Screaming For Vengeance

Remastered with 2 bonus tracks."The last quality album from Judas Priest's commercial period, Defenders of the Faith doesn't quite reach the heights of British Steel or Screaming for Vengeance, in part because it lacks a standout single on the level of those two records' best material. That said, even if there's a low percentage of signature songs here, there's a remarkably high percentage of hidden gems waiting to be unearthed, making Defenders possibly the most underrated record in Priest's catalog. Musically, it follows the basic blueprint of Screaming for Vengeance, alternating intricate speed rockers with fist-pumping midtempo grooves and balancing moderate musical sophistication with commercial accessibility. It's a craftsmanlike record from a band that had been in the game for a full decade already, but was still vital and exciting, and decidedly not on autopilot (yet). The record opens high-energy with the terrific "Freewheel Burning" and "Jawbreaker" before moving into lost anthem "Rock Hard Ride Free," the more complex "The Sentinel," the cold, oddly mechanized single "Love Bites," and the slightly darker "Some Heads Are Gonna Roll." Coincidentally (both were released the same year), there's a bit of Spinal Tap creeping into the band's approach on side two -- not just in calling a song "Heavy Duty," but also in the ridiculous rough-sex ode "Eat Me Alive," which comes off like an S&M-themed "Sex Farm" (albeit without the tasteful subtlety). It wound up getting the band in trouble with Tipper Gore's PMRC, though one wonders if it would have helped or hindered their cause that the song's sexual aggression was, in hindsight, not directed at women. At any rate, Defenders of the Faith charted only one spot lower than its predecessor, and was certified platinum. Hereafter, Priest would have significant difficulties adapting to the fast-changing landscape of heavy metal in the latter half of the '80s." - Allmusic Guide

Yet another over the top all star project masterminded by Edguy's Tobias Sammet.  I think at this point Avantasia is even more popular than Edguy!  He always brings together an interesting cast of musicians.  This time around he features: Joe Lynn Turner (Rainbow), Eric Martin (Mr. Big), Ronnie Atkins (Pretty Maids), Biff Byford (Saxon), Michael Kiske (Helloween), Arjen Lucassen (Ayreon), Bruce Kulick (Kiss), Russell Gibrook (Uriah Heep), Bob Catley (Magnum), producer extraordinaire Sascha Paeth, and of course The German Film Orchestra Babelsberg.  Pure bombastic rock opera stuff."Tobias Sammet, one of the best known names in power metal and for good reason, is a multifaceted musician best known for his vocal and keyboard prowess in the German power metal giant Edguy. Flawlessly possessing keyboard, orchestration, bass, and vocal skills worthy of his fame, Sammet stepped to the side of his work in Edguy and started a symphonic rock/metal side project, Avantasia in the year 2000. Tobias Sammet’s Avantasia, which features Sammet’s talents and abilities to compose and orchestrate perfect, beautiful music, also boasts a roster full of well known names throughout the power metal community such as Kai Hansen, Michael Kiske, Andre Matos, and Jorn Lande. In 2011, Sammet announced the end of Avantasia, however, after that rather depressing announcement, Avantasia is releasing their 6th full length studio album on March 29th, The Mystery of Time.The Mystery of Time features yet another all star lineup. Outside of Sammet’s constant presence, the album features Michael Kiske, Biff Byford, Arjen Anthony Lucassen, and Joe Lynn Turner just to name a few. There are many new vocal presences in the album, different from the usual heard in Avantasia’s past, and it really helps create a refreshing and new sound to the project. As usual however, the production and orchestrations, instrumentation, choir presence, and vocal layering are absolutely spot on. Upon first listen to the album however, I wasn’t completely sold. I felt like a few of the songs were hollow and emotionless. Unlike my favorite albums, The Metal Opera I and II and The Scarecrow, I didn’t get pulled into the record right away. Listening to the album four or five times however, I saw the album for what it truly is, a quite flawlessly executed rock opera.The first track on “Spectres” begins slowly and doesn’t feel like a proper way to kick off an album. The drum work is more fitting of a faster tempo thrash song than the mellow presence of the music throughout the verses. However, as soon as the chorus kicked in I felt that rush of joy and sheer happiness typically expected when listening to Avantasia. Tracks like “The Watchmakers Dream” and “Black Orchid” manage to bring back all of that which I love from Sammet, strong, soaring choruses and beautiful guitar work from Arjen Lucassen. Biff Byford joins in, bringing with him that raw, true heavy metal roughness that is found in Saxon, and has an amazing way of rounding out and complementing Sammet’s vocals. “Where Clock Hands Freeze” and “Dweller in a Dream” feature the ever amazing, and never aging voice of Michael Kiske himself. Kiske brings such a crisp, soaring presence to a song that is simply unmatched.The ballad-like “Sleepwalking” features the familiar female vocal accompaniment of Cloudy Yang. Her vocal presence brings an ever pop-like sound to the album, but it is a beautiful song nonetheless. The album’s other ballad, “What’s Left of Me” is likely one of Avantasia’s best ballads, holding true to some power metal roots. Two 10 minute long songs “Savior in the Clockwork” and “The Great Mystery” truly make this album epic, while tracks like “Invoke the Machine” bring a serious heavy metal vibe, featuring Ronnie Atkins of Pretty Maids. This is easily one of the best tracks on the album, blending that epic power metal sound of choruses and keyboards with perfect and heavy thrashing elements.The album as a whole manages to, as usual, feature not only the musical artistry of Tobias Sammet, but also brings together names from all over the rock and metal genre to show off each individual’s talent. Personally, I am so happy that Avantasia is still alive and kicking. The Mystery of Time is absolutely an album to be proud of, and for any fans of power metal, Edguy, or previous Avantasia albums, there are absolutely elements of all three in these songs for you to enjoy. Here’s to another great album thanks to Tobias Sammet, cheers!" - The Metal Review 

New 2CD edition features the 2007 Charlie Bauerfiend remix as well as the 2011 master of the original mix.

