"Poetry For the Poisoned" is a sweeping work of art, that is destined to come under fire for being not "power" enough for the metal majority.
Kamelot continues to push the boundaries of what defines power metal, painting the walls with unexpected artistic touches, progressive moments, modern tendancies, and sheer thunderborn metal.
"Poetry" has its moments of pure excellence, where every note seems perfect, to songs that are not quite as catchy or grandiose as they should be. It is a natural progression from 2007's "Ghost Opera", yet there are little pieces that harken back to "Epica" and even "Karma" at times. Nothing ever approaches the stunning masterpiece that is "The Black Halo", however.
Gorgeously crafted melodies that showcase Khan's versatile vocal work are the main showcase of the album. Everything is built around the vocals, and he seems to sing higher and lower here than on previous albums, vocal effects aside. A lot of those effects are used, to enhance the overall feel, and give different textures to the tracks, especially when his voice is set singing against itself. There are also a lot of bonus singers on hand to guest as well. Khan is always at his best when he has someone to play off of, so they give him a variety of sounds to work with. The twisted persona of Jon Oliva, the sultry Simone Simons (her third consecutive appearance on
Kamelot albums thus far), the rattling screams from Bjord Strid and the tender sweetness of Amanda Somerville (backing vocals) are all present here to add additional flavor to
Kamelot's ninth studio outing.
"If Tomorrow Came" has a chorus that is as smooth as the fading colours of sunset, drums beating like a hummingbird's heart and Khan's voice as enveloping as liquid darkness. There are nods to the modern in the form of vocal inserts warped in distortion effects, fuzzy guitars and an electronica opening. All the elements come together like pieces in a puzzle and fit just as tightly.
"Hunter's Season" alone could be considered a perfect example of hitting that sweet spot of mid-tempo power metal, hammering out its progressive tendancies with style and confidence. The hook varies from being like the sweeping wind rolling across a velvety Earth to the