Review: Secret Sphere - A Time Never Come (re-release)

Original translation from http://www.wingsofdeath.net/Secret-Sphere-A-Time-Never-Come

After I got their previous album Portrait of a Dying Heart in my to-do list for WingsofDeath, the Italian group Secret Sphere has conquered a permanent place in my regular playlist. Now they thought it was time, like several other bands this year (seriously, is 2015 THE year of album anniversaries and re-releases?)  to rerecord their second album A Time Never Come, but now with the current line up with the fantastic voice of Michele Lupi at the helm.

The original A Time Never Come marked the breakthrough of Secret Sphere back in 2001, and is appraised as one of the highlights of the euro-power metal scene it it’s day. Unfortunately I never got to hear the original, so that’s why I’m ever so glad that I get a second chance now with a whole new sound to it.

From the first ‘real’ song of the album; Legend, it already appears that they stay true to the sound of the early zeroes. Stratovarius-esque keyboard tunes that were so popular back than are omnipresent, but the deep guitars that are rumbling underneath definitely got a modern upgrade. The whole thing breathes nostalgia but sounds fresh and new at the same time. That’s quite an accomplishment!

This album contains quite some mini-epics. We rage along to the seven minute long song Under The Flag of Mary Read, that contains a heavenly piece of vocal masturbation (gotta love them canons!). Other than that this one also has this great 2001 era powermetal feeling but still bright and intuitive.

The next mini-epic The Brave (again counting seven minutes) flutters between fast aggressive and euphoric, happy tunes, with a peculiar open ending with some dry vocals.

After two long songs it’s now time for something smaller, that is Emotions; which is a very atmospheric and interesting piece if instrumental music, that with a some kind of strange announcement opens the way for Oblivion. This one is also quite epic at some points, with a sense of adventure, with fantastic guitar solos and subtle orchestral elements behind it all, it fades way to another peculiar ending to Lady of Silence. A little bit slower and straightforward but with a proggy feeling here and there. The cadence on the drums underlining the chorus is subtle but very addicting!

Mystery of Love is a great ballad in a way that only Secret Sphere can create. Beginning quite humble but eventually it grows to a full sounding song with roaring guitar solos, dramatic keys-violin and a good dose of Italian passion. What follows is an intermezzo called Paganini’s Nightmare. This one flashes by gruelingly fast but it’s definitely very interesting!

Hamelin is a in-your-face powerclassic with a classical touch. Think; Yngwie Malmsteen. This one also fades out to the last intermezzo called Ascension. This one indeed sounds very dark and gloomy and I suddenly get the feeling I am sitting in a very tight space, ascending into something very ominous. What awaits down there is Dr. Faustus, the last mini-epic that fills 8 minutes worth of threatening tunes and solo’s that sound like and absolute boss!

I can really say that we got quite a unique album here, although it has been released twice. I don’t come across something with such and own atmosphere and theme like on this absolute jewel of an album very often, and I can certainly state that this record is a highlight of the genre, both on it’s initial release in 2001 as nowadays. I really have to check out that original version sometime.. 

Review: Temperance - Limitless

Original translation from http://www.wingsofdeath.net/Temperance-Limitless

Temperance from Italy is doing great! A year ago I got the privilege to review their debut album, and even today I still enjoy their fresh metal-meets-electronic sound. Now they are already releasing their second album Limitless, and I’m preparing myself for another merry headbang and sing-along spectacle!

The little choir on the opening track Oblivion is surprisingly new territory for Temperance, but soon enough that characteristic keyboard comes floating to the surface and the show is on the road! The verses sound suspiciously like The Nexus by Amaranthe, but the chorus is something totally new and singer Chiara brings out her best soprano vocals.

Amber & Fire brings out some oriental sounds, the same they apparently loved on their previous album. It’s not such a fast song but still it pounds its merry way to a multivocal little piece where afterwards the chorus hits you again with an added dose of spunk, and the whole thing chimes away to Save Me, that flashes like a short circuit that never ends. The amount of words they want to shove in a minimum amount of melody is astonishing, but if they can pull that of live that would be really something!

Stay is a curious semi ballad where Chiara might sing a bit less shrill for my part. So despite the fact that my eardrums are being impaled this is also a fine little song that has a nice curve from ballad to happy and speedy.

To express your admiration for a TV show in a song is one thing, but to take is so boldly literally as in Mr White that’s a whole other thing! “Mr White is not here, look for Heisenberg. Mr White is away, cooking crystal meth.” Can someone call the TV studio’s of Breaking Bad? I think they found a new showtune…

Here and Now strongly reminds of that lovely cheesy 90’s Eurohouse era. The same speedy vocals and bubbly keys, but with a slower chorus and a big dose of guitar violence, you don’t hear me complain at all about this hybrid of what I listened to at pre-school and what currently destroys my hearing. What comes next is a series of songs that are overflowing with sugarsweet lovestories. Omega Point is a bit on the slow side and bittersweet, a little dragging but still catchy. Me, Myself and I gives full throttle and is a short but very powerful song with a catchiness level that goes trough the roof, where the music is literally found in the lyrics. Side By Side continues on the same path, with a sporadic grunt here and there that freshens things up a bit. Goodbye is sometimes suspiciously happy for a song that’s about things you’ll never see again.

Burning is maybe one of the most feel-good songs on the album, and rages along with the sense of speed that Temperance made their own. Get a Life returns to the same rejected-love theme from before. Again very catchy with a chorus as a furious storm (after all, hell hath no fury as a rejected woman). Closing the album is title song Limitless. A nice, carefree rebel powerhymne that makes you happy. Guitar solos are skipping about between the sing-along choruses and all this makes a last stand that is worth remembrance.

Temperance once again impresses with their uplifting melodies, insane drums, ferocious guitars and the youthful, clear and versatile voice of Chiara Tricarico on the helm, which sometimes asks Marco Pastorino’s vocal chords for a dance. They do have to watch it that all that cocophony of speed and crowded lyrics don’t get too repetitive. But all this is positive criticism, because I love to see Temperance grow to be something big. They are already unique!