Opera Diabolicus is a diversified symphonic metal project that meanders from smooth progressive and psychedelic rock vibes in the key of Ayreon over gritty atmospheric heavy metal stylistics such as Mercyful Fate to extreme metal sections reminding of Mayan.

The project's second release Death on a Pale Horse has grown on me with every spin. My first impression was that the album was at times overloaded and I had to think twice about purchasing it. I'm glad that I have decided to give it a shot since the record has gradually become one of my very favourite releases of the past year.

This album offers a lot of diversity. There are songs with a menacing calmness based upon smooth orchestrations dominated by enchanting piano sounds, melancholic violin sections and the combination of ominous clean female and male vocals as witnessed in the concise and short ''Little Sister''.

Other songs however develop cinematic atmosphere with epic lengths that explore numerous progressive shifts and changes. They can evolve from soothing passages over energetic heavy metal to destructive symphonic death metal outbursts. The song that represents this impressive diversity best without sounding overloaded in the slightest is ''Second Coming'' that feels much shorter than its ambitious running time of ten minutes and offers much replay value.

Some other tracks yet again quicken up the emotions and the pace without sounding chaotic or overwhelming. ''Bring Out Your Dead'' for instance might need a few spins to grow with its multiple changes and shifts but is very rewarding as it opens up further with every single exploration.

The final result works particularly well because the project involves many veterans who have acquired valuable experiences in similar projects. Singer Mats Levén for instance has shown his outstanding qualities in groups such as epic doom metal veterans Candlemass or in individual projects such as the neoclassical power metal stylistics of Yngwie Malmsteen. Andy LaRocque is the guitarist of atmospheric heavy metal veterans King Diamond but has also been invited to perform for groups such as melodic death metal veterans At the Gates or experimental black metal outfit Shining. One also has to note the excellent Snowy Shaw on drums and vocals whose charismatic presence makes a very good record excellent as he has been able to develop his very own style by being involved in bands such as symphonic metal masters Therion and symphonic black metal group Dimmu Borgir. The creative influences of these numerous excellent artists are kept together by the project's two Swedish masterminds Adrian de Crow and David Grimoire, with the latter also being in charge of the surprisingly balanced production with some help of veteran sound engineer Jens Bogren who has been involved in numerous masterpieces released by influential bands such as diversified veterans Amorphis and progressive metal masterminds Haken.

As you can read, Opera Diabolicus' Death on a Pale Horse unites some of the very best musicians, producers and singers in the metal genre. However, the sum of this release is even greater than its excellent parts. This album oozes with atmosphere, offers much fascinating diversity and entertains thoroughly with intriguing concepts and lyrics. Anyone who values atmospheric metal music with intellectual depth should definitely purchase this wonderful effort that has been unfairly overlooked by numerous clueless experts, journalists and magazines.

Final Rating: 95%

Canadian heavy metal quartet Maule brings the eighties back to life on its titular full length debut. What we get to hear are nine traditional heavy metal anthems clocking in at thirty-eight minutes. The production is simple and modest but also powerful and organic. 

Influences such as Iron Maiden, Motörhead and Saxon in their early years keep shining through in the songwriting department. The musicianship is based upon upper mid-tempo guitar riffs, melodic guitar solos and galloping rhythm section with dynamic bass guitar sounds and playful drum and percussive patterns. The lead vocals are raw, juvenile and hoarse and add some more uncompromising energy to the mixture. 

This release comes along with a colourful, detailed and imaginative cover artwork that works much better as a vinyl release than anything else. The trip down memory lane is completed with tongue-in-cheek nicknames for the band members such as Riddle of Steel, King of Bones, Doomin' and Danzo.

Is this approach original? No, it certainly isn't. Is this album great fun to listen to? Yes, it certainly is. This output includes infectious songs recalling the greatest groups of the New Wave of Heavy Metal such as White Wizzard, Visigoth and Traveler.

The opening ''Evil Eye'' for instance finds the perfect balance between gripping melodies and rhythmic swagger.

Title track and band anthem ''Maule'' meanders splendidly between atmospheric and slow parts on one side and catchy and fast sections on the other side.

