Ten years had passed between Japanese progressive power metal group Galneryus' first studio album and this wonderful release. The band had already accomplished much in those ten years, including the release of eight studio albums, nine extended plays and three singles. Since the group had also gone through an important line-up change on vocals three years prior to this release, Galneryus decided to offer two records where the band would cover its own songs from the early years and reinvent them. This is the first of these two albums. The courageous approach works very well because it has been executed with seriousness, since the different band members are technically skilled musicians and due to the excellent chemistry between the five members.

The IronHearted Flag, Volume One: Regeneration Side offers ten songs with a total running time of sixty-three minutes. As if that weren't enough, this release comes around with a bonus DVD featuring ten recently recorded live songs. The great thing is that the ten live songs are different ones than the ten studio tunes which means that you essentially get a compilation of twenty songs that showcase everything this band has been and still is about.

Let's point out a few select highlight to exemplify the band's typical trademarks. ''Rebel Flag'' is an imaginative power ballad with neoclassical keyboard sounds, melodic guitar play, steady rhythm section and passionate vocals varying from lower registers in the verses to high-pitched sections in the chorus. ''Point of No Return'' on the other side is more on the epic side with extensive instrumental sections and a more galloping rhythm that finds the right mixture between heavy, power, progressive and symphonic metal elements. ''Fate of the Sadness'' is a few notches slower and focuses on a gloomy but resilient atmosphere carried by expressive vocals and the excellent use of extensive instrumental sections where even the bass guitar can shine with a sinister solo spot.

If you combined the greatest moments of DragonForce, Helloween and Stratovarius with Japanese work ethic, chirurgical precision and a progressive note, then you might have a very good idea of what Galneryus' The IronHearted Flag, Volume One: Regeneration Side sounds like.

At the end of the day, the risks taken by the band in this ambitious project certainly pay off. The IronHearted Flag, Volume One: Regeneration Side is an excellent summary of the band's incredible career and should please fans of old date just as much as potential new supporters. Japanese imports are rather expensive but here you get ten studio versions and ten different live songs on DVD for a fairly reasonable price of roughly thirty dollars. Anyone who appreciates progressive power metal of the European type should give this release a fair chance.

Final rating: 80%

Thy Catafalque is one of the most fascinating bands I have recently been discovering. Only a year and a half after the imaginative predecessor Naiv, Hungarian mastermind Tamás Kátai has now published ten new songs with a generous running time of sixty-two minutes on Vadak.

Some people might hesitate to check this record out but let me convince you that your doubts are unfounded. First of all, one might think that a one-man project by a multi-instrumentalist who performs bass guitar, electric guitar, keyboards, programming, samples and vocals might sound a little bit limited and repetitive. However, the opposite is the case since Thy Catafalque is one of the most creative bands around that combines multiple genres from folk over jazz to extreme metal.

Now, you might argue that this combination of genres could sound chaotic, exaggerated and headless. Again, that isn't the case at all. The transitions between the different genres are done smoothly and with purpose. Everything is planned out properly and every genre is given the opportunity to unfold progressively.

You could argue that the elevated number of sixteen guest musicians and singers might make for a few too many changes and experiments. Once again, that isn't true since each guest has a specific purpose and is perfectly integrated into the soundscapes of Thy Catafalque. The guests adapt their approaches to Tamás Kátai's vision rather than the band leader trying to adapt to the numerous guests.

Certain fans might think that this kind of music is only interesting for a select number of pretentious fans who appreciate experimental soundscapes. That isn't true either since this record manages to combine its ambitious ideas with clever songwriting that never goes too far. The record should be listened to in one session from start to finish as it will take you on an imaginative ride that is worth being discovered over and over again. However, the different songs also work on their on as they offer much diversity from calm folk instrumentals to intense extreme metal outbursts with track lengths varying from compact three minutes to cinematic twelve minutes. Even though there is a song for almost any taste, every single track follows a clear purpose and is connected to a smoothly progressing guiding line.

The final results sounds as if pioneer instrumentalists of the second half of the twentieth century such as Jean-Michel Jarre, Mike Oldfield and Klaus Schulze discovered extreme metal and integrated it into their sounds in a balanced way. This makes for a combination that sounds fresh, timeless and unique as it offers much replay value. Thy Catafalque deserves much more acclaim, attention and recognition than it has gotten so far.

Pointing out a specific song on Thy Catafalque's Vadak wouldn't have any purpose. If you feel like the metal scene isn't innovative anymore and bands keep repeating themselves, then you have been waiting for this band in general and this album here in particular. Thy Catafalque's Vadak sounds atmospheric, courageous, diversified, entertaining, fresh, inspired, organized, passionate, purposeful and visionary all at once and is a solid candidate for album of the year. If you want to dig a little bit further, then I would recommend the massive boxed set Köd utánam released last year that includes thirteen albums that offer many hours of creative entertainment.

