IMPERA: "Legacy Of Life"

Rating: RRR
Label: Escape 2012
Review by: Urban "Wally" Wallstrom

Going through the tracklisting of Impera one will notice several titles that once belonged to your favourite acts of the past. "Kiss Of Death", "More Than Meets The Eye" and "Is This Love", are however not the songs performed by the hair-metal legends of Dokken, Europe, and Whitesnake. Nope, these songs and project is the brainchild of drummer J.K Impera? We've never heard of him either but appearently he's been bashing the skins for Bruce Kulick, Graham Bonnet, Vinnie Vincent, John Corabi, and Brian Robertson. We might have noticed him earlier but it's not like drummers are musicians or anything? They merely hang out with them (ouch! ancient joke). :)

Tommy Denander on lead guitar and that's usually enough info for us to turn off the stereo nowadays. Don't get me wrong, Tommy D is the six-string bender supreme and we enjoy the first Radioactive album, etc. But man, he's been playing on every sappy AOR album in the past 10-12 years and I believe he's currently the guitarist in hold of the world record for playing on most crap albums? Ehem, somebody should tell him it's quality over quantity. That's rich coming from a crap reviewer? I dunno... Tommy probably agrees about the amount of crap and that any session work is indeed session work. He's done several good ones too and the guitarwork on Impera kicks major butt. It's a proper guitar album for once (no keyboards whatsoever) riffs a plenty - licks 'n tricks in the old school tradition of melodic metal and hard rock.

Matti Alfonzetti (Jagged Edge, Bam Bam Boys. Skintrade, etc) on lead vocals and he's always rock solid and underrated by most. Add to this a rather punchy production by Lars Chriss of Lion's Share fame and we're all done. Huh? right, the actual songmaterial? It may at times remind you of Jagged Edge and the solo album, 'Ready', mostly due to Matti's vocals of course, but also because of the classy guitar work. Scandinavian acts and the guitar work by the likes of: Pangea, TNT (Realized Fantasies), Fate (the 'Scratch and Sniff' album feat. Mattias "la" Eklundh) plus some of the work by Lynch Mob - the other hints and tiny point(er)s to pick up along the way. Not quite as impressive but not shabby at all.

I'm sure others will find the international and famous act to compare to the music of Impera, but I'll stick to my guns. It's the riff guitar based rock album and it may lack a couple of more fun sing-a-long melodies in the vein of "Tell Me", "Is This Love" and "Show me The Money". It's overall solid and close to 4 R's (4 R's? Are we pirates or what?). I leave you with this from the press-release: In a departure from their icons, KISS, only J.K wears make-up on stage, but it's nothing like the trademark KISS characters. "It's my way of showing that I'm the ruler", J.K laughs. Every band needs a leader, and in this band it's me. I'm the Yngwie in IMPERA. But that's not to say we're not a band - we are, and we're here to rule the world!, end quote. - Everybody wants to rule the world (Tears For Fears)...
www.impera.org

END OF SEPTEMBER: "s/t"

Rating: RRR
Label: Ulterium 2012
Review by Kimmo Toivonen

Even though the band's press release states that "they have been able to successfully create a mix between melodic metal and more modern metal that not many bands have", End Of September haven't really invented anything new. Lacuna Coil, Evanescence and Within Temptation have already played this kind of music successfully for years, not to mention the dozens of hopefuls following in their footsteps. That's not say that EOS aren't good, they're actually a decent band with a quality album under their belt. Good material, well-produced and played and with the enchanting voice of Elin Redin on top of it.

Why only 3 R's, you ask? The melancholic and dark nature of the songs is a bit overwhelming, with virtually every song being more or less mournful, both lyrically and musically. The somewhat more uptempo and lighter "Waiting For The Rain" stands out, even though it features some cookie monster vocals. The chorus oozes that famous Swedish pop sensibility, and I would definitely pick this song as the single if I was their record label boss.

