’ll save the other honorable mention for November later on this year, but in the meantime we’ve reached number 1, and I’m starting things off with quite the emotional colossus. See you next week!



***
If you’re curious about the original Infinity & Christeen EP releases, click on the links below to give them a listen to:

Infinity

Christeen EP + 4 Demos

Album Review: U.D.O.'s Touchdown

Closer to no. 1 fellow Otaku & Metalheads!

We’re not that far away from the highest spot of last year’s albums. 2023 had some surprising choices at the number one spot, but before we see what’s there, we gotta finish up here at no. 2. Last week I took a look at Firestar, which was Iron Savior’s newest release. However, those fellows were not alone, as another Germanic Metal titan stood alongside them! Since 2018, I’ve spoken about the legends U.D.O., and the wonderful material they’ve release since I’ve been paying attention to them for close to over a decade since I accidentally discovered them. Last year, they put out a monster of an album, so let’s not waste anymore time! Here’s my review for 2023's Touchdown. Let’s begin!

Background
Taken from Wikipedia:

“In September 2022, bassist Tilen Hudrap got injured in Munich while playing a show during the Game Over world tour. Former Accept bassist Peter Baltes would step in as the temporary member. Hudrap announced his departure from the band soon after. In April 2023, Baltes was announced as the band's new bassist. The eighteenth studio album Touchdown was released on 25 August 2023.”

Taken from Metal Invader:

“After touring Australia and Japan as well as kicking off this year’s festival season by introducing new bassist Peter Baltes last month, U.D.O. – the iconic heavy metal five-piece led by legendary vocalist Udo Dirkschneider (official) – let the next cat out of the bag today: In between various live activities throughout the year, the band have been very productive having recorded a massive, 13-track album at various locations. Crafted with producer and mixing engineer Martin “Mattes” Pfeiffer at Redhead Studio (Wilhelmshaven, Germany) and mastered by Stefan Kaufmann at ROXX Studio (Solingen, Germany), Touchdown is scheduled to land in the end zone of the heavy metal world on August 25th, 2023 through Atomic Fire Records. Artwork & photos were provided by Martin Häusler.”

Basic Description
Balls To The Wall.

Hehe, I couldn’t help but put in that little Accept reference. Even with that said, this album definitely comes across like the U.D.O. of old at times. There’s no frills, there’s no added features, no bells, and no whistles. Touchdown at the end of the day is classic Heavy Metal from the 1980s, but given a bit of spit & shine thanks to modern recording and production techniques. Not only that, but the record does manage to somewhat eclipse the equally excellent Game Over from 2021 by having a bit more energy than the previously mentioned release. Not enough to equal that of the phenomenal We Are One from the start of this decade, but definitely enough to put it in view of that release.

Best Track
I think for any first time listener of this album, they’ll definitely fall in love with the title track. Curiously found at the very end of the record, it’s a wonderful & intense song that keeps it’s energy going throughout the entire thing. The football imagery not withstanding, Touchdown is classic U.D.O. brought into the 2020s with fists raised high and can do attitude front & center. Possibly the most interesting part about the track is the brief few second of what comes across like violin playing towards the end of the song, and while it’s not bad in any way (If anything, it’s interesting), it is something of a double take for that brief period of time.

Touchdown

Worst Track
Kinda like Firestar from last week, Touchdown’s only fault is that there isn’t a ballad anywhere to be heard. The band always manages to have at least one power ballad on their albums, so it’s weird to not find one on this record. Unlike Firestar, there isn’t one as a bonus track on the Japanese edition, which makes that edition pointless unless you’re a diehard collector of that country’s releases of Western albums.

Other
If you’re curious about listening to this album, then click on the link below:

Touchdown

Overall Impression & Rating
Touchdown is damn good. Lack of a ballad not withstanding, U.D.O. continue to prove after nearly 40 years that they still have talent & relevancy here in the early parts of the 2020s. I may hold We Are One from 2020 in higher regard than this record (And Game Over from 2021 to a lesser extent), but Touchdown isn’t that far off. Definitely a release to not pass on!

