Sonata Arctica - Talviyö review

Finnish melodic metal masters Sonata Arctica barely need any introduction. If you are even slightly familiar with power and/or melodic metal, you will know who they are. My personal favorite five men in this whole world did it again, to make their tenth album Talviyö (Finnish for Winternight) a real treat indeed!  Even despite the fairly boring singles that preceded the album.

Because, let’s be honest about the songs that are already released; A Little Less Understanding was a little less impressive and I can’t say that I really had the hots for Cold. It wasn’t bad but it was too predictable and standard to really become hyped about. But after all, Sonata has not been known for their powerful singles lately. Same happened with their previous three albums. Weak singles that unfortunately repel a lot of people to give the album behind it a fair chance. And this one deserves that chance for sure, because for real, this album is once again fantastic!

The ball opens with an innocent sounding, almost childlike chorus in Message from the Sun. A story about northern lights and the myths surrounding it. Vocalist Tony Kakko lets his voice shine in tenfold in the chorus and guitarist Elias Viljanen creates a pleasant cadency in all the parts in between.
Still I need to file a complaint about the mixing, which has been a point of discussion for several albums now. De guitars sound muddy, the drums tinny and Tony tends to drown in the musical mess here and there. I can’t really call their approach to record this album semi live a real success, but still its loads better than the mess we heard on the dreaded Ecliptica Revisited album . Guys, do yourself a favor and hire Mikko Karmilla again to master the next albums.

But with that complaint out of the way I let myself be swept away by Whirlwind. I hear a familiar merry innocence that invokes nostalgia to older Sonata albums. Not too fast, quite relaxed and filled with twists and turns. The main roles are divided between Elias and bass player Pasi Kauppinen who create entertaining tunes behind the chorus and in the solo.
A stormy wind wraps up Tony’s warm voice that closes the song with some lalala’s and transcends to Cold. As I said, it’s a simple rock song with not much to boast about. It’s catchy and that is all there is to it. The only moment that grabs my attention is the bassy breakdown that divides the song in two.

Storm the Armada follows and makes up for the lack of power in the previous song a thousand fold with an intro that promises heavier sounds right away and delightful choirs in the background. Still not a very fast song but it has something that makes it deliver a good punch. The melody is all over the place and the complexity reminds a lot of the experimental work of albums like Unia and Days of Grays. Nothing but good news for me!

The among fans beloved Caleb or Stalker saga gains a new chapter with The Last of the Lambs. The remarkable thing is that the song Till Death Done Us Apart on previous album The Ninth Hour already felt like a summary of the story but I get that same impression from this song as well. It’s a tranquil piece of music that drips with melancholy and sadness, emotions of regret, pain and loss. Just Tony who echoes over a base of a towing drum, a strumming guitar and a peculiar kind of 80’s sounding synth.
It all tells emotive stories in a way only mr. Kakko can master. This song really gets under your skin.

Who Failed the Most is another song of political protest that continues themes we found on previous songs like Fairytale. There are sly winks to pop culture quotes in the chorus. “You decide, who is the lord of the rings, the master of puppets…”
Drummer Tommy Portimo throws in an extra punch at the end of the song and Tony’s voice fades to something that is childlike and almost eerie. “You failed me….”

Time for a song with the cryptic title Ismo’s Got Good Reactors. An ode to a deceased friend of Tony Kakko, and a story involving a boat with an outboard engine that almost fell to pieces on a shallow shore and a quote from a mentally challenged kid.
The song itself is a fun and speedy instrumental that starts of quite pompous but then evolves to a party of fast drums and a jolly, adventurous melody.

Another political song is Demons Cage. Again it strongly reminds you of the Days of Grays album with an eerie undertone and guitars like a thunderstorm and speedier parts that unexpectedly follow after a moment of silence. Tony clearly shows what of an amazing composer he still is!
Hearing the songs in the order they are supposed to be makes the song A Little Less Understanding pop a bit more already. A slightly melancholic song about raising kids. Catching lyrics that unfortunately are buried beneath mediocre music.