Website

The FINEST HOUR: "These Are The Good Old Days"

Rating: RRR
Label: Heybert 2012
Review by: Urban "Wally" Wallstrom

"She never heard of Dylan but still she sang along", it's a quote from the opening track "Never Heard Of Dylan" by the UK act The Finest Hour and it's quirky British feel good music at its very core. "These Are The Good Old Days" - the name of the debut album from this four piece based in the Cleethorpes/Grimsby area of Linconshire.

The old vikings are still present in other words (Grimsby) but these lads draw their influences from indie rock, punk, ska and folk. It's basically darn fun music based on the late 70's formula and arrangements used by the likes of The JAM, The Clash, Madness, Joe Jackson (Look Sharp), mixed with the slightly more modern approach of Weezer and Green Day. But then again, Green Day pretty copied everything from The Clash anyhow.

It's a nice and cozy little effort with typical (very) British accent vocals and consistently strong melodies throughout the album. Big choruses, arena/indie guitars, a rock solid rhythm section, and the typical mixture of ska/punk/rock made famous by all those crazy fun loving U.K. acts in the late seventies. Looking like they've just walked in off the same streets where others such as Elvis Costello and Joe Jackson once strawled, possibly crawled down, these lads won't draw big crowds based on looks and charisma. The music however is something not to be missed if you enjoy acts/artists such as Joe "Look Sharp" Jackson, The Jam, Weezer, etc. Release date: 1st October.
www.thefinesthourmusic.com

DOKKEN: "Broken Bones"

Rating: RR
Label: Frontiers 2012
Review by: Urban "Wally" Wallstrom

Broken bones and dodgy vocals? Well, Don Dokken may not be the same vocalist as in the eighties (then again, the same goes for most singers) but at least he's aware of his strength and weakness. You won't find any hi-pitch screams and overall weird performances on this record since it's definitely low key and back to basic. The 2012 version of Dokken are perhaps not the most intresting act in the world as they deliver a set of 11 songs so patchy you could make a quilt out of it. Make that a metal quilt with a skull pattern though as the guitarwork by Jon Levin -at times true to their heydays.

That's right. Mr. Schlokken and Mr. Bongo (Mick Brown) are the two original members left and Levin and bassist Sean McNabb (Quiet Riot, House Of Lords, Badd Boys, Black Bart, Paul Shortino, etc.) are trying to cope with band history and various other issues such as background vocals? I couldn't put my finger on it at first but I do miss the bgv of Jeff Pilson and perhaps his contribution to songwriting? Not that it matters much since this is very much hits and misses. The first three tracks are the best in my opinion and opener "Empire" gives the false intention of the fun uptempo album. Nothing could be further from the truth though as things gets pretty ugly at track four and onward.

Blimey, "Waterfall", so utterly boring it will quickly put you in a state of coma. Plodding and extremely dull leftover from Solitary? The same goes for "Victim Of The Crime", it's ultra slow metal with the complete lack of refrain or hook. The following song and dance number (Burning Tears) yet another slow/mid tempo track but not quite as dull. Next up, "Today", the Jefferson Starship hit of long gone days/daze and it's a decent attempt at bringing the hippies back to life. I truly believe it's long dead though and it's ever so laidback. "Fadeaway" yet another slow ballad and this is really getting on my nerves. The closing track "Tonight", decent attempt at coming up with "In My Dreams" part two minus a great refrain.

Final verdict: I believe it's time for the fans and Frontiers (the record company) to put some pressure on the geezers for next album. Let's face it, the record buyers are expecting more from Dokken and definitely more of the original sound. What's the point in releasing an album that's more like the boring mid-nineties anyhow? (the worst era of hard rock and metal).