Touchdown gets a 9.5 to out of 10.

And that was my review of Touchdown. Further proof that the old-schoolers of Heavy Metal still have weight in the 2020s, it's a testament to the overall quality & entertainment factor that this record stands so tall. So, we’ve reached the honorable mentions of 2023, and to say the releases I picked that year are.....odd to say the least. So, I’ll see you all next time, when we’ll look at a re-release that’s simultaneously delightful, yet oddly disappointing. Until then, take care!

Album Review: Iron Savior's Firestar

Now we’re at no. 2 fellow Otaku & Metalheads!

It’s not much longer before we get to the no. 1 spot of 2023, and that year’s honorable mentions by an extent. The no. 2 spot of 2023 definitely had perhaps the most upbeat & optimistic release of that time, and the first of the two I’m looking at I once spoke of back in 2020. Much like that previously mention album, this record was a much needed boost of positivity to help us get out of the disease-ridden mire of the beginning of this decade. I’m speaking of course.....of Iron Savior. For almost 30 years, this German band has crafted some of the Power Metal genre’s finest in Science Fiction record, but never forgetting to add just a little bit of Fantasy to even it out. So, without further delay, here’s a look at Iron Savior’s 2023 release, Firestar. Let’s begin!

Background
As I seem to be saying a lot lately.....2020 was an absolute crapshoot. I don’t need to go into detail like I been doing when bringing up this year, but it stands to reason that not a lot of good was going on. For Iron Savior, they didn’t let a once-a-century plague stop them from making music, and by the end of that year they had released the excellent Skycrest (Which I’ve talked about here). However, that wasn’t the end of their work, as by November the 19th of 2021 they would release a 10th Anniversary Edition of The Landing, which was completely re-recorded & including the Japanese bonus tracks (Which was a huge treat for those outside the Land of the Rising Sun). However, it wouldn’t be until 2023 that all new material would reach listeners, and on 6th of October that year, Firestar was released.

Basic Description
Sci-Fi Power Metal Fun.

This has pretty much been the band’s M.O. since they began releasing music back in 1997: a band firmly within the realm of Power Metal musically, but more often than not utilizes Science Fiction rather than the style’s signature take on the Fantasy genre (Though they do keep a little of that genre in their music.). It’s definitely makes fans of Power Metal who like the style more on the traditional side to do a double take, but more often than not they adapt to it very fast. As for Firestar itself, I say it’s fantastic! There is one weird fault with the album (More on that in a bit), but that weird fault doesn’t ruin the experience that this record provides. Firestar was definitely an album that was needed to help listeners continue to get out of the mire that was 2020. The upbeat energy, mixed with the heaviness of the instrumentation, and topped with the Sci-Fi syrup, just makes the whole listening experience a great time. Nuff said!

Best Track
It’s hard not to love the title track of the album, and for good reason. Everything about the song is infectious: from the pacing, to the instrumentation, and to Piet Sielck’s signature vocal work, it’s hard to not have this track at least be partially stuck in your brain. But as usual, it’s Iron Savior own brand of Sci-Fi Power Metal optimism that really shines on this tune, and Firestar as a whole to be honest. My only complaint is that this song isn’t the opener, and that’s it!

Firestar

Worst Track
In an absolute bizarre move, Firestar doesn’t have a single power ballad that’s pretty much been typical of Iron Savior since the beginning of their career. The European edition doesn’t have a ballad, and the American version (Which I have) doesn’t have one either. It’s only on the Japanese Edition that Firestar gets a ballad, and it’s a lovely little tune by the name of When The Tanks Are Rolling. Sadly, there isn’t a link to the song on Youtube, but I can say that it’s definitely within the ballad territory. Maybe not as sappy as something like Ease Your Pain off of their last album, but it definitely does have that Iron Savior ballad-grade emotional weight on it’s shoulders. If you by any chance grab/download the Japanese release, it’s definitely not a track to skip!  