However, the bar is raised again to staggering heights  by The Raven Still Flies With You. With a runtime of over seven minutes it’s the longest song on the album and an epic in every respect.
Still not a speedy song but it has an incredible and delightful atmosphere that feels like falling snow. Tony’s voice sounds like a warm blanket once he starts harmonizing and I notice the welcome feel of chills running down my spine.
Overall it has elements that remind of the song Larger than Life with the sporadic operatic vocals and a very peculiar – almost tropical sounding piece halfway.
Tony vocalizes away in the tail of the song and up next is the last track of the album already; The Garden. Words fail to describe this magnificent love song that sounds as sweet as a lullaby and – if it applies to you – immediately reminds you of that one special person in your life. One of the precious few songs that Sonata has about love that doesn’t involve murder or suffering – and isn’t cringingly cheesy (*caughLovecaugh*)
The silently waltzing guitar, Tony’s almost unnoticeable chuckle… it paints a picture of a dreamy garden full of roses before your mind’s eye. My own two eyes see nothing but a blur at the moment. Excuse me while I wipe away a tear or two…

There, that is one great addition to the vast collection of Sonata Arctica’s repertoire!
Regarding all the reactions that the album has gotten so far from fellow journalists and people who judge whole albums by two measly singles and can’t get over the argument that ‘SoNatA iSn’T MeTaL ANyMoRE”, please quit expecting a banana to be an apple. Sonata is not what it was ten years ago by a long shot. What they are now doesn’t appear to be fit for everyone, but if you open up to music that might be a bit mellower, Sonata Arctica proves that they remain masters of their craft. Talviyö is undeniable prove of that fact.

Dark Sarah - The Golden Moth review

The Golden Moth is the third album, closing the first trilogy, of Dark Sarah. It began with a dark fairytale with a dark alter-ego born out of jealousy and hate in Behind the Black Veil. Next up was The Puzzle; an exciting quest trough the underworld where previously mentioned alter-ego was banished to. This fairytale has grown in the meanwhile into a true epic fantasy, and The Golden Moth is its Grand Finale. And with grand I mean Grand. Don’t tell… but when I played this album for the first time I was sobbing like a child… I am indeed the type of girl that can bawl her eyes out with for example Disney movies but this was really something else…
Now that confession is out of my system, let’s see if I can make an attempt to give my personal album of the year a professional review!

Staring in this fantastic tale: mastermind behind it all, Heidi Parviainen as Dark Sarah and JP Leppäluoto as Dragon. We have encountered this dragon already in the previous album, where he was the keeper of a key that Sarah needed to escape the underworld. He has followed her to the Upper World, the world of the Gods, to confront said Gods on the fact that he doesn’t have wings anymore.
The two enemies now form a team in a journey through a desert world, to the island in the sky where the Gods – played by Marco Hietala (Nightwish/Tarot) and Zuberoa Aznarez (Diabulus in Musica) - reside.

The journey begins with Desert Rose, a short intro that paints the image of the scorching desert in front of your eyes. Dark Sarah’s first calling card is being played; de ability to display lively scenes with just music. You really see it all play out in your head.
Tresspasser follows, that has been out on youtube for a while already. The Dragon and Sarah find each other in the desert and realize they need each other to survive. Their struggle is perfectly scored by a moving chorus and exciting verses.

And as for Heidi, I keep on saying it; What A Voice! Powerful yet fluttering like a bird, on this album she gives her best vocal performance yet!

Wheel is delightfully innovative exotic and adventurous with an addicting chorus. My Beautiful Enemy is the first of three goosebumps-inducing semi ballads on this album. The scene where both Dragon and Sarah let go of their dark sides and it almost becomes a love story. Heidi’s gifts of storytelling shines off every single note and the emotions in the chorus are composed superbly.
The Dragon’s backstory is revealed in I Once Had Wings. This one starts of remarkably folk-ish with an accordion – the contribution of Netta Skog (Ensiferum) who is casted as ‘Fortune Teller’- but as soon as Sarah enters the stage with her comforting words this song becomes quite the emotional rollercoaster.

After a few songs of character building the story now really takes off. The two heroes encounter a bunch of pirates, where they somehow manage to commandeer an airship from in the song Pirates. A cute little phrase of dialogue reminds the listener of the musical-like aspects of Dark Sarah, and adds just a pinch of extra personality to the characters. A pounding chorus underlines the tension in this scene in a sublime way.
Eventually they sail through the air on their stolen ship and an image like that deserves a fitting soundtrack. Sky Sailing is heartwarmingly euphoric and you just have to close your eyes to feel the wind in your hair while you race through the sky on a steampunk-like vessel over a desert landscape towards horizon and stars.