PRIDE OF LIONS: "Immortal"

Rating: RRR
Label: Frontiers 2012
Review by Kimmo Toivonen

"A Boy. A Voice. A Dream. He's got just one chance to make it... and become "IMMORTAL". The new Broadway musical by Jim Peterik." Okay, as far as I know Jim Peterik has no plans to turn this into a musical, but if he did, he wouldn't really have to change the songs that much. I like Peterik's songwriting and vocalist Toby Hitchcock is an awesome singer, but some of the songs on this album really do sound like they were intended for a theatrical piece.

The title track is a suitably uptempo opener, with Peterik and Hitchcock sharing the lead vocals. I actually prefer Peterik's vocals on this track, as Hitchcock goes over the top with the theatrics during the choruses. As for the song, it's not bad, but not the kind of opener that grabs you right away. The lead-off single "Delusional" sees the duo sharing the vocals again, but no matter who sings, the song really doesn't work for me. It has Broadway written all over it. "Tie Down The Wind" is okay enough midtempo AOR track, but "Shine On" sounds like another track from "Immortal - the musical". The gigantic ballad "Everything That Money Can't Buy" is another very theatrical track, but somehow it works better than the others.

"Coin Of The Realm" has obvious connections to Peterik's past hits and don't be surprised if you feel a burning sensation in your heart... I'm not so sure about the chorus though. "Sending My Love" sounds a lot like "Edge Of The Century"-era Styx, it's nice AOR song with a restrained vocal from Hitchcock. Apparently "Vital Signs" dates back to the Survivor-album by the same name, although it was finished only this year. Unsurpringly it's quite Survivor'ish, but that never hurt an AOR track, did it? One of the better tracks of the album.

"If It Doesn't Kill Me" is my favourite track of the album, classic AOR with no Broadway leanings. The melancholic and moody ballad "Are You The Same Girl" is another favourite, and the energetic closing track "Ask Me Yesterday" isn't too bad either.

I can't say that I'm too fond of the first half of the album, but things start to look brighter when the duo gets most of the theatrical stuff out of the way. Maybe the album would work better with the tracks in a reverse order?

Website

KIX: "Live In Baltimore"

Rating: Live
Label: Frontiers 2012
Review by: Urban "Wally" Wallstrom

"Atomic Bomb, Cool Kids, Midnight Dynamite, Blow My Fuse". KIX - arguably America's best party rock 'n roll band according to Kerrang of the past. Blimey, the magazine and their so called journalists of today would hardly even argue as this sort of discussion would never come up for debate in the first place. KIX always been the fun live act though performing more and more shows at festivals, casinos and biker rallys across the country since their mid-00's reunion, impressing promoters and fellow musicians with their top notch and highly entertaining performances.

Live In Baltimore takes the listener on a trip through their entire back catalogue and the best of KIX. Nearly so anyhow since you may not totally agree with the tracklisting. Me thinks it's pretty darn close to the ultimate KIX even though I don't believe they've ever recorded the perfect studio album? But darn it, the sheer energy of the band makes the live experience of the following tracks a joy to listen to. Tracklisting: No Ring Around Rosie, Atomic Bombs, Lie Like A Rug, Don't Close Your Eyes, Girl Money, Cold Blood, Cold Shower, She Dropped Me The Bomb, Blow My Fuse, Kix Are For Kids. Midnite Dynamite, Yeah, Yeah, Yeah

'Do you feel happy? I feel happy too' - Steve Whiteman is a fookin' genius when it comes to working the crowd (ehem). 'Are you still happy? You sound happy, you look happy'. Can you imagine him during the grunge era or infront of an goth audience? He's way too happy and in a way that's what KIX are all about really. Tongue-in-cheek. You're not supposed to sink further down the s**t while catching KIX live in concert. They're not supposed to add more problem(s) to your world (that's reality for ya'). The excellent power ballad "Don't Close Your Eyes" contains anti-suicide lyrics for chirst's sake. That's Steve "Happy" Whiteman at his very best. Neither rocket science nor the cure for cancer... it's merely happy KIX rock 'n roll as well as the brief escape from your daily struggle. You'll go to sleep with Whiteman's words still ringing in your ears: are you happy, happy, happy, happy, etc.
www.kix-band.com

