Artist: Tobias Sammet's Avantasia
Label: Century Media
Release Date: 7/10/01
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Title: The Metal Opera Artist: Tobias Sammet's Avantasia Label: Century Media Release Date: 7/10/01 |
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Abyss's Review:
I know little about Tobias Sammet aside from the fact that he is the lead singer for Edguy, and that that he foiled my attempts to start a band named Frankdude. I do know now, what I’m sure every power metal fan finds pathetically obvious, that he’s a pretty big cheese in the genre. This guy keeps pretty impressive company, gathering members from bands such as Gamma Ray, Rhapsody and Helloween (even those that aren’t in the band anymore. Of course I’m referring to the elusive Mr. Kiske) and has put together a “metal opera” using various artists throughout.
"Whether you drink (k)nightly from a jeweled chalice, or just dabble in the genre like me, this album is a must have." The ambition that is evident here impresses even I, the killer of all that is concept and only a hit or miss supporter of our power brethren. But I must say that this is a great album, and hands down a must have for any fan of power metal. Whether you drink (k)nightly from a jeweled chalice, or just dabble in the genre like me, this album is a must have. But be forewarned, this is full-fledged power metal in all its extremes. There really is no crossover appeal here. The cheese factor is off the scale, but this effort is so well constructed that I find myself reveling in it rather than laughing at it (although I do chuckle every once in awhile).
Those who’ve read my reviews often probably know that my favorite power metal bands are in two distinct categories: those that remind me of Maiden or Iced Earth, and those that remind me of Helloween or Hammerfall. This disc is definitely in the latter category. My favorite song is the lead track, (after the stupid “Prelude”. Not that this intro is bad, I just think all intros are overdone and pointless) “Reach Out for the Light” has the beautiful addition of Michael Kiske’s vocals, which brought tears to my eyes (I cried even more when I realized he didn’t share any tracks with Kai Hansen, but I guess that isn’t surprising). And that wasn’t just because I was playing that stupid game where you try to touch your own eyeball to gross out your girlfriend or sister (or for our readers in Alabama and Mississippi, girlfriend/sister). Anyway, that song was everything I think a power metal song should be. Awesome melody, over a cool, bouncy riff. For the same reasons I also think that “The Glory of Rome” and “Avantasia” also deserve mention. Even the over-the-cheesy-top “Farewell” made me swing my beer from side-to side rather than think of the “Stonehenge” scene from This is Spinal Tap.
"The cheese factor is off the scale, but this effort is so well constructed that I find myself reveling in it rather than laughing at it (although I do chuckle every once in awhile)." End result is this album is just what it should be. One word review: Inspired.
Death's Review:
Ever see that Sevendust video they did for the Straight Up album, where the singer, Lajon Witherspoon, is sitting in front of a bonfire singing and playing guitar, and one-by-one every sorry-ass nu-metal freak in existence at the time walks out of the shadows, gives some "yo-yo-yo" homeboy props to the other nu-metallers who have come before him, and then takes his own place around the bonfire to groove with the 'Dust while the ghost of the dead guy wanders around and checks it all out? It's a veritable gathering of the nu-metal tribes in that video: everyone who is phat and who wants to tell you to "jumpdafuckup" or "backdafuckup" while hopping around on a pogo stick was there. In fact, Metal Judgment's own Hel, who is sensitive to the subtle changes in how a band is currently positioning itself vis-à-vis its peers and therefore commonly questions "the company certain bands are keeping these days," for a while had taken to accusing older bands with progressively growing nu-metal tendencies like Black Sabbath, Slayer, Machine Head or Max Cavalera of "hanging around the bonfire with Sevendust." I knew what she meant.
"The Metal Opera is certainly a power metal milestone, if not a full-on gathering of the tribes." Avantasia is not quite the Hear N' Aid of power metal, and Edguy vocalist and project leader Tobias Sammet isn't exactly sitting around playing Temple of the Dog ripoffs in front of a table full of guys rolling twenty-sided dice and trading Magic: The Gathering cards in front of the world's only working alchemy lab. But you get the point: The Metal Opera is certainly a power metal milestone, if not a full-on gathering of the tribes. Fuck Demons and Wizards (although all praise Horrorshow!), Avantasia is the most important power metal "project" of the new millennium.