I picture a scene out of Pirates of the Caribbean part 3 while listening to Wish, the second semi-ballad. The Black Pearl that eerily glides over a mirror-like sea in Davy Jones’ locker under a blanket of stars. Only this time the sea is replaced by white fluffy clouds. Sarah sighs; “I can almost catch a star...”
The Dragon is moping, wishing he could still fly. Sarah wishes his wings back and the next moment the orchestra paints a picture of a dragon that triumphantly soars through the night sky with Sarah on his back, on their way to the island of the Gods.

They don’t get a warm welcome from the Gods though. The Gods Speak is full of chaos and dread. Music wise really the colossus of the album.
Marco and Zuberoa – a.k.a. White Beard and The Iron Mask – show no mercy and the scene ends with a white spear pointed at our heroes.
I mostly hate spoilers, so you are not going to get any more of the story from me. Let’s say that what comes next is a heartbreaking plot twist. But as all things in the universe, there is no ying without yang.
The moral of the trilogy: light cannot live without darkness, and darkness cannot live without light. A hard lesson for our protagonists, that results in a bittersweet but truly beautiful ending.

Promise draws the conclusion of this lesson, and final song The Golden Moth is the acceptance of this fate.  The song mostly responsible for my reaction described in the first paragraph…
The Gate of Time turns the final page of this tale, read to you by the Dragon. And with that, the adventures of Dark Sarah have come to an end... from this perspective at least! Heidi Parviainen has given multiple hints already that more stories are to come.
I can’t wait what she has in store for us next... it will take a huge amount of effort to top this album!
But for now, nothing less than a standing ovation for The Golden Moth. Bravo!!! 

Temperance - Of Jupiter and Moons album review.

From their first album on I have followed Temperance and saw them shoot towards new highs with great speed, as they have produced three fantastic albums and a damn good live album. Now we have reached the point where the band has replaced half their line-up. It began already with the departure of drummer Giulio Capone in 2017. Now frontlady Chiara Tricarico has stepped aside as well, making way for Alessia Scolletti, second vocalist Michele Guaitoli was added too and before you know it, a band I know well is looking back at me with new faces. It takes some getting used to; how many people can you replace while still remaining the same band? (Especially when the ex-members were also fellow composers). It’s up to guitar player Marco Pastorino and bassist Liuk Abbott (formally known as Luca Negro – yes I was confused too) to keep the core. Judging their new album Of Jupiter and Moons, they succeed in that damn well!

Like we are accustomed now, you continue to hear right of the bat in each song which band we are dealing with. Temperance hasn’t changed at all when it comes to their music – in a good manner! The things that have changed however are all improvements. Chiara was and is a phenomenal singer but she could sound a bit harsh at times; a minor fault that is unfamiliar to Alessia’s more relaxed voice, but doesn’t fail to impress when it comes to the power that has always been the calling card of Temperance’s vocal performances.
The first single that the band presented from this album is title track Of Jupiter and Moons, and it’s especially this track that gives a good introduction to both the general idea of the album as second vocalist Michele Guaitoli, who mostly shines as the velvet counterpart of Marco’s gravely throat. So now, Temperance has three vocalists who make each vocal category their own. Alessia front and center with her powerful voice, Michele beside her, filling the role of the finer male vocals, and Marco providing the raw edges.

So now Temperance has a whole load of stuff to offer for this album. Beside a vocal mini-army they now throw in everything they have in the musical department. With their last album, The Earth Embraces Us Al, I already spoke of how they gave it all they had already, but it still left room for another bar-raise. They have certainly headed that challenge. They really give it everything and all this time plus thrice more and the result is an album as an impenetrable wall of creativity that comes blowing at you. Every song is filled to the brim, and that can become a bit overwhelming at first. Giving everything 110% sounds like a good plan, but I wonder if it is still necessary? Temperance is a typical example of a band that could produce wonderful music without all the extra frills, but are still convinced they need it all and more is therefore better. They have proved themselves already, but still every chance to turn things up another notch is taken with passion. There are exuberant vocals galore, technical challenging solo’s, lightning speed drums, a heap of new sounds (like a Hammond organ in The Art of Believing – put there because why the heck not I guess. Flashbacks go to previous album that contained some spontaneous saxophone parts, also because why the heck not.) On top of that everything is given a rich layer of orchestrations. Though all this is their clear positive selling point, I would like to see what they would do if they were one day going to follow the philosophy Less Is More.  I think they would surprise themselves and the fans as well.