FIRE ON DAWSON: "Seven Billion and a Nameless Somebody"

Rating: RRR
Label: FOD 2012
Review by: Urban "Wally" Wallstrom

Listening to Fire On Dawson, it's too easy to think of other German Rock/Prog acts throughout history and time in a sort of desperate attempt to draw similarities and/or influences. But then again, it's all too easy to gather acts under the same banner simply because they're from a particular part of this world. Or, more to the point, I never would have guessed Germany in the first place. However, they're from Karlsruhe, Germany, formed in 2006. The current line-up consists of founder and bassist Martin Sonntag, guitarist Markus Stricker and Indian vocalist Ankur Batra.

"Seven Billion and a Nameless Somebody" is their second full length album. Recorded and mixed in the band's own studio and later sent across the pond to Hollywood, US of A to be mastered by multiple award winning sound engineer Stephen Marsh (Incubus, Korn, The Hangover). They're a Progressive Rock band according to the press-release (and according to themselves?), however, don't go thinking Genesis, Rush, or any other old-geezers act of the seventies.

Fire On Dawson are certainly not stuck in yesteryear sound or production and have just as much in common with Korn and U.S. contemporary metal as Progressive rock. In fact, I know that a lot of old-skool folks wouldn't even consider this as proper "prog" at all really. The style has usually been described as alternative rock or post grunge with progressive influences rather than all out progressive rock. File this under modern math metal with intricate timing patterns and rhythm changes and you need to enjoy both the aggressive prog and modern metal to get all the benifits with Fire On Dawson. Nice but no cigar.
www.fireondawson.com

DORIS BRENDEL: "Not Utopia"

Rating: RRRR
Label: SkyRocket Records 2012
Review by: Urban "Wally" Wallstrom

Always remember to expect the unexpected when it comes to UK's Doris Brendel (vocals, flageolet, piano). And to be perfectly honest, that's the main reason to why we enjoy her music in the first place. Clearly different from the rest of the wags (kidding, she's not married to a footballer) and totally unafraid to experiment with musical styles and genres.

It's hard to pigeon-hole or categorise her latest project with the multi-talanted Lee Dunham (producer/musician). The compositions of "Not Utopia" are moody, emotional, catchy, fun, pompous, and I'd call it modern Art-Rock in lack of the definite description? In reality varied tastes and influences are jam-packed together and it's everything from Classic Rock, Celtic/folk-rock, 70's Pomp/Prog, Punk/Skunk Anansie, Beatle-esque pop. Thus why the simplicity and termology of "Art-Rock" and why not?

The former 'The Violet Hour' vocalist has improved a great deal as a songwriter for the past two albums. It's a remarkable and very positive change from the at times very dull early efforts. "Ebay" such a perfect little piano ballad with a message that goes straight to the heart. But almost every track is fun, hynotic, vulnerable, mesmerising, intresting. Unfortunately, the title track, also the worst song on display and the really boring acid/electro number with a v-e-r-y annoying refrain. Please skip this particular style and formula in the future. "Thank You" - imagine if Pink recorded a prog-ish tune. Born to an famed opera singing mother and ARTist (Iris) and famed classical pianist father (Alfred Brendel), Doris has always been connected to 'class' and real craftsmanship. However, 'Not Utopia' is clearly Doz' at her best alongside her previous record (The Last Adventure) and her bluesy vocals are simply outstanding throughout the record. Recommended to the open-minded music fan.
www.dorisbrendel.com
MySpace site

MYTHIC FORCE: "Twilight Prelude"

Rating: RR* (see below)
Label: MFR 2012
Review by: Urban "Wally" Wallstrom

First impression, plenty of fun tricks and metal licks by the two lead guitarists Broderick Gray (also lead vocals) and Karl Helmar. They are very true to their eighties style and several different techniques used by the neo-classical trained guitarist are at play on "Twilight Prelude". They hammer, rip, and shred, and the fast key changes and speedy (flashy) notes throughout the album is a rare discovery in this time and era.

