This doesn’t fit with Ripper! Tobias Sammet delivers yet another album chocked full of guest vocalists in order to help deliver the end to his concept trilogy to which there is no apparent concept other than “Let’s get radio play! It just sounds like another pop hit single by Blood on the Dance Floor with better vocals. Despite featuring different singers and musicians from track to track, the entire album manages to feel like one cohesive whole and that whole kicks a whole lot of ass!!! The only time the band breaks out of their regular assimilation sound is on “Crestfallen” that turned out to be hated by most of the fans.
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A perfect example of this vocal combat is Runaway Train where Tobias, Jorn Lande, Bob Catley and Michael Kiske of old school Helloween fame all hurl vocal lines at each other over the course of a slowly building eight minute plus epic power ballad.
The solo straight after is really good too. This record is the weakest record the band has released until now as even “The metal opera Part 2” was at least more original and had a intriguing story. I still remember buying one of my first issues of Germany’s Metal Hammer magazine, and listening to the radio edit of “Reach out for the Light” off the very first Avantasia “The Metal Opera” album.
There is only really one hiccup but the rest is really great music.
Avantasia – The Wicked Symphony Review
The keyboard intro reminds me of something from an Ssymphony song. Sadly, I was right with my pessimistic expectations. The chorus of the song is memorable and bombastic, a mid-tempo Magnum like rock passage is included and the guitar solos throughout the track are outstanding. Originally written for www.
Forever Is A Long Time 9. The album is diversified but it has no soul and it goes even widked far away avantasis the metal roots than the last output. No description can make you understand the true beauty of it. PowerDasoJuly 20th, Sammet isn’t carbon copying anything, but he’s not exactly deviating from the formula. Even at nine plus minutes, the song never gets boring because of the sheer quality of songwriting and musicianship on display. There are also some real killer solos courtesy of Oliver Hartmann and Sascha Paeth.
It is indicative of wicjed extremely polished production style that mostly does the CD no harm, but on occasions like these it does stand out as being a little too synthetic. All in all, The Wicked Symphony is a gigantic let down. The next song is actually the second track on the album.
But the biggest problem is that especially “The wicked symphony” feels like wickef compilation album, like a project and not like something fluid and coherent. Not to mention a host of guest musicians usual of Tobias’ projects. Even though there are symphnoy of singers invited, Sammet is the protagonist in here, and he plays the role perfectly. He might not have had Alice Cooper this time, but the list of guests on the double album was awestriking nonetheless: I really like the first two albums of the project and also quite much “The scarecrow” and was highly looking forward for the upcoming release.
Thanks to cristhiancarpetta for correcting track 4 lyrics. Avantasia has been and will always be one of the bands that opened the world of melodic metal to me. The title track starts with the biggest, most ambitious song on the CD, the most massively orchestral and featuring an impressive vocal battle between Sammet, Jorn Lande star of the show last time around and Avantasia debutant Russell Allen.
The chorus, as you will find with basically all the tracks, is unbelievably. Many of you likely know Mr. The chorus is catchy and as powerful as anything on this album, a true highlight. The artists that were called for the album are magnificent in every aspect.
AVANTASIA LYRICS – “The Wicked Symphony” () album
They manage to use properly the acoustics and the piano to create a nice atmosphere and comfortability to the sound. The only time the band breaks out of their regular assimilation sound is on “Crestfallen” that turned out to be hated by most of the fans. Russell Allen is brilliant as ever in “States of Matter”, even if the song itself is probably only a little bit above average, and Tim Owens delivers bone-shattering screams as only he can on “Scales of Justice”.
I personally think this is the best of the trilogy, not to say the others are bad though mind you. And, in my eyes at least, Tobias Sammet redeemed himself here.
It’s just like the two minutes of synthesizer noises in Def Leppard’s “Rocket”, it’s just there to make the song longer.