Still, all that drama produces some damn fine moments, especially the ballad Empires and Men. Almost shed a tear on that one. Finale of the album – Daruma’s Eyes (part 1) is again a showcase of talent in the vain of previous epics like The Restless Ride and The Fourth Season that can only gain value overtime, but the bulk of the album is still a variegated collection of songs that offer so much good things that going over them a few times is really recommended. Knowing me when it comes to Temperance’s music, I will get opportunities a plenty for that!  

Orden Ogan - Gunmen review

Original review on https://www.wingsofdeath.net/Orden-Ogan-Gunmen

When I say that Orden Ogan is making great progress lately that would be a vast understatement. These Germans are praised as the Second Coming of Blind Guardian, and pretty soon they will go on tour with Rhapsody of Fire as support. This band has rapidly grown from opening band for the bigger boys, to headlining act that has the more-known names in THEIR opening act. I call that a very nice job indeed and they sure deserve it!

Their latest addition, Gunmen, certainly contributes to their success. The first two singles that have been released have already been played to absolute bits at my place!

Opening title-track Gunman is already out there for a while along with the video clip. Their mascot, Allister Vale is portrayed more and more like a zombie with each album, and now shows up in the wild American west, which is also the overall theme for the album.

When it comes to the music, this is Orden Ogan like we know them best. Glorious chorus, 100% sing-a-long quality and delightful riffs and solo’s. It being just their good old simple and successful formula that simply never bores.

Fields of Sorrow is something else! It being their second single, that more sounds like a ballad when it comes to the lyrics, but really isn’t, since this album lack ballads altogether. The lyrics are raw, grabs you by the throat and the bitter undertone in the chorus underlines the story in a genius manner. Feelings of sorrow, revenge and retribution resonate trough the melody, that isn’t that melancholic per se, strangely enough. The verses are not much to write about but the chorus is done very clever. “I’m standing right here where she left…” where the open sentence is being re-enforced by a slight pause in the lyric, that puts extra emphasis of the raw meaning, and the impact of the story caries even more weight. Once the second, bitter chorus joins in, the goosebumps are out of this world!

Forlorn and Forsaken, rather draws its strength from the verses and solo’s, with a whipping, held-back beat, deep riffs and outstanding solo’s. Vampire in Ghost Town gallops along on an enthralling rhythm. I really hope this one hits their live setlist, because this one certainly invites to yell along; “VAMPIRE!” – vampire in ghost town.”

The ever famous  Liv Kristine shines in her guest appearance in Come With me To The Other Side, that starts off treacherously sweet and calm, but soon enough the guitars come banging and this becomes another song that knows how to beat it hard. Still, it could work perfectly as a ballad as well, like what they did before with the albums Vale  and Easton Hope, with the song To New Shores of Sadness.

The Face of Silence is another one of those hymns about some society with a lofty title. Again in the style of older songs like Nobody Leaves and Ravenhead. Proud, but slightly melancholic, they are always part of this or that. “we are…” fill in the blanks.

This song also classifies as a good ole, sing-a-long, with a lovely vocalizing tail.

Ashen Rain is a bit less accessible than the rest, maybe a bit darker, but certainly one of the more genius songs on the album. Not so straight-forward, and ravages along like a stampede.

Wanted Dead or Alive throws in some more bravado in the multiplied glory of Seeb’s vocals, which is a standard trait of every Orden Ogan chorus ever anyway. This one rumbles along on a pleasant cadency and within the blink of an eye it transfers to One Last Chance, that more functions as a bridge to the final stand; Finis Coronat Opus, with it’s over 8 minutes of playing time,  is one of the few ‘’bombs’’ that Orden Ogan made in their career.

Firstly, this is again one that isn’t easily digestible, and needs some more playtime to sink in. The chorus is a bit slower than the verses, and remarkably sung in Latin. Multiple emotions are unveiled, and with that it becomes a nice summary of the album.

The ending of the song is really glorious, where the bit of bittersweet rawness from Fields of Sorrow makes a comeback in a part that repeats again and again in this beautiful chant, and really is the icing on the cake for this whole album.