Twilight Prelude, the latest concept album by the USA group and part of the Mythic Force trilogy. What's it all about? Well, ehem, laced with symbolism the story takes place in the dark ages of a distant, mythical land. A knight is sent on a mission to defeat the Pahntom aka The Evil One aka Demon King (yeah, yeah, whatever). The knight's mission is to venture the labyrinth and find the sword of power before the phantom finds him. It's basically the typical dungeons and dragons story of the past and it's all very back to the eighties somehow. Retro metal vs. retro role playing games (nerdy?).

Originally formed in 1991, Mythic Force toured mostly the East Coast and released several albums including "Sacred Vision" and "I, II, III". In late 2010 with new members Joey Anaya (bass) and Mike Crisafulli (drums), they returned to the studio to complete the trilogy of neo-classical power/heavy metal. Pros and cons - the overall metal music (14 tracks) and the extremely skillful guitar playing, the not so good stuff, the production and the rather average vocals by Gray. He's a class guitarist but sadly not quite as talanted when it comes to vocals. Have a go at the link below to find out more about the band (RRRR for the smashing guitarwork).
www.mythicforce.com

DAUGHTRY: "Break The Spell (Tour Edition)"

Rating: RRRR
Label: Sony 2012
Review by Alan Holloway

Although this album by American Idol heart throb (well, a few years ago now) Chris Daughtry was released last November it seems to have slipped through our fingers at Rock United, so this ‘Tour Edition’ (also known as the ‘Give Us More Cash Edition’) will have to do for us.

Firstly, you need to know what differentiates this from your bog standard 2011 version. What you get here is the original ‘special’ edition, which runs to sixteen tracks, plus a DVD featuring three music videos and five live tracks. This sort of thing is always annoying, because those with the bog standard edition tend to feel rightfully cheated. As I never had the original, though, I feel fine!

Musically, Daughtry doesn’t take any chances. The music is strong, melodic and tuned to perfection, a blend of every radio friendly hard rock at of the last 20 years, backed up by the undeniably great voice of Chris Daughtry himself. Seriously, this man has a larynx tailor made for this sort of thing, and can wail alongside the likes of Jon Bon Jovi and Uncle Ted Poley with ease. The tracks are very solid, with plenty of catchy choruses, such as “Can’t Get You Out of My Head’, which is only a crunchy guitar away from being a One Direction song but is so catchy you forgive it. The style is Nickleback meets Bon Jovi, and when it’s good it’s very, very good indeed. There are no duff tracks, although with a 16 strong rota the better songs tend to stand out more. Still, this album has happily been on rotation here for the last week or so, with plenty of comments and appreciation from passers by.

Sony aren’t going to make many new friends with this cash in re-release, as fans don’t get much they haven’t seen or heard already, but if you are new to the name Chris Daughtry and you like radio friendly hard rock this is a great place to start. If, like me, you have become disillusioned with dull Bon Jovi albums, then “Break The Spell” just might give you something new to rave about.
Website

Julian Angel's BEAUTIFUL BEAST: "California Suntan"

Rating: RRRR
Label: Platinum Blonde Records 2012
Review by Kimmo Toivonen

Julian Angel continues his mission to take us all back to the year 1989. With the second Beautiful Beast album he succeeds quite well, the songs are better, the artwork's better... In my first review I nagged about the vocals, but I won't do it this time. Julian might not be the best singer in the world, but he sings better than before and his style suits these songs.

"Wet Wild Willing" kicks off the album with some furious guitar acrobatics. The song itself wouldn't sound out of place on a Reckless Love album, it has the kind of positive party vibe and a catchy hook. The groovy, funky but nevertheless average "Dance Little Sister" would have been better off buried somewhere later in the tracklisting, but thankfully it's followed by a couple of album highlights. "Rock School" has a mighty fine hook and some nice keys, even though they're used in an almost apologetic way - "hey, I'm just going to put some keys here, but I'll use a non-intrusive sound and fade them right away"... Goddamn it, if you're going to tinkle the ivories, tinkle 'em proudly! The other highlight is the AOR-tastic "Cry, Cry, Cry". Nice!

