Idle Hands' Mana is the best gothic rock and metal record since Paradise Lost's Medusa one and a half years ago. Right from the start, the American trio convinces with a gloomy atmosphere that never gets too melodramatic, plodding or stereotypical. The guitar melodies are surprisingly upbeat without ever getting superficial. The rhythm section is unusually involved for a band of this genre and quickens up the pace at the right moments. The dark but hopeful vocals remind me of a mixture of Joey Ramone and Peter Steele. The songwriting is particularly concise with the longest tune barely cracking the four-minute mark. The warm vintage production reminds of gothic rock releases from the eighties without lacking some occasional punch in the right moments. Idle Hands' music should not only appeal to gothics and metalheads but also to the few people with great taste who like horror punk.

The record doesn't have any fillers but so many highlights that it would take too much time to point out all of them. The opener ''Nightfall'' sets the tone with longing guitar notes before hauntingly sorrowful vocals set in. Before things can get too sentimental, the powerful rhythm section pushes forward. The chorus gets to the point and is almost danceable despite its upbeat dynamics. The hoarse shouts that follow the chorus are quite cool and you can't help but imagine a howling werewolf. This song would have been a perfect fit for any soundtrack of a horror movies of the eighties. One can't help but think about Pet Sematary and this is definitely a compliment.

''Jackie'' is a little bit slower and more mournful and could also come from The 69 Eyes. The vocals are given the occasion to shine in particular and take you on a mysterious voyage. The enchanting chorus is brilliant and timeless and won't get out of your mind once you have listened to it for the very first time.

''Dragon, Why Do You Cry?'' might be the record's most sentimental song but never gets too sappy thanks to a psychedelic undertone that invites to relax and dream. The track's conclusion creatively intertwines smooth funk stylistics with mellow traditional heavy metal reminiscences without losing its romanticidal identity. This is the kind of song gothics in love should dance to in a discotheque. This track makes old black hearts feel young and fresh again.

Another outstanding tune is the elegiac, slow and thoughtful ''It'll Be Over Before You Know It'' with its plodding instrumental passages and almost ritualistic lead chants. There are few songs that define elegy as well as this one does. It's equally sorrowful and comforting and might be the record's most experimental track.

''A Single Solemn Rose'' on the other side would have been an excellent choice for a single. It's a profoundly dark romantic track that will touch even the grimmest heart of stone. The yearning chorus in particular grabs the attention but the otherworldly melancholic guitar harmonies are also inspiring and make me think of seeing a beautiful woman on a lazy autumn morning.

In the end, Idle Hands' Mana is on the borderlines between gothic rock, gothic metal and horror punk and combines the strongest elements of all three genres. Haunting melodies meet upbeat rhythms and mysterious vocals. Even people who usually loathe gothic stylistics might give this particularly well-executed record a spin. If the band were a little bit more popular, I could see this record hit numerous lists for the greatest album of the year.

Final rating: 95%

Christian heavy metal quartet Stryper decided to honour its origins, muses and inspirations on The Covering that features twelve cover songs plus a brand new original track. It's quite ironic that the only new song is actually the best on this release. Its powerful uplifting vocals, skilled melodic guitar play and epic optimistic atmosphere go back to the band's own roots in the mid-eighties and the song can actually compete with the band's classic material. It's a pity that most people will never hear this excellent song because they aren't going to pick up this average cover album.

The main problem is that most songs sound strikingly familiar to the original versions and fail to add anything new. Stryper would go on to release an excellent record of new interpretations of their own songs on Second Coming only two years later that would give the original tracks some refreshing oomph. This means that the band is capable of updating old song material efficiently. This can't be said about The Covering. ''Carry on Wayward Son'' by Kansas for instance sounds as if every note and rhythm had been copied from the original tune and blindly reproduced by the four gifted musicians without any inspiration.

In a few cases, Stryper changed a few minor elements but these decisions turn out being quite hit and miss. The band slowed down Judas Priest's ferocious ''Breaking the Law'' which misses the point since it's an angry song that should be performed relentlessly. On the other side, Stryper cut some of the extensive solo parts of Iron Maiden's ''The Trooper'' which sounds more focused, direct and consistent than the original song but misses the vibrant bass guitar play of the original tune to really stand out.

My favourite reinterpretation on this output is probably Deep Purple's ''Highway Star'' because the guitar solo in the middle part is executed perfectly and gets me every single time. The band really proves that they are four excellent musicians with this song and manage to outplay one of the world's greatest rock bands ever. This record features other good cover songs such as the vibrant opener in form of The Sweet's ''Set Me Free'' that takes no prisoners or the enthusiastic rendition of Scorpions' ''Blackout'' that is particularly impressive in the vocal department.

In the end, Stryper's The Covering features a handful of solid cover songs and an outstanding new track while the other half is lazy, forgettable and exchangeable. This is the kind of album collectors can purchase for a reduced fee but it's certainly no highlight in Stryper's extensive discography and there are much more inspired cover albums out there.

Final rating: 60%