In my opinion, the best songs can be found in the first half of the album, and after that it becomes an intermittently feast of galloping rhythms, multi-vocal choruses, finger licking riffs.. simply rock-solid metal without any fuss and frills. That last song comes to blast you away at the end, and with that I conclude this album being a very solid one.

Orden Ogan continues to hold on to their signature style, know how to make a party with each song and showcase their unique sound. The ‘’wild west’’ theme slightly pops up here and there, is very subtlety done and merges effortlessly with the style that makes Orden Ogan their own. Just no-nonsense, glorious pounding, fantastic choruses, a  real grand finale… this album is once again everything that we’ve come to expect from Orden Ogan, and even more! 

Enbound - The Blackened Heart review

Original review on: https://www.wingsofdeath.net/Enbound-The-Blackened-Heart

Enbound, active since 2006, has kept themselves somewhat quiet after the release of their successful debut album And She Says Gold in 2011. I was a bit concerned this would be a typical one hit wonder but thankfully Enbound is back with a vengeance with The Blackened Heart. Their debut was already something phenomenal, so the sequel can only bring more good stuff!

From the first second on they hit the right spot. Start an album right away with harmonic vocals in the intro, that’s really THE way to go to win the heart of this critic! Opening track Falling lets its melodies roam free on top of a strong base of tight drums and a solid chorus, that even has some canon elements here and there. Fantastic!

Singer Lee Hunter (Lars Säfsund) gives us everything that his golden throat can give and the soaring notes he pushed out can be matched with the top of the genre. If this album already starts on this level, it only makes me extremely happy! Give me Light is another single that you can sing along in no time. Extremely catchy en very solid in every aspect. No element is out of place. This simply pops!

Crossroads is a bit more relaxed but Enbound continues to display top-notch talent. At the end the bassdrum is released onto the last chorus and with that, Enbound shows they can put something in every song that draws your attention.

Get Ready For promises to be something epic. The verses keep themselves contained but the chorus shows this explosive song’s true colors. This one is going to be yelled along with at live concerts, I can guarantee you! Simple design, maximum efficiency.

With each song that passes Enbound shows more and more innovation. Feel my Flame has these floating symphonic elements in the background that very subtle give it a slight epic touch. There are also some effects thrown on the baselines here and there and just like that little peaks of genius shine trough what seems to be a simple song at first glance.

Twelve doesn’t hide it anymore; Enbound brings out the big guns now in this glorious hymn. Drums and guitars reign supreme and Lee comes charging in from all corners of his vocal reach. Big and pounding at one moment, sweet and calm at the next, without ever losing the main idea in the song. The way Enbound manages to display their songs is magnificent!

Holy Grail proves how pounding a lovesong can be. Somewhere happy and summer-like but with enough fiery passion to make this song quite out of the ordinary.

Apparently, Enbound likes to give at least 1 song on every album a title that makes you guess what the hell they mean with it. On the last album it was Untitled X, and here it is HIO. Heaven may know what that abbreviation means but it doesn’t matter. Though it doesn’t have to compete with the rest of the good stuff on this album, this might be the most ‘standard’ sounding one of them all.

But no worries: they are back on track with the next song, a ballad called They Don’t Really Know. Painfully beautiful and equipped with tons of raw emotion and an open ending that underlines the feeling even more. Yes, Enbound also tackles the ballads as true masters. Really, how can this be only their second album?

We end with the kind of material where we started with. Make You So Unreal reminds of the fantastic catchiness of the first two songs. Everything that’s good on this album is once again underlined but it isn’t quite the huge epic gate closer like on the first album. But that is not really a problem at all because Enbound doesn’t need much more to show what they are made of. No talent is wasted and this album is filled with roaring passion from front to back.

They have come a long way since their first album. Their way of playing has become tighter than ever and the melodies stick with you right away. Enbound knows what it takes to make good music and shines like a star in every aspect of their performance. The Blackened Heart is not a very elaborate album, but damn it’s so good nonetheless! Belongs in the category: play it till it breaks and enjoy every single minute

Sonata Arctica - The Ninth Hour review

The release of Sonata Arctica’s ninth studio album The Ninth Hour is definitely a highlight of the year for me! I was a little nervous about this one. Their last two releases weren’t exactly worth their while on the long term, so I could only hope that my favorite Finns still knew how to create good music, But it is hard to remain skeptical once the first tunes of The Ninth Hour reach my ears, because Tony Kakko and his pack have done it again: the grin on my face while listening to this gem is inerasable!