Other
If you’re curious about listening to this album, click on the link below:

Firestar

Overall Impression & Rating
Firestar was an absolute blast! Sure, there wasn’t a ballad to be heard for the most part, but everything else is a nice slice of Power Metal cheesecake that just so tasty. Yet another example of an album that pulled many of us out of the disease-ridden depths of the first few years of this decade, it’ll be around for us whenever we need a big emotional pick-me-up!

Firestar gets a 9.5 to 9.9 out of 10.

Album Review: E Nomine's Die Prophezeiung

Happy Easter fellow Otaku & Metalheads!

It’s that time of year again. Where those of us with faith celebrate the resurrection of Jesus Christ, and those of us who are casual or don’t have a religion none the less sit down to a nice meal with family, and the crown of the day is a nice basket with candy. That’s definitely what happens in my household, but for me this is one of the few times of the year that the more.....religious music in my collection comes out. Now, for the past few years I’ve taken looks at E Nomine, and I’ve definitely had fun reviewing their discography. A Techno/Electronica group that uses religious iconography for their lyrics & their music’s atmosphere, they have quite the following in Europe, and have something of a cult status here in the United States. Last time I reviewed something from these guys, is was their ode to horror movies & the occult in their 2nd release, Finsternis. Today’s review sees them go back to their roots, but with a darker twist. So, make sure your basement is stocked for the end of the world, have some chocolate, and sit down for my review of E Nomine’s third album, Die Prophezeiung. Let’s begin!

Background
As I said in my last review, finding information on E Nomine’s career is exceptionally difficult. Wikipedia is really the only reliable source on the group, and even then the amount of info is minimal at best. What little on the site that can be found is that literarily 1 year later, E Nomine released Die Prophezeiung on the 14th of April, 2003. It was a return to form for them, as they left the Occult & Horror Movie themes of Finsternis behind, and returned to the more biblical themes of Das Testament. More specifically, they went with the subjects of apocalyptic prophecies about, the struggle between light and dark, death, and the afterlife. It wouldn’t be as high on the German charts as last time (Finsternis was at no. 3), but it would still sit at a comfortable level for quite some time (No. 12 on the chart).

Basic Description
A return to form.

For anyone that wasn’t a fan of the topic shift on their second album (Though I don’t know why anyone would not like it), this was a welcome return to E Nomine’s first release thanks to bringing back the biblical subject matter. Things are a bit darker this time around, as like I said above, the group decided to explore the Book of Revelations, not to mention apocalyptic prophecies & the other subjects I mentioned above. The end result is what might very well be E Nomine’s darkest release in their career: a record rooted in their patented take on Techno/Electronica with Gothic & Industrial undertones, but with a bleaker atmosphere that what they did before. Unique like everything they’ve done!

Best Track
Schwarze Sonne is not only the best song of Die Prophezeiung, but it also happens to be the tune that I discovered by accident nearly 4 years ago that led me down the E Nomine rabbit hole. I loved the atmosphere of the track quite a bit, but it’s the English version that I especially enjoy. Though the play time is shorter (It’s officially 3-ish minutes on the original release, 7-something minutes on a later re-release, and 5-something minutes for the English version), it’s nice to hear the song in my home language, and some of the beats & rhythms have been re-arranged to change things up. At the end of the day though, both versions are nice to listen to, and aren’t time wasters in any way.

Schwarze Sonne (Original Album Edition)

Schwarze Sonne (Re-Release With Translations)

Schwarze Sonne (Pure English Version)

Worst Track
I normally would complain about an album’s bleakness, but this is one of the few exceptions where I feel that it actually works in Die Prophezeiung’s favor. My only real complaint is the pacing, and I will say that this record is their slowest. There is a track or two that is faster than others, but for the most part this release has rather slow pacing. This results in an album that may be a slog for some, and because of that I had to give this record it's lowest score out of the 3 (More on that in a moment).

