It's taken me a bit of time to get back up to speed, but I think I'm finally ready for another year of rock and metal. As always, I plan on checking out both new and classic releases, and this article is no different. This time I'm starting off with some bombastic metal before mellowing out towards the end with some comfy blues rock. I always try to get some good variety when I write up these Last Played articles.
I remember when Twilight Force showed up around 10(!) years ago as being a big new power metal band. However, their debut album left me underwhelmed, and so I set them aside for a while. After starting this blog, though, I've started to enjoy some of their singles. Between the high-speed fretwork of DragonForce and the symphonic bombast of Rhapsody of Fire, Twilight Force seems to have found their own little niche in the power metal spectrum.
The epicness is at high levels right from the start, as things kick off with some high-speed power metal, and outside of some interludes, they don't really let up. Anyone looking for intense melodies, noodly guitar solos, massive orchestrations, high-speed rhythms, and epic vocals backed by choirs will find plenty for their needs and more. Still, Twilight Force isn't just a knock-off of other bands, as they do have a distinct sound. Not to get too nitty-gritty about it, but if Rhapsody of Fire leans more into classical opera, then Twilight Force feels more like a Disney musical, and to be honest, I think I prefer it. Half the time, I was wondering when Michael Bolton was going to sing about "going the distance," and I mean that as a compliment! (One of Disney's more underrated songs, in my opinion.)
Still, this is some pretty cheesy stuff, with each song telling a kind of mini-epic. Those not on board with fantasy tropes from numerous video games and tabletop RPGs will probably find little to like. However, that's very much my wheelhouse, even if it does get a little difficult to take seriously. The longer tracks are a little too bloated, but I liked the high-energy stuff in the songs "Twilight Force," the title track, and "Sunlight Knight" (Latin jazz section, notwithstanding). I know it's still early in the year, but this is a strong start for the power metal genre. It will be interesting how well anyone else will do compared to this.
I know folks are probably talking about the new Kamelot album, but I wanted to get caught up on their last two albums before I took on their latest, so here we are. As far as I'm able to tell, this one doesn't have a concept behind it (though I could be wrong), and given how much it leans into the symphonic metal style, it's very similar to Ghost Opera, for better or worse.
Once again, we have plenty of lush orchestrations matched with some solid riffing and Tommy Karevik's dramatic vocals. In fact, he sounds quite a bit like Roy Khan on this album, making sure that the lyrics have the necessary theatrical heft. Oliver Palotai gets in a few keyboard solos along side Thomas Youngblood's iconic guitar work, giving them a bit of a Stratovarius feel. However, I do feel like the band has streamlined their songwriting this time, as there really aren't any of the proggy touches that have defined some of their work. Like Ghost Opera, it's focusing on a much more straight-forward symphonic metal style, with standard structures and ideas, resulting in an album that feels a little more by the numbers.
That's not to say the album is bad or boring. "Fallen Star" and "Insomnia" do a great job of establishing the tone and atmosphere of the album, while "My Therapy," "Beautiful Apocalypse," and "Revolution" bring some heavier riffs, and "Under Grey Skies" is a nice ballad featuring Charlotte Wessels, who was with Delain at the time. I also liked "Veil of Elysium" and "Liar Liar" for bringing back some of the classic uptempo Kamelot energy. However, I do wonder if perhaps I'm clinging too much to the hope that they will go back to power metal, and so I'm left feeling that this album is solid dramatic stuff, but not really blowing my mind the way the Khan albums did.
Arctic Rain was a highlight for me when I listened to their debut a few years ago, taking the AOR sound further than most other artists in the style do. So when I saw they were working on a follow up at the beginning of this year, I put it quite high on my to-listen list. Once again, it's more 80s-styled hard rock, with big riffs and synths designed to fill arenas, or at least your headphones.
However, I do think there is a stronger emphasis on the guitars this time, as they have some pretty metal licks here and there. While there is certainly plenty of Night Ranger and Europe vibes on these songs (the ballads are especially cheesy), on some of the uptempo songs, Magnus Berglund clearly put in some grittier, crunchier work this time around. Not rest of the band is slouching here, by any means: I do think they've all pushed themselves just a little more this time.
Of course, this is just picking at the details. Compared to the field, this is still very much the same, high quality hard rock that the first album provided. The opener "One World" is a pretty solid start, and songs like "Fire in My Eyes" and "Peace of Mind" have some really good energy. "Kings of the Radio" is a pretty fun one as well, as it has tons of references to classic rock songs and bands, showing respect to their influences. Overall, it's another excellent set of melodic rock, and here's hoping they carry on like the heroes that inspired them.
David Gilmour - David Gilmour
Despite being a massive Pink Floyd fan, I haven't really listened to much of the individual members' solo albums. Sometime after the release of Animals, David felt like he wanted to do something on his own, and the result is his first solo album. Understandably, it sounds like a 70s version of A Momentary Lapse of Reason and The Division Bell. While he does get some help with drums and bass, and brings in the classic female singers on a few songs, it's very much Gilmour's show, and that's perfectly fine by me, as I've always loved his guitar playing.
To say that it sounds like Pink Floyd might feel redundant, but there is a difference here that can only be described as a more content tone. Gone is the tension and anxiety of Animals and The Wall, in favor of something that's more chilled and laidback, with maybe a dash of aloofness. However, that describes Gilmour to a T, if I'm being honest. So perhaps there aren't any surprises, but what isn't there does help elevate this album as feeling more than just some Pink Floyd b-sides. It just kinda grooves along pretty easily. The synthesizer-heavy "Deafinitely" is probably the closest to classic Pink Floyd the album gets.
Of course, Gilmour is on point with is playing. There are plenty of blues riffs and licks all over, and his solos are as iconic and beautiful as ever. The album definitely leans into the blues as a whole, as there are bits of harmonica and jazzy organ in there, creating a great mood across the album. I liked the instrumentals "Mihalis" and "Raise My Rent," and "Short and Sweet" was a nice, reverb-heavy jam. While I have listened to On An Island, I found that to be a little too chill, and comparing it to Gilmour's debut, I like the debut more, as it still has a stronger blues-rock backbone to it. While it may not be as grandiose as the material he would be best known for, it's still a very solid album that I enjoyed all the way through.