De ball opens with the single Closer to an Animal; a no-nonsense song with a nice flow and very satisfying melodic twists and turns. Generally speaking a very relaxed start of the album. With the lyrics handling the theme of our role on this earth and what we do with it, it forms a nice introduction to the subject of The Ninth Hour, that mostly deals with environmental pollution and other fucked up things we do to our planet and the stubbornness of mankind that refuses to do anything about it.

But thankfully this album is not all about the big mean people species. Life is a merry song that invites to lalala along with it. No heavy lyrics, just a good old sing-along chorus about living life and singing with friends. How happy can a song get? A little cheesy here and there, but hey, you gotta have a good guilty pleasure. Or as Tony himself admits: “It is a dumb thing to say but the fact won’t wane away.” And that, my friends, is the truth!

Tony Kakko’s sarcastic and satiric traits are exposed in Fairytale. Sonata’s reaction to the current presidential elections in America. When it comes to the music, there are a lot of elements that will please a lot of fans from the old days. A nice and speedy pace, a starring part for Henrik Klingenberg and his keytar and a chorus that digs in your brain in no time and stays there.

Nightwish’ Troy Donockley has been called tot the stage to add his part to the bittersweet We Are What We Are.  And indeed, while listening tot the intro you would get the impression that you’re listening to a Nightwish song, but the characteristic sound of Elias Viljanen strumming his guitar tells us who this song belongs to. Another anthem for the improvement of the world with some very honest but tough lessons about us as a species.

The notorious stalker saga, up till now composed of  the classics The End of this Chapter, Don’t Say A Word, Caleb and Juliet gets another installment with Till Death Done Us Apart. It reminds a lot of Juliet and it has these fantastic, maniacal elements

“Ding-dong ding-dong, and everything did go wrong…”

Tony shows his psycho traits once again and Sonata delivers another impressive chapter. One of the more complex songs on the album, with quite some heavy parts and genius melodies.

After their debuting hit Fullmoon we finally have another werewolf song, titled Among the Shooting Stars. Though pretty entertaining, I think it is one of the lesser songs on an otherwise genius album. Quite a safe recipe for Sonata’s doing and it kind of just rumbles along low and slow.

Rise a Night is another small party with all the good stuff of old and new Sonata styles. Clearly written to shut up all those crybabies that are whining for years for the return of the double kick drum. They certainly succeeded in this, with a song that is driven by Tommy Portimo’s fiery feet and Elias’ blazing fingers. Throw in a keyboard-guitar battle solo, and a pounding breakdown near the end, and Sonata proves to be headbang worthy again!

Fly, Navigate, Communicate is a very interesting two-headed beast. In the first half it’s not really clear in what direction this song wants to go. It builds up with a mellow melody as base, with the occasional drum peaking here and there. Halfway the whole thing explodes into a power party where Tony even shows of some quite brutal screams. Other than that, Tony comes chiming out of all the corners of his vocal range and that only adds to the wild brilliance of this remarkable song.

After the touching What Did You Do In The War Dad from previous album Pariah’s  Child, the theme of war and children continues with Candle Lawns. A moving story about two friends and veterans of which one leaves the other to learn his son to live with what the war has taken from him. Daddy isn’t coming home, only a box containing a Purple Heart. Again beautifully and tragically displayed by Tony’s emotion filled voice, soaring guitars and lyrics that touch you in places rarely touched.   

The tragical and among Sonata fans so dearly loved story about a lighthouse keeper, a ship and a forbidden love gets a sequal with White Pearl Black Oceans II – By The Grace of the Ocean. Delightfully nostalgic when the song opens with the familiar tunes of the chorus of the Reckoning Night classic, and continues to greet the listener with the new stuff. Where part 1 ended with the death of the two protagonists, they are revived here for a second act. Though musically phenomenal, I think it’s a tad bit forced. Why bring back the dead for a cheesy happy ending while the blunt, dark ending of part 1 was exactly one of the thins that made the story so great?

If we look at the music there is no shame in calling it epic, and definitely on par with what we expect from such a loved saga, but a little on the slow side. The ghost of WPBO part 1 comes haunting trough the synths from time to time, and that gives a great atmosphere to this part as well. It winds and twists its way on the symphonic path that was paved by songs like Larger Than Life.