Other
If you’re curious about listening to this album, then click on the link below:

Die Prophezeiung

Overall Impression & Rating
Die Prophezeiung is a great album, and a wonderful return to the subject matter that got them so popular in the first place. It might be their slowest release for some, but it still manages to be atmospheric and groovy. If by some chance this record comes your way, give it a listen to. I don’t think you’ll be board at all!

Die Prophezeiung gets a 7 to 7.5 out of 10.

And that was my look at E Nomine’s 3rd release, Die Prophezeiung. Though there is technically a 4th record, for all intent & purpose this is my last look at the group, though I might consider it for next year if I can find it. I hope you all have a nice rest of the day, and I’ll see you next Friday for my look at one of my no. 2 albums of 2023. Take care!



***
If you’re curious about their prior 2 records, click on the links below to see them:

Das Testament (First Review)

Finsternis (Second Review)

Also, if you’d like to look at the brief history of the band, click on the link below:

E Nomine (Wikipedia)

Album Review: Anthem's Crimson & Jet Black

Fellow Otaku & Metalheads.....welcome back to Japan!

It’s been some time since we’ve come to the Land of the Rising Sun. Not since the summer of 2021 have we ventured into the nation of samurai & sake, but a nice surprise came out last year in the form of Anthem’s 19th studio release. For almost 40 years since their very first record, the band have shown that not just fluffy & cutesy (Even though I like some of it) songs can come from Japan. Heavy Metal can come from there as well. Some damn good Heavy Metal, as a matter of fact! So, sit back, relax, and enjoy my review for Crimson & Jet Black. Let’s begin!

Background
With Nucleus finally getting Anthem their foot in the door in Europe, and in the United States for a 2nd time, the band managed to gain footholds that had long alluded them. From there, the played at Keep It True festival in Europe, and they ultimately stole the show despite having a cult status in the nation. From there, we enter 2020, and I don’t need to say what happened in that year. However, even a plague that isolated everyone on the world didn’t keep these guys down! In that year (Around the end of December to be exact), the band released Explosive -Studio Jam-, which was mostly a compilation of covers, and it saw the return of Graham Bonnet a little after 20 years. Then, on the 21st of April, 2023, Crimson & Jet Black was released!

Basic Description
Nucleus 2.0.

Okay, maybe that’s not an exact description. Yes, the vocal work by Yukio Morikawa is completely done in English, and the recording/production of Crimson & Jet Black is just as crisp and clean as the previously mentioned album, but this record is not composed of prior material. For the first time in nearly 7 years (As of 2023), the crew of Anthem have produced all original songs, and they’re absolutely killer! They still continue the tradition of performing classic Heavy Metal, but it’s that touch of Power Metal that they’ve been using since the 2000s that’s fleshed out their music that really expanded their musical identity. It’s a testament that almost 4 decades after they came onto the scene, they still manage to stay relevant thanks to the quality of their work, and I respect them for that!

Best Track
Blood Brothers is the living embodiment of wholesome & badass. On the initial surface you might mistake this for a cover of the Iron Maiden song of the same name, but that’s not what this song is. This track is incredibly energetic & fast, but like all of Anthem’s tracks in this style, they never veer off the tracks. The lyrics, while aggressive & anarchistic (In a good way), are also uplifting and exceptionally energetic. As we continue to move past the beginning of this decade, it’s songs like Blood Brothers that’ll keep us going until we’re in the clear, and even then we’ll probably still be listening to it.

Blood Brothers

Worst Track
To be perfectly honest, Crimson & Jet Black is about as perfect of a modern day Anthem album as one can get. Coming in on nearly 40 years since their first release, everybody in the band still continue to be amazing in their respective role! If I had one small gripe, it would be with Yukio Morikawa’s vocals. Like on Nucleus & as I said above, he is singing completely in English, and he kills it! That being said, I can’t help but hear tiny cracks when he sings at the higher notes. They don’t impede the overall experience, but if you’re someone that knows about this kind of stuff, you might spot it easily.