"You Better Love Me" has Def Leppard written all over it, which isn't a bad thing at all, and "Fair Weather Friend" sounds like a vintage Glam ballad. The lyrics have a bit more thought put into them though, not the usual "my baby left me" stuff.

"Addiction To The Friction" are "Wet Hair In A Waterride" are both very decent glam rock tracks, but I'd rather skip "Friday To Sunday". It's another funky track, and I've never been able to really get that style, even though I've tried... "Something In The Air" is more my kinda thing, a balladic, melodic song with a big chorus. The "bonus track" "Gimme Just One Night" isn't half bad either.

So there. A good album that should appeal to the fans of 80'ies glam and melodic hard rock. The younger readers who are into the likes of Reckless Love, Jettblack and Crash Diet should give "California Suntan" a chance too.

Website
Website

CLOUDSCAPE: "New Era"

Rating: RRR
Label: Nightmare Records 2012
Review by Kimmo Toivonen

Cloudscape might just be on the verge of something great. Their brand of progressive metal is almost as "non-proghead friendly" as the recent albums by the likes of Seventh Wonder or Threshold. The band knows how to write memorable melodies and some of the songs have really good choruses. And all the hardcore-progsters yell "Sell-out"... well, the album does have its' moments for those people too, the lengthy space-opus "Voyager 9" for example. I can't help but compare it to Seventh Wonder's song "The Great Escape" which has a somewhat similar space travelling theme, and I have to say that although the Cloudscape one is twenty minutes shorter, it feels longer...

If you want to check out one of the more accessible tracks, I'd suggest you listen to the brilliantly named "Simplicity...Huh..." Now that's a great song title for a prog metal band! Not to mention the fact that the hook is one of the better ones on the album.

While "New Era" doesn't completely convince me, I have no doubt that these guys could come up with the kind of an album that would do just that. They just need to find the perfect balance between the prog, the rock, the metal and the melodies.

Website

KEMILON: "Twisted Storm"

Rating: RRR
Label: Maple Metal Records 2012
Review by Kimmo Toivonen

Canadian melodic metal band Kemilon play very European-styled kind of metal, with fast tempos and plenty of keyboards. Unlike most of their genremates on this side of the pond, they don't have a high-pitched vocalist though. Nope, Yan Gagné has a good voice that reminds me of Gary Hughes, although it must be said that at times his nonchalant style doesn't carry a lot of emotion. Anyway, he's got a lot of potential and hopefully he fullfils it on the next albums.

The most prominent member of the band is keyboard player Arnaud Spick-Saucier. His keyboards dominate the overall sound but I'm not complaining, he has a good knack for choosing interesting sounds which add a special flavour to the songs.

It's hard to pick out any favourites, because most of the songs on "Twisted Storm" are enjoyable slabs of melodic metal. There lies the problem of the album - although the songs sound good, none of the songs have the kind of hooks that will really catch you by surprise. Frankly, that's not enough these days. Let's hope that on the next album the band does have a few real "metal hits", I won't deny that they've got potential.

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ESCAPE: "Unbreakable"

Rating: RRRR
Label: Z Records 2012
Review by Alan Holloway

Surely, was my first thought, this band should be on Escape Records? Maybe it would confuse people, especially is this debut album had been self titled, as you would have been looking for Escape by Escape on Escape. This is, or course, irrelevant, because the band are safely tucked under the wing of Z records, and the album is called “Unbreakable”. By all accounts it has been two years in the making, which by my reckoning is not something to boast about, especially when label mates Legion manage to chuck out decent albums approximately every seventy three seconds. Nonetheless, it’s good to see another UK AOR band making a good stab at taking on the Europeans.

