Fireworks

Kamelot - 'Silverthorn' Hot

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Written by Central Electronic Brain     December 31, 2012    
 
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This is magnificent.

Kamelot have been playing their brand of power/symphonic metal for many years. However, despite my love of these genres’, they’re not a band I have listened to although I’m aware they have a new singer that’s divided opinions.

The album is gorgeously presented in a hard back sleeve with beautiful imagery. But it’s no use if it’s good looking but awful to listen to. Thankfully that’s a word you can’t use here. One of my favourites from the first listen was ‘Sacrimony (Angel Of Afterlife)’. The guitars erupt like a powerful volcano and the drums thunder like a shock wave. The song swirls and builds to the most infectious chorus with added vocals from Elize Ryd (Amaranthe). There were two others that jumped out and grabbed me. ‘Veritas’ opens with emotional violins and piano which give way to an electric outburst of colossal proportions. There is an epic gothic chorus delivered by the choir that is seriously memorable. This is followed by ‘My Confession’ with its techno styled intro before yet another massive progression explodes leading to the seriously catchy chorus. The bridge sees effects-covered screams and deep backing vocals which makes a nice contrast. But my enjoyment of these is not to say that the rest are lesser tracks. ‘Falling Like The Fahrenheit’ is a delicious power ballad with a huge revolving riff that duals with the synth and the choir. There are some good vocals from Karevik and Ryd. On the other end of the scale there is ‘Torn’ where the galloping keys and chugging riff tear off like a motorbike down an open road. They’re a little restrained before bursting into full overdrive for the kicking chorus.

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I’m sure some Kamelot fans will disagree but I have to say from someone pretty unfamiliar with their earlier work, I think this is magnificent. I really like Karevik as a vocalist and from my perspective he seems to fit the sound and style of the group. He can belt them out when needed like in ‘Sacrimony’ yet has the sensitivity that’s called for in ‘Jolee’. Thomas Youngblood and Oliver Palotai have cooked up a fabulous cacophony of sound through the guitars, keys and arrangements. All the songs have their groovy and powerful moments that are impressive for their own reasons. They are excellently written with great construction and the production is almost flawless. As an album on its own I can’t really offer any fault with it. But we’re talking about a band with a long history and how do I feel it compares to other incarnations. After a few spins of ‘The Black Halo’ & ‘Ghost Opera’ I can say I enjoy each side of the coin for different reasons. With time who’s to say if that spinning coin won’t land on one side or the other.

Maybe the best thing to do is put the band’s past aside, as is so often required, and enjoy this new release for it’s worth and that’s a lot.

Dave Scott

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