''Red Sonja'' quickens up the aggressivity and pace instrumentally and vocally as it gets to the point in less than three highly efficient minutes.

Gloomy, menacing and slow ''Father Time'' sits on the thin line between doom and heavy metal and would deserve a spot on the soundtrack for any horror movie inspired by the works of Clive Barker, John Carpenter and Wes Craven.

Maule's titular debut record should please any fan of traditional heavy metal. This album certainly doesn't reinvent the genre but is great fun to listen to. The song material might even work better in concert, so here's hope to get a solid dose of Canadian heavy metal on stage once the ongoing pandemic will have finally slowed down for good.

Final Rating: 80%

Finnish metal sextet Amorphis simply can't do anything wrong since it has been on an impressive streak of eight excellent studio albums since versatile vocalist Tomi Joutsen joined the band. The group meanders between power metal with folk elements and occasional progressive black and death metal sequences. For almost two decades now, the band sound is dominated by melodic guitar play, playful atmospheric keyboard passages and incredibly charismatic, diversified and dynamic vocals. Lyrically, the band has been inspired by ancient Finnish tales that suit the epic musicianship perfectly. Anyone who is familiar with the band should already know what to expect from Halo. Those who might not be familiar with the sextet yet, might as well start their discovery of this fantastic band with this output.

It's really a matter of minimal details whether you are going to prefer this album over its seven predecessors or not. In my opinion, this excellent album can't quite reach the quality of some of its predecessors. This is due to the fact that an outstanding, infectious and catchy anthem is missing on this release. Another reason is the fact that Amorphis keeps maintaining its current successful formula and taking less surprising risks.

Still, this album is filled with excellent tunes from start to finish. Atmospheric, epic and playful opener ''Northwards'' combines melodies and roughness, emotions and intellectualism as well as atmosphere and energy splendidly. 

Sinister folk metal epic ''Windmane'' invokes a resilient, raw and guttural atmosphere as the balance between harmonies and grit is once again excellent. 

''Seven Roads Come Together'' focuses on the band's epic, longing and melodic side with dramatic keyboard sounds and playful guitar sections. The song is crowned by a catchy, harmonious and liberating chorus that makes this track the record's most promising candidate for a future single release and a stable spot on the setlist for upcoming concerts.

The band has experimented with oriental folk sounds before but they have rarely sounded as efficient as on sinister epic ''War'' that might even qualify as this record's greatest tune. The enchanting melodic keyboard sounds, heavy guitar riffs and playful drum patterns set a perfect backdrop for the vocals that meander from dark growls over controlled guttural shrieks to heartfelt melodic clean vocals. This song feels like an epic voyage to foreign cultures and countries of yore and would deserve a mandatory spot on the soundtrack of any historically inspired adventure game or movie.

A hidden gem is once again the Japanese edition which doesn't only offer an additional disc with ten live tracks that were not played on recent live record Live at Helsinki Ice Hall but also an excellent bonus track with ''The River Song''. The song starts with atmospheric, enigmatic and relaxing keyboard sounds evoking mysterious folk passages that are at first complemented by dreamy acustic guitar sections and then progressively by electric guitar riffs. The rhythm section then gradually quickens up the pace as the riffs grow colder and harsh vocals complete the shift in atmosphere. The harmonious side of the band splendidly emerges again in the powerful chorus that grows with every spin.

While most songs work very well on Halo, Amorphis' fifteenth studio album also includes a few tracks that might need some time to grow. Title track ''Halo'' is a good example for me as the song is a little bit too smooth and tame in the instrumental department while the songwriting is boring and by the numbers.

Finnish-Swedish collaborative album closer ''My Name Is Night'' is a folk ballad featuring additional guitar sounds by Erik Mjörnell and female vocals by Petronella Nettermalm. While the idea might sound interesting on paper, the band has recorded very similar tracks on the last two studio albums already. Aleah Stanbridge's dreamy, soothing and timeless vocals on ''White Night'' or Anneke van Giersbergen's catchy, melodic and powerful performance on ''Amongst Stars'' come to mind. Halo's album closer poorly rehashes those ideas and can't compete with these similar tunes.