Argia is the third album from this female fronted band from the Basque region of Spain.  The band has been reconstituted with only founding members Zuberoa Aznárez and Gorka Elso returning.  There aren't a lot of "beauty and the beast" metal bands around any more with most of them either breaking up or moving on to all clean vocals.  DiM still do it and do it well.  This album sounds absolutely massive, reminding of the glory days of After Forever.  Monolithic keyboards, layers of choir-like vocals, and crushing riffs are the order of the day.  Occasionally a wicked keyboard solo will pop in for good measure.  Complementing the great vocals of Zuberoa are two guest appearances - Thomas Vickstrom (Therion) and Ailyn Gimenez (Sirenia).  If you like the style this one is highly recommended.

New album from this Austrian symphonic metal band.  The band has been a bit of a revolving door with vocalists but Maxi Nil has settled in nicely.  The music is based in the traditional female fronted gothic style with clean male vocals trading leads back and forth.  This time around I hear more of a poppier, catchy sound - somewhat like the direction Delain is moving towards.  Highly recommended to fans of the genre (I wave my hand proudly).  Digipak edition with one bonus track.

"The news of Angela Gossow stepping down as the front of ARCH ENEMY is still fresh as the band launches their latest album, "War Eternal". The new record features THE AGONIST's Alissa White-Gluz on the mike and former ARSIS guitarist Nick Cordle, who gets his first album representation following the 2012 departure of Christopher Amott.Change often sucks, but hardly in this case. The new blood in ARCH ENEMY has propagated a tremendous creative spark in Michael Amott. Simply put, "War Eternal" is the best ARCH ENEMY album in years. Though Angela Gossow held her post with honor, the songwriting under her tenure fell into a script that's observed on occasion here, but stepped well beyond."War Eternal" captures immediate attention with an overture opening featuring harpsichord and choral lines, "Tempore Nihil Sanat (Prelude in F Minor)" before ripping straight into "Never Forgive, Never Forget". The latter yields the same structuring as most ARCH ENEMY songs during the Gossow years with bombastic thrash-grind lines melded with modified slowdowns. Overall, the song is a scorcher and it comes with guitar solos that are dealt at a zillion notes they're worth backing up.Afterwards, the title track jumps in with an excellent shredded intro and retains a harmonious curve all the way through its mid-tempo stamp. This and the gloriously anthemic "You Will Know My Name" are the closest "War Eternal" get to accessible and the strident focus of the band puts these songs at peaks of near-perfection, once again bringing active, detailed solo sections full of jerked strings and fret dances. The solo on "War Eternal" needs to be shaved by about ten seconds, but otherwise, that track is one of the most affecting tunes ARCH ENEMY's written in some time."As the Pages Burn" is completely savage on the verses, but the stepped-back choruses that make an attempt at neoclassical-based melody does the headstrong thrash a slight disservice. Still, the song's a cooker. Speaking of neoclassical, Michael Amott and Nick Cordle lead and fill the steady crusher "No More Regrets" with scales galore and the fret garnishments assume a stately flair beyond the song's gruesome double hammer and fierce breakdown. By this point, it's evident Michael Amott and ARCH ENEMY mean to outdo themselves on this album.The brief guitar interlude, "Graveyard of Dreams", is a nice set-up for the heavy thrust of "Stolen Life", which the shredding lines and Alissa White-Gluz's spit-flung delivery keep the energy level of the album from faltering. The lullaby opening to the massive "Time is Black" is the perfect opener as the song rolls through a symbiosis of classical lines and progression that jack up in both intensity and elegance.Suffice it to say, the concentration upon Bach and Mozart behind Michael Amott, Nick Cordle and Sharlee D'Angelo's intricate lines becomes a theme on "War Eternal" and the method elevates the band beyond their powers. Once more incorporating harpsichord and symphonic strings for the intro and the fills of the headbanging groove on "Avalanche", the opportunity for auxiliary grace is capitalized intuitively.The band's tireless performance on "War Eternal" is comparable to a veteran baseball team with a powerful batting lineup giving a new pitcher a seven run lead to break in with. Blue-coiffed Alissa White-Gluz can rip esophagi with them best of them and she's a natural fit for ARCH ENEMY. She possesses excellent pentameter even in ralphing mode and she sounds like a demoniac on "As the Pages Burn". It doesn't hurt to have her predecessor looming in the background as the band's new manager. Gossow must be feeling proud, if bittersweet that ARCH ENEMY hits a higher level of craft on "War Eternal" than they have in a long time. There are transitional moments in a band, but this is a veritable catharsis." - Blabbermouth.net