“Unbreakable” is unashamedly retro in feel, with plenty of keyboard from the oddly named Roland Moog (yes, I see what they did there) and a strong vocal performance from Stevie K, who is a new one on me but hopefully someone we’ll be hearing more of in the future. He’s not one of the greats, but has a nice, slightly throaty voice that suit’s the music here. The music is what it’s all about, naturally, and Escape don’t disappoint. There’s plenty of upbeat tracks that positively fly by, reminding me of the good old days and feeling like I’m listening to some obscure hidden gem on Rock Candy or something. Iniv Castro demonstrates good chops on guitar, and the solos are placed just right throughout. It’s always nice to hear an album that comes out of the gates kicking and screaming, and once “Still Alive” and the title track have grabbed you it’s easy to relax and let the rest of the album do it’s job, right down to the impressive couple of slower numbers.

As an album, “Unbreakable” doesn’t quite reach the heady heights that it wants to, but it does come close. It’s a great treat for lovers of classic AOR, more Strangeways or Dare than Danger Danger, that is a genuine grower. Here’s hoping the second album doesn’t take quite so long to put together.

TARJA: "Act 1"

Rating: Live
Label: earMUSIC/Edel 2012
Review by: Urban "Wally" Wallstrom

Act 1: The ultimate Tarja experience 2 CDs- Recorded in Rosario, Argentina 30th and 31th of March 2012. Two dates and you'll quickly notice how the audience fades in and out at the beginning and end of every single track. That's a major downer in my opinion. So what if they decided to pick the best tracks out of two nights? they could at least keep the crowd noise going since it's a huge and dare I say essential part of any live experience. I can't imagine that any fan would be especially pleased with this decision?

Symphonic emotional packed metal tunes, the majority of which are pretty interchangeable but carried off with such intergrity and belief by the impressive vocalist that they achive near worship like admiration. Queen Tarja sits nicely on the throne of Scandinavia and Turunen is easily the most successful female metal vocalist ever to come from the North. Not that we are all that interested in refering to performers by using the lame, old, stereotype of male vs female, since it's all about quality and not gender. I do feel, however, that Tarja at times might come across a tad cold? Perhaps not to everybodys likeing but then again who is?

My single (promo) DVD copy contain excerpt of the double release and kicks off with the classic black/white photos of the band backstage and the constantly smiling singer. The see-through curtain stays down as Tarja enters the stage like a proper diva in a fancy black dress and matching hair. The demon mask and her entire stage persona for that matter -like something out of the Opera. Watch her go through at least three different dresses and find out exacly how important the odd figure of Max Lilja (cello) is to their live sound.

To get the charm and strength of Tarja Turunen - get your hands on the DVD release. The full on drama, bombastic, excellent new single and ballad, "Into The Sun", definitely among the highlights along with the likes of "I Walk Alone", "Until My Last Breath" and "Little Lies (even though it sounds like "Needle Lies"). The (too) long drum-solo and the following jam-session had me reaching for the remote control (skip). I haven't been listening to many of Tarja's solo tunes prior to this and ended up quite pleased by the material. I never felt the urge before after hearing the (shocking) covers of classic rock tunes such as "Still Of The Night" (Whitesnake).

Here's the thing with most if not all the operatic, soprano singers, they and certainly Tarja are darn good at adding their distinctive touch and stamp to their own material, but should never be allowed to perform any metal covers whatsoever. Ehem, that's a bit harsh. I can live with "Over The Hills and Far Away" (Gary Moore) and the short medley of "Where Were You Last Night" (Ankie Bagger), "Heaven is a Place On Earth" (Belinda Carlisle) and "Livin' On a Prayer" (Bon Jovi). But seriously... the cover that really hits the head of the nail, "Phantom Of The Opera", hardly surprising considering my rant. Hey, I did this without typing Nightwish.... ehh... nevermind.
www.tarjaturunen.com