Other
If you’re curious about listening to this album, then click on the link below:

Crimson & Jet Black

Overall Impression & Rating
Crimson & Jet Black was a lovely metallic tsunami. There was the small issue with the higher end vocal work, but that doesn’t take away the overall amazing quality the album provides. Coming in on almost 40 years since their self-titled debut was release, Anthem continue to show the worth that they can still crank out amazing music after all this time. A modern release from the band you definitely don’t want to miss!

Crimson & Jet Black gets a 9 to 9.5 out of 10.

So that was Crimson & Jet Black. Nearly 40 years after their very first album, Anthem continue to prove that they’re a force to be reckoned, and show that Japan can be just as much of a source of Heavy Metal as just about anywhere else. Well everybody, we’re leaving the Land of the Rising Sun & the number 3 spot, and making our way to no. 2. There, we’ll be in the nation of Germany taking a look at some iconic titans. See you next week!

Album Review: Avaland's The Legend Of The Storyteller

Welcome to no. 3 of 2023 fellow Otaku & Metalheads!

We’ve just left Finland, and now we make our way to the mystical kingdom of Avaland. It wasn’t too long ago that we were here, as I reviewed Theater Of Sorcery back in November of 2022. I spoke pretty highly of the album, with the only spot on what was otherwise a perfect record being the numerous guest vocalists that were featured. Now it’s a few years later from their first release, and have they evolved in any big way since? Let’s not waste anymore time, and sit down to witness the Legend Of The Storyteller. Let’s begin!

Background ***
Taken from the band’s website:

“AVALAND is an Epic and Symphonic Metal Opera, written and composed by Adrien G. Gzagg, born in 1998 in Grenoble, France.

Inspired by fantasy, alchemy, legends and
History, Adrien have thought about 10 stories in different timelines, telling 10 important chapters of the magical place he baptized Avaland.

Adrien’s musical influences started very young with Alan Parsons Project. As a teenager, he discovered in his father’s vinyls Yes, Deep Purple, Genesis, Journey… His curiosity brought him step by step to hard rock and heavy metal, and of course to his today main influences : Avantasia, Ayreon, Savatage…”

Basic Description
Theater Of Sorcery turned up a notch.

Now, that doesn’t mean Theater Of Sorcery was awful by any means. If you recall from my review of TOS, I spoke really highly of it. I loved the storytelling, the instrumentation & vocals were spot on, and the overall production was great for a first time release. There was the issue with the guest vocals I had, but that one personal fault doesn’t impact what is an otherwise great experience! Legend Of The Storyteller takes everything that made the prior album great, and amps all of it up. The story is grander (And a little darker in places), the instrumentation is stronger, the vocal work is more operatic, and the recording & production is better! Even the cheese from the prior record has returned in abundance, yet it’s also more evenly placed to allow better musical flow. A victory for Avaland if you ask me!

Best Track
The album opener (Right after the intro) Crimson Tyranny was definitely a nice way to start things off. The track really shows off what this album was going for: immense instrumentation, epic vocal work, powerful presentation & storytelling, and just enough cheese to keep everything glued together. You would think that the cheese factor would be a bit too much, but it actually acts as a balancing agent in addition to being a glue. I wouldn’t pick any other track on this release to open things up for the listener!

Crimson Tyranny

Worst Track
Much like in my Theater Of Sorcery review from 2022 (Read here), the only issue I have that too many guest singers were brought on board this album! 7 guests, as a matter of fact, with the biggest name out of them being former Savatage vocalist Zak Stevens. Again, everybody puts in a lot of effort, and not a single one feels like a waste, but once again the amount of guest singers on Legend Of The Storyteller takes away some of the identity from Avaland. When the band gets to album no. 3, I hope they have just 1 or 2 guest vocalists (Maybe 3), and that’s it!

Other
If you’re curious about listening to this album, then click on the link below:

The Legend Of The Storyteller

Overall Impression & Rating
The Legend Of The Storyteller was definitely a big step in Avaland’s evolutionary cycle. Sure, the amount of guest vocalists brought in might be annoying for some, but the overall advancement of recording, production, instrumentation, vocal work, and storytelling more than makes up for that fault. If you were a big fan of Theater Of Sorcery, but wanted it’s best points turned up a bit more, then you’ll not want to miss this!

