There are so many symphonic metal bands with their noses pressed up against the glittering shop window of fame. Few will be allowed entry. Based on their first three albums,
Dragonland (not to be confused with any other Dragon prefixed band) seem caught in the doorway, lacking that final push to get inside.
At first, their fourth album '
Astronomy' seems destined to provide the momentum needed. Then it degenerates to cliché, but it climbs its way back up the spiral in the album's second half. To the extent you end up believing they're the great white hope of symphonic rock (not forgetting Kamelot).
A word of warning, this is a (yawn) concept album. Words like 'stellar' and 'astral' get used a lot, and frankly, the album's grandiose lyrics get a bit wearing after a while. But that aside, '
Astronomy' is an extremely hypnotic album. A kaleidoscope of strong melodies and vocal harmonies, and there's no denying the band's technical expertise.
'
Supernova' is a superb opener, dramatic, powerful, densely constructed, delivered with vigour and intensity. '
Cassiopeia' is crystalline in its clarity compared to other tracks - the ethereal, operatic female vocals sound positively spiritual. But the band then suffer from short term memory loss.
It's only track 3 and already they've forgotten how to write a decent tune.
'Astronomy' and '
Antimatter' see them in full shrill metal mode. Plenty of axe wank and power metal fire. They generate a lot of heat but disappointingly little light.
But then we get to what this band clearly does best : '
The Book Of Shadows' is a constantly inventive and moving instrumental, full of colourful cinematic flourishes and obvious big screen ambition. It's a splendidly appropriate appetiser for the album's climactic 15 minute track, the 3 part '
Old House On The Hill'. More in a moment.
Sandwiched between, '
Too Late For Sorrow' crunches and soars, benefiting from being a shade less intense. Male and female vocals intertwine gracefully on a sturdily melodic song that sparkles and shines as it picks its way through murky musical waters.
On that key track
'The Old House On The Hill', the band and producer show an impressive grasp of orchestral pace and power. Strings, guitars, brass and keyboards in one moment tease our emotions and in the next overwhelm us with a colossal, unstoppable wall of sound.
If the next album was an all instrumental soundtrack to an imaginary movie, now that would be interesting.
Written by
Brian Tuesday, February 13, 2007
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