(IAM / Edel Distribution)
Aguná of \u200b\u200bthe most significant names from the golden age of melodic power metal have come together to give A new project under the eloquent name of Symfonia . It seems that the quintet formed by guitarist Timo Tolkki (ex Stratoviarius, Revolution Reniassance), singer André Matos (ex Angra, ex-Shaman, a former Viper), bassist Jari Kainulainen (ex-Stratovarius, ex-Evergrey) , keyboardist Mikko Harkin (ex-Sonata Arctica, ex-Kotipelto) and drummer Uli Kusch (ex-Helloween, ex-Gamma Ray, ex MasterplanI) wants to rejuvenate old laurels with this new adventure that shape label with this first album inevitably brings to mind his former band, especially Stratovarius and Angra . Without reaching the level of "Fourth Dimension" or the "Episode" of the first, or "Fireworks" and "Holy Land" of seconds, this work if very reminiscent of that stage which gender power was not yet burned metalhead saturated or even tie to fans hungry for new sensations. Unfortunately this genre has aged quite badly and unless most honorable exceptions, like our Dark Moor, little has changed positively. In any case the work before us contains good and effective courts, as the cheerful rhythm affordable and very melodic "Come By The Hills" sticking chorus and chorus with keyboards purely Stratovarius Harkin, the most Angra "Santiago" of raw guitars and rotund base, or the epic and highly melodic vocals "Forevermore" contrasting with sharp riffs and key sounds on the keys. Remain the same wavelength but a touch more orchestral and choral "In Paradisum" Curro arrangements and changes of pace to pull in the standard manual to Stratovarius "I Walk In Neon" and "Fields Of Avalon" faster even with the voice of Matos slack up unfinished but enhanced by the chorus. The issue is certainly less predictable "Pligrim Road" with Celtic airs and sugarcane guitars creating a sound that can be defined as a kind of cross between Gary Moore "Wild Frontier" and early Blind Guardian, being quite nice and original. The softer parts and more leisurely rhythms appear in the heavy and affordable "Rhapsody In Black "in the emotive electro" Alayna "and in the most sosilla and melancholy cello for his arrangements of" Do not Let Me Go "which closes the disc. A song that's right, well done, with good production and not be the best they have recorded their components, other than the latest adventures of these, although I get the feeling that comes a few years later. Mariano
Palomo
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