The festival ends where we started it: with On The Faultline, Closure to an Animal. The melody is mostly the same as the opening track, but this is a slower, more melancholic and personal version. Where Closer to an Animal dealt with humanity as a whole, this one has its focus on the individual person. A person that can’t seem to find a balance between life and love, and wanders lonely on the fault line in between. The added echo effect on Tony’s vocals underlines the words “Am I the only human here.” In a very smart, artistic way. It also has this peculiar Queen or David Bowie-like feel to it.

A sad sounding whistle puts an end to The Ninth Hour. An album that really pleasantly surprised me with depth, chaos and brilliance that Sonata seemed to have lost the last few years.

The mix, again done by bass player Pasi Kauppinen, still has room for improvement. With his last endeavor we had Tony floating loosely from the rest, but with this one the vocals often drown under a thick layer of bass and guitars. But this is not nearly as big as a nuisance as his previous works.  

But still, we can once again rejoice. There is something for everybody on this album, and you can’t possibly with for a better effort to satisfy all the fans. Really their best record since The Days of Grays, and feels like the missing link between all Sonata Arctica’s different era’s. The Ninth Hour will certainly stand the test of time with better scores than the previous two! This die-hard fan, in any case, is greatly satisfied.  

interview with Temperence's Marco Pastorino

It’s been only two years since you guys released your first album, and now you have already released your third. Things are going pretty fast for you guys! Is there a specific reason for that or do you just like making albums? It's just about our continuous flow of ideas. Me and Giulio, at this point, have this kind of involvement in what we do that it's a little bit crazy, so we meet sometimes to mix up our ideas and when we think to have a certain amount of material to make it listen to the each other, we close ourselves in the studio 24 hours a day with a few hours break in order to sleep a little bit or eat something. This goes on for some days until we have an album defined at 99% of its entirety. We of course are exhausted after that because it's a process that subtracts energies: we take everything we have inside, maybe created in a range of a few weeks inside of us, we take it out and make it "shine" and this is the result. Up till now you have released an album every year, with Temperance in 2014, Limitless in 2015 and now this one. Are you continuing on this rate or do we have to wait for the next album a bit longer this time? I think not, even though we don't like to force ourselves. We didn't think about a next album to be done in a few months after the first one and the same thing happened with The Earth Embraces Us All. It's all about a natural evolution of things. We have a really wide setlist now, rich of different kind of sounds in order to deal really with a tour or some concerts with different styles in a unique way. With The Earth Embraces Us All you started to do a lot more daring things than in your previous albums. Though both albums were great, they were quite simple and straight to the point. What made you feel the time was right to bring out the big guns this time? Growing up both as people and as musicians, each individual person keeps on with its own personal evolution and the album reflects exactly what we are today. It's an album that is both more introspective and more mature talking about the lyrics, the themes are closer to what we live in our lives. We have this loads of emotions that hit us when we don't expect them and this album unearths tons of shades that maybe have been dozed off before: a lot of melodic openings of particular instruments, the use of choir that are less conventional in the metal field, literally quotes more or less known. There is a lot to offer that we want to give really more. It's like we want to offer our listeners a really rich dish without equal things without falling into the exasperation of course. Temperance is what it is because it combines different genres, with electronic music and melodic metal being the most prominent, but this album had some very quirky surprises. In the songs A Thousand Places and Advice from a Caterpillar we are suddenly surprised with smooth jazz. Because… why not? You said right, "why not?"  A Thousand Places is personally one of those songs with a kind of structure that I would have like to conceive before; maybe that time hasn't  arrived for different reasons or maybe we haven't been ready, but now we are. And all of its aspects fills of emotion each part of the songs and in this case the use of soprano sax was really natural. We have this line of violin with which we wanted to close the opener giving it a clearly romantic and calm cut but then we thought "Why don't we develop more this sequence of notes, giving a new restart with a particular flavour?" and here it was. Instead "Advice From A Canterpillar" is considered by me as the musical insanity by me and Giulio gathered together in an individual song starting from the intro almost like Toto and counterpoints by big band to the verses with this 80s flavour and with that mid tempo, the first choral stop, the anthem restart, the choir and then, as you were saying, the jazz part. You should know that 7-8 minutes song has been written by the two of us in something like 45 minutes in studio in its entirety I mean. If you listen to the