"This is a really impressive release. It blew up my mind from the first time I listened to it, and still gets priority in my music listening sessions. What we've got here is Rage at their best, playing it loud & proud in the 90s, which was possibly the worst decade for metal, even though some bands like Running wild, Blind Guardian or Metal Church were still hanging on... in the balance!The album starts kicking ass from the first moment, with heavy and powerful guitars, and goes like that until the end of the release. POWER!!! That’s what this album transmits. Generally mid-paced songs predominate this album, this is not as fast as their 80s work. It keeps the musical line that started with "Trapped" but, it's generally darker, slower and begins the musical style developed during the next albums (we could say it’s the borderline). It also has some atmospheric details, just some hints here and there, that would be more frequent of their "XIII" or "Ghosts" works. Nevertheless, there are also fast songs (hey, it's Rage) that scream "Speed Metal rules, and if you don't like it dieeeeeeeeeeeeeee", like "Under Control", which starts fast and raw as hell and never slows down. "Higher than the Sky" is also a fast one (by the standards of this album), but more melodic than the previous one, and possibly with a chorus as catchy as “Don’t Fear the Winter”. The title track is also a fast and powerful one, (did I mention power before?) catchy and with an amazing solo.Rage has changed a lot during its history. One of the most remarkable improvements is Peavy’s performance, which is much better than his 80's efforts when he used to shriek. And the shrieking was fine for raw Speed Metal, but now that the band plays more Power/Heavy Metal, the deeper and more melodic vocals fit better. In this album he transmits perfectly the song moods to the listener, and good examples of this are the dark-depressive style ballad "Fading Hours" (that's one of the best songs to be found in here) and the mid-paced "Deep in the Blackest Hole". The first starts with an orchestrated atmosphere (reminds to “Overture” in “XIII”), a piano and Peavy's voice, and is maintained this way for 2 minutes and a half. Then the rest of the band comes in for a minute revealing what’s going to come after. Piano & violin alone again for a while and then the band comes back. And just then, when you think that the song is not going to change in any way, comes the solo part of 4:53 with the backing vocals and the piano: THAT MOMENT FUCKING OWNS YOU. After saying that, I still have to remark that the song is mainly driven by Peavy's vocals, and wouldn’t be half good if he didn’t perform so brilliantly. The latter song has also a depressive mood and the whole band does a very good job making you think they are "Deep in the Blackest Hole".Another excellent point of this album is that you never have the “I heard this before” feeling. Even though, it manages to sound as a whole in the “conceptual album” sense. That’s just fucking brilliant. Every song is memorable, with brilliant solos and catchy melodies, which none of them can be classified as filler material (I know this sounds a bit/lot like a “fanboy”, but this album really deserves being praised). If you liked "The Missing Link", "Trapped" or (especially) "Black in Mind", you will certainly like this one, which is slower but still an absolute winner.The only flaw in this release is that sometimes you've got the impression that Peavy is singing 5 miles away from the microphone, creating a strange echo effect. There's also the fact that the drums are a little bit loud and just average, nothing outstanding, and the bass is barely audible (I don't miss it much, but I know there are many bass-maniacs out there)." - Metal Archives
$11.00