Still, Amorphis' Halo is an excellent record that confirms once more that the band is on an impressive streak of high-quality releases since Tomi Joutsen joined the band eighteen years ago. Anyone who appreciates folk metal, power metal and progressive metal should purchase this wonderful album. For the sake of development, Amorphis should however attempt to try out something slightly different on its next output to remain exciting, open-minded and relevant.

Final Rating: 93%

After the lacklustre cover album Inspirations, British heavy metal veterans Saxon come around with a brand-new release featuring ten new songs for a total running time of forty-four minutes. Sadly, the band's twenty-fifth studio album is no improvement over its predecessor and bores with old-fashioned genre stereotypes without any creativity, passion or wit.

Things start on a low note with the opening title track ''Carpe Diem (Seize the Day)'' that repeats the title to death to a point that it almost becomes a brainwashing session by listening comprehension.

''The Pilgrimage'' shows how an interesting idea can be entirely wasted. The song evokes an epic atmosphere with almost cinematic vibes at the start. Sadly, the band doesn't develop anything upon that idea and simply stretches that one idea to an insufferable length of six and a half minutes.

''Lady in Grey'' suffers from a similar issue. The song tries to evoke a mysterious atmosphere reminding slightly of psychedelic rock stylistics of the late sixties. However, the unusual idea isn't pushed any further and the track plods along without any energy for more than five sleep-inducing minutes.

To be fair, Saxon's new record isn't entirely bad and includes at least two reasonably decent tunes. ''Age of Steam'' is a heroic heavy metal anthem with atmosphere and grit that manages to stay on your mind after a first try.

The closing ''Living on the Limit'' clocks in at less than three minutes and convinces with powerful speed and tight chemistry in the instrumental department.

Two very good songs out of ten are however not enough to give this release any attention or to even justify a potential purchase. Saxon needs to improve two elements in order to capitalize on some of its promising ideas. First and foremost, they need some desperate help in the songwriting department to develop their concepts beyond the initial stage. Secondly, the band has to keep its songs energetic, short and tight as the band sounds especially tiresome in the long and plodding tunes.

Saxon's twenty-fifth studio album Carpe Diem is only recommended to avid collectors and faithful fans. There are numerous other heavy metal bands, both experienced veterans and fresh newcomers, who have by now outclassed Saxon who are living on their reputation of yore. The band hasn't released an entirely convincing record in quite some time now. While the band is still great in concert, the group's recent material is quite forgettable.

Final Rating: 55%

Blind Guardian is one of the greatest live bands and Imaginations from the Other Side might be my favourite studio album of the influential German power metal quartet. In theory, the combination of the band's energetic shows and the excellent song material on display should therefore please me. However, Blind Guardian's Imaginations from the Other Side Live is a cheap cash grab that doesn't deserve any attention.

Things start badly with the bland functional release title. The bad impressions continue with a lazy cover artwork ripping off the original studio album. The booklet won't impress anyone either.

Even though that concert was already recorded four years before its release, Blind Guardian simply doesn't have the same conviction, energy and skills as it had during its peak in the mid-nineties. Hansi Kürsch's dramatic, gritty and theatrical vocals still sound unique but he sounds at times out of breath and misses some of the higher notes. The musicianship is decent but not as precise, sharp and technical as on the studio record. The production is also of an average quality and doesn't properly represent the enthusiastic atmosphere of the band's concerts.

This record doesn't feature a full concert and doesn't include any bonus material either. One only gets to hear the nine songs from the original studio record performed live for fifty-four minutes of entertainment and that's it. Paying twenty bucks or even more for such a modest concept is certainly way too much.

Blind Guardian has released numerous truly stunning live albums. Live Beyond the Spheres for instance is an absolute masterpiece with three discs, twenty-two songs and a generous running time of two hours and thirty-nine minutes. Said album offers a perfectly balanced set list, excellent musicianship and great atmosphere from an energetic crowd. Purchasing that release or attending a Blind Guardian concert in person makes perfect sense. Wasting your time with Imaginations from Other Side Live however doesn't.

Final Rating: 50%