pre production of that song, you can already listen to the orchestras, the 10-12 continuous voices. It was an unique experience. I think that we collapsed for exhaustion after finishing this 45 minutes of insanity haha Could you walk us through each song on the new album, explaining the meaning and thoughts behind it, when it comes to both the lyrics and the music. Also in this case, as in Limitless, Chiara wrote the lyrics, except for the ending suite maybe starting from a specific idea or making herself dragged into themes we have already imagined. "A Thousand Places" is like the beginning of a journey through a lot of places, new and emotional ones, where you can find a lot of culture and in this case a lot of music styles. "At The Edge  Space" is about  how each of us could be useful for every cause but not essential if we think about the entirety of the universe  and how it could be something with incomparable dimensions while we are like a tiny point in a little planet in a little galaxy. If you think in this way, you could understand that we fall down day by day for tiny little things. "Unspoken Words", as the title says, is the song in which all of us can be identify in when you can't manage to express what you are feeling inside, not only in personal relationships but also in the artistic way or in the aspirations each of us should have. "Empty Lines" is about those battles, maybe more mental, we can't defeat and we try to make it arise writing a song for example. "Maschere" is maybe the more introspective song, also because of the italian lyrics, and it's about that kind of confusion inside of us that makes us blind about our steps or the started road. "Haze" is about the classic no-day where everything seems not be working, waking up on the wrong foot. "Fragments Of Life" is one of those songs that mantain the same title we used in the preproduction phase, it's a love song through the beautiful moments of life. "Revolution" is becoming one of our  more determined anthem song in our live shows, the lyrics link all of us with a very effective incipit " Advice from A Caterpillar " deals with the story of Alice In Wonderland  through some characters, a lot of atmosphere and this crazy almost insane vision as in Carroll's work. "Change The Rhyme" is about love again underling the fact that the best is yet to come as the seal of our lives where news arrive day by day ready to make our hearts beat. As I was telling before, the last one "Restless Ride" was wrote by Giulio at 100& of its entirety, lyrically talking too, starting from his love for Interstellar and imagining all the humanity ready to take everything and leave for another planet dividing the song in different parts, some more atmospheric and breathtaking and other heavier and more enthralling. I would like to underline for example the quote from the Bible, specifically from The Apocalypse from Giovanni, at the mid of the song. It gives such a theatrical flavour to the song, something between the sacred and the profane. So far you have shared the stage with big artists like Rhapsody, Nightwish, Within Temptation, to name a few.  Which bands or artists would you like to go on tour with next? And who is your favorite band to tour with? Nightwish is one of my favourite bands at the moment of course also with the arrival of Floor Jansen in the band. I have always loved them but now it's like they have reached the top of the top. Talking about real tour, the one with Rhapsody gave us a lot of emotions and experiences that we will keep inside of us. Who would we like to tour with? That's a question no one has ever asked me .I will go against the known names and I will tell you Leprous, for me they are one of the best in the nowadays progressive modern scene. Speaking of which, last June you played on Rock in Roma alongside Nightwish, Epica and Apocalyptica. Those are pretty huge names! Seems to me that Temperance is not that curious little band anymore. Do you feel the same? We are still a little band compared to the band you have mentioned but we want to focus on the present and try to give more and expand our fan base step by step.  We have been existing since 3 years and we had the chance to play almost 100 concerts around Europe and America. I would like to expand more and meet new people in every place thanks to this new album. Is there going to be a The Earth Embraces Us All tour? Yes, we are defining some shows for the next months and we are a very wide planning for 2017. At the moment we have announced  some italian shows, a minitour as headliner in Spain where we are coming back after the lucky gigs with Rhapsody. There will be more dates confirmed in the nearly future. How, do you think, will your musical style develop in the future? It's a very asked question but we don't know which direction we will take with our next works. We don't want to repeat ourselves of course but keep on with our music evolution.  Our basic trademark will remain of course as it's part of us but we don't want to keep out anything. For example, in this "The Earth Embraces Us All" we totally abandoned the growl and scream pars because we simply didn't feel the necessity to insert them at all. Maybe when we will start a hypothetical fourth album, we will be back to our steps and we will use it again. Who knows. This is the beauty of this band, no obligation Any last words for the Dutch fans, and those watching on my youtube channel? Cheers to the guys of Wings of Death and to all of our Dutch friends that have been following us. We can't wait to come to your beautiful places!