Final rating: 95%

The Verdict is certainly Queensrÿche's best album with new singer Todd La Torre to date. This is mostly due to the album's prominent progressive vibes. The melodic, imaginative and technical guitar play by Michael Wilton and Parker Lundgren in particular is very warm, rich and creative. The album also features two session keyboard players who enhance the cinematic, conceptual and narrative parts of several songs. Speaking of narrative parts, two tracks include such passages which further add intellectual vibes to the record. Highlights include the angry up-tempo rocker ''Propaganda Fashion'', dreamy and melancholic power ballad ''Dark Reverie'', complex and progressive grower ''Bent'' as well as psychedelic and smooth closer ''Portrait''.

However, the record isn't without its occasional flaws. Todd La Torre's vocals still sound much too similar to Geoff Tate's efforts and a more unique, personal and charismatic approach would finally distinguish the new line-up from its past. The rhythm section is decent but rarely shines on this album. The bass guitar isn't audible, dominant and influential enough and the drums sound surprisingly unremarkable, uninspired and tame in several songs. The songwriting also has its issues. The Verdict is overall a mellow progressive rock album which is fine but it's certainly missing the grit of its predcessor for instance and especially of the band's early years. The fans who appreciate the band's heavier sounds might be in for a disappointment here. Furthermore, a truly catchy or memorable song is certainly missing here. The record works cohesively as a whole and has the potential to grow over time but certainly doesn't include any future classics or single candidates.

At the end of the day, the excellent execution of The Verdict's strengths prevents it from being only an average release which makes for Queensrÿche's greatest album in a long time. However, the band doesn't unfold its entire potential yet due to exchangeable vocals, tame rhythm section and at times unremarkable songwriting. The group needs a solid dose of energy in order to take the next evolutionary step. I firmly believe that Queensrÿche still has the potential to release an excellent progressive metal album that could stand the test of time but they aren't quite there yet. The Verdict is however as step in the right direction and should especially please progressive rock aficionados.

Final rating: 75%

Two years after the average self-titled effort that started the new era of progressive metal veterans Queensrÿche on a lukewarm note, Condition Hüman is the second album to feature new singer Todd La Torre and offers some more value for money. The record comes around with twelve new tracks with a running time of fifty-three minutes and some versions even include a bonus track. No uninspired instrumental or other unnecessary material can be found on this ouput.

The record convinces with great guitar play that finds the right mixture between melodic riffs and technical progressive vibes. The production is organic, rich and warm. The playful, melodic and catchy ''Guardian'', the atmospheric, epic and playful ''Hellfire'', the more modern and sinister ''Selfish Lives'', the inspired and variable ''Hourglass'' and epic closing title track ''Condition Hüman'' are all very decent.

However, the record also includes a few fillers that won't grow even after multiple spins. The songwriting also includes some self-plagiarism with melodies and even lyrics recalling the band's greatest era from the eighties. An obvious example is the fact that the classic ''Revolution Calling'' has now become ''Evolution Calling'' in the song ''Guardian''. The feeling that one has heard several ideas before is enhanced by the fact that Todd La Torre continues to sound like a younger copy of Geoff Tate and fails to add his very own note to the band.

At the end of the day, Condition Hüman is a decent melodic progressive metal album that marks a step in the right direction for a band that has been struggling for two decades. However, the group doesn't unfold its entire potential because its sound and songwriting try too much to go back to the roots instead of exploring new possibilities. That's why this album sounds somewhat old-fashioned at times. The bottom line is that unconditional fans of the band should appreciate Condition Hüman while occasional fans might find it too average to leave its own mark.

Final rating: 70%

Cover albums can be quite hit and miss and coming from a band such as versatile American rock and metal group Queensrÿche, the quality on display might even be more meandering than usual. This is certainly the case here as Take Cover includes highlights, fillers and dreadful tunes in almost perfectly balanced parts.

As for the highlights, a very positive surprise is the atmospheric, progressive and variable ''Red Rain'', originally performed by the great Peter Gabriel. The airy guitar play, playful bass guitar, tight drumming and emotional vocals harmonize perfectly here.

Among the filler material, one could for instance cite the band's take on Queen's ''Innuendo''. The musicianship is techically decent here and singer Geoff Tate is trying to make the song his own with his unique timbre and flow. However, he certainly isn't as charismatic and unique as Freddie Mercury and the muddy effects on the vocals are also somewhat nerve-firing.

The most dreadful tune on this output is the closing live cover of U2's ''Bullet the Blue Sky''. That's not only due to the fact that said band is one of the most overrated rock bands ever in my opinion that usually releases about two or three great songs per album with the rest of the tracks being adult-oriented ballads aiming for radio airplay. To make matters worse, the version included here breaks the ten-minute mark and essentially features a hysterical spoken-word section by Geoff Tate that makes you wonder whether he was either having an emotional breakdown while performing or under the influence of some weird substances. Calling this version creative doesn't save it from being plain annoying.

As for the record's general values, the production is overall organic and rich. The vocals sound powerful and the drums come out quite energetically as well. The guitar play could have needed some oomph here and there and sounds a little bit dry. A special shoutout goes to the cool cover artwork that I would love to get as a flag or poster.

At the end of the day, Take Cover would have been a decent addition to the special edition of a regular studio album, compilation or boxed set. On its own however, this album is good average with a balanced mixture of great tunes, average tracks and disappointing cuts. I would only recommend this release to avid collectors and fans of the band. If you haven't listened to this, you certainly haven't missed much.

Final rating: 60%