JON LORD: "Concerto For Group and Orchestra"

Rating: RR
Label: earMUSIC/Edel 2012
Review by: Urban "Wally" Wallstrom

Concerto for Group and Orchestra?? The Deep Purple album from 1970 that passed quietly before the following breakthrough and absolutely epic record of "In Rock"? Are we refering to the white elephant? The on paper fantastic conceptual live duel between Purple and Royal Philharmonic Orchestra and on record later condemned as the tragic event and sheer accident by the band? Appearantly not so bad according to Jon Lord? since it's now available for the first time ever on CD in a different shape and colour.

Recorded at Abbey Road Studios and not live this time, the three "movements" are conducted by Paul Mann and feature guest musicians such as Joe Bonamassa, Steve Morse, Bruce Dickinson, Darin Vasilve, Brett Morgan, Kaisa Laska, Steve Balsamo and of course Royal Liverpool Philharmonica Orchestra. Yeah, there's a certain kind of movement going on alright. We first decided to take a cat/power nap, followed by two kettle of tea, five mugs of Cola, and by now any other beverage we could get our hands on to keep us from falling a sleep.

Mainly intended as the classical music album with the occasional rock? 80% instrumental and several sections could no doubt work as filmscore music. Groundbreaking meeting of rock and classical music, not always the same as top-notch music. The ebony/ivory work on the other hand, wow, and it's nice to hear Maiden's Bruce copy the air-siren aka Gillan. But to be honest, it's below average as any form, style, or genre. Die-hard fans are well aware of this matter as Jon Lord recorded a bunch of undistinguised solo albums and projects over the years (Ashton/Lord's First Of The Bands, Gemini Suite, etc).

The heritage of Purple dates all the way back to 1967 when former Searchers drummer Chris Curtis enlisted Blackmore and the great and late Jon "The Walrus" Lord. The Lord died on July 16. 2012 but the unique Hammond sound so integral to Purple lives on forever. We'll always remember him as Mr. Hammond (R.I.P.). Release date: October 1st.
www.jonlord.org

VISION DIVINE: "Destination Set To Nowhere"

Rating: RRRR
Label: earMUSIC/Edel 2012
Review by: Urban "Wally" Wallstrom

I can recall when the astronauts shared a dream, they ceratinly had the strength and focus to set off on their space travel(s). 9 Degrees West Of The Moon (the title of Vision Divine's 2009 album release) neither far nor deep enough to journey in their search for new ideologies and eternal peace? It could be the Italians are sick of hyperspace and therefore the rather cunning title of their latest space metal effort, "Destination Set To Nowhere". Reading the lyric to the title track and I quote, "Destination set to nowhere out there I'm gonna fly. Let the vessel sail a new way it's time to say goodbye", end quote, and it's obvious that at least some of the astronauts are fed up with space and are about to jump ship?

But no, quite the opposite since this is their best effort so far. Plenty of magical sweeping keys to be found on the record. V-e-r-y melodic "neo-classical" power/prog-ish metal, wailing solos, massive choirs, double-bass drumming, and pretty much anything else that goes along with lederhosen and Swedish meatballs. The smashing guitar vs keyboards interludes throughout the album, straight off the back catalogue by Yngwie Malmsteen and Jens Johansson? Dream Theater? Yeah, definitely, but they were inspired by the Swedes.

I find it difficult to name any favorite tracks since there are no real downers. Sure, a couple of not so great moments and the singing accent of Fabio Lione and especially the pronunciation of "The Lighthouse" (track six) gets on my nerves. Stop bullying the man? Fair enough, nitpicking, the vocal performances on this record, Lione's best work up to date. The music of Vision Divine: ten-times better than Rhapsody Of Fire. Try this if you're not normally into the widdly-widdly and merely enjoy the odd album such as "Images and Words", "Mercy Falls" or "Visions". Obviously not quite as great but a pleasing/pleasant substitute.
www.visiondivine.com
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