The Legend Of The Storyteller gets a 8.5 to 9 out of 10.

And that was Legend Of The Storyteller everyone. A great improvement over Theater Of Sorcery, let it doesn’t lose sight of what the band’s first release was trying to be. Well everyone, we must leaving this mystical land, and travel over to Japan next week. There’s an old friend over there I’d like to say hi to. See you then!



***
I’m repeating this information from my Theater Of Sorcery review, as finding newer info is rather difficult.

Album Review: Turmion Kätilöt’s Omen X

We’re still in Finland fellow Otaku & Metalheads!

Last week, I looked at Screem Writers Guild from Lordi. It was spooky, hokey, and definitely badass. The band I’m looking at today is no stranger to my little corner of the internet, and has plenty of Finnish badassery. Like the title says, I’m taking a look at Turmion Kätilöt’s most recent release, Omen X. It’s funny: these S&M warriors have shown up on plenty of my lists, but I think that this marks the first time I’ve reviewed these guys in the near decade that this blog has been up. So, let’s not waste anymore time, and dive right into my review for Turmion Kätilöt’s 2023 release, Omen X. Let’s begin!

Background
Taken from Wikipedia:

“Omen X is the tenth studio album by Finnish industrial metal band Turmion Kätilöt and was released on January 13, 2023 on the label Nuclear Blast. The songs "Isä Meidän", "Sormenjälki", and "Kuolettavia Vammoja" have been released as singles from the album, each of which have also been filmed in music videos directed by Rauli Ylitalo.”

Basic Description
Past in the present.

That sounds like an odd way to describe Omen X, but hear me out. When I talked about Shadow’s first at the start of this month, I said that the band was both old & new in terms of style and production. In this album’s case, it’s definitely modern in terms of recording & production, but where the past aspect comes into play is purely stylistic. Omen X is very reminiscent of the band’s releases prior to 2013, as the releases before that year were more metallic than Metal & Dance (Though there were a few song exceptions). It’s definitely welcome for anyone that liked their older output, but it might be a little jarring for some (More on that below).

Best Track
Thought it wasn’t the first single, I was a big sucker for Sormenjälki when it came out. Though there is still a dance-groove element within the beats & rhythms (The pacing is fairly fast), it still manages to be a pretty brutal track. What was surprising about this tune wasn’t necessarily the music, but the music video if you can believe it. Considering how odd and strange their collection of music videos is, it was surprising to watch one of their videos that was mostly normal. I say mostly, because there’s still some weirdness in some places. No spoilers though!

Sormenjälki (Fingerprint)

Worst Track
The only fault that Omen X has, and even then it’s more of a nitpick, would be it’s musical shift. Like I said above, the music on this album is more along the lines of their releases before Technodiktator (aka more metallic that dance-like), and as such there’s a weird nostalgic vibe for their older work. There’s a few exceptions on this record, but a giant majority of the tracks are Industrial Metal, but without the dance-like aspect that Turmion Kätilöt would become known for in 2013 & beyond. Again, this is more of a nitpick for fans who like the group’s older work more than their newer material.

Other
If you’re curious about listening to this album, then click on the link below:

Omen X

Overall Impression
Omen X, like practically all of Turmion Kätilöt’s discography, is just brutal fun wearing some S&M gear. The shift in style may be odd at first for fans of their work from the start of this decade & the 2010s, but that doesn’t stop this record from being a damn good time whenever it’s listened to. If you’re down for an awesome time, Omen X is a good choice for this!

Omen X gets a out 8.5 to 9 out of 10.

And that was my review of Omen X. Again, apologies for putting up something of a downer at the beginning of this week, but I felt that it was necessary to do first, and then get this review out. Well, with that out of the way, we’re onto number 3, and our first is from a rising star I discovered back in 2021 & their musical evolution in 2023. See you next Friday!