The resume is impressive. Musicians include members of Gamma Ray, Edguy, Helloween and Rhapsody. Vocalists include Kai Hansen (Gamma Ray), Timmo Tolki (Stratovarius), David DeFeis (Virgin Steele), Andre Matos (Angra), Rob Rock (Warrior) and Sharon Dn Adel (Within Temptation). But without a doubt, the single most exciting aspect of this record for me is the addition of former Helloween singer (from the Keeper of the Seven Keys, MTV-airplay [remember the Headbanger's Ball tour they did of the U.S. with Exodus?] heyday), Michael Kiske. As much as I rag on modern Helloween and the rest of their German power metal brethren, I bought Helloween albums back in the 80's and thoroughly enjoyed them in all of their Pumpkin-costume silliness. Primarily though, I enjoyed Kiske's vocals, and it is great to hear him return to the power metal genre so triumphantly as he does on this release. He appears on five tracks and truly makes the record.
I have no fucking idea what the "opera" is about, but the bio describes it as "a fantasy story rife with deceit, treachery, religion, imprisonment and withcraft." Sammet plays the character of "novice Gabriel." Kiske is "druid Lugaid Vandroly." That's about as much patience as I have to pursue that line of questioning. But who the fuck cares? Musically, this is as good as Savatage's Dead Winter Dead and other records of that ilk that I've enjoyed, and my favorite track, "Farewell," is incredibly multi-dimensional and dramatic. The Metal Opera is a first-class piece of heavy metal artwork, even if it does occasionally suffer from the inevitable lack of cohesion that is to be expected from a project with such grand ambitions and such a large supporting cast. Still, even if you have only a passing interest in power metal, you may want to check out this release.
"The Metal Opera is a first-class piece of heavy metal artwork, even if it does occasionally suffer from the inevitable lack of cohesion that is to be expected from a project with such grand ambitions and such a large supporting cast."
Hel's Review:
Favorite tracks: “A New Dimension” and “Farewell” A renown power metal musician gathers together a number of his contemporaries to create the ultimate masterwork of power metal. If this piques your interest, you will adore this album. It is all that is power metal, and so much more. All the classic elements are in place, voiced by a multitude of luminaries of the field.
Recently I’ve found myself hip-deep in power metal, with power metal coming out of my ears, and having delirious power metal hallucinations. So I’ve got a lot to compare this to, and it stands head and shoulders above the rest. Not just because it is a superior power metal album, but also because is a more complete and evolved musical work of art as well. Think: power metal meets Broadway.
"Think: power metal meets Broadway." This is one of those cases where the press copy of the album is a true detriment. With only the cover art, track list, and press blurbs to work from, it is nearly impossible to get the full experience. The lyrics and book art are probably a key element of this release, and that’s missing for me. I am convinced there is a lot to the experience of Avantasia that can only be unlocked by the holders of these booklets, but it is a wonderful experience even without one.
There are two things about this album that I particularly enjoyed. First, I love the occasional instrumental interludes. So brief, so beautiful. Not metal at all, they function as both a transition between parts, and as a moment of contrast. “A New Dimension” reminds me strongly of music that you would hear while riding a Disney ride - and I like it. The other wonderful thing for me was that, represented among the best of the male power metal vocalists, is a true female vocal talent. Too often, with both male and female singers, mediocrity becomes acceptable, but this is not at all the case here. Tobias Sammet has an amazing ability to identify great talent and bring it all together.
“Farewell” is my favorite and, I think, the best track on the album for several reasons. So many, I hardly know which to list. It is an excellent piece of songwriting, which utilizes several different vocal parts in conjunction for amazing effect, and has great ambiance. This is also the prime example of the point at which power metal meets Broadway.
"It is a power metal album through and through, and if you can’t stand power metal, you probably won’t like this record, good as it may be." Regardless of how well conceived or well executed this may be, it is a power metal album through and through, and if you can’t stand power metal, you probably won’t like this record, good as it may be. The people who will benefit most from this release are the borderline cases - those who only like power metal a little will be completely drawn in. My appreciation and tolerance of power metal had begun to decrease dramatically of late, but Avantasia has convinced me that there is still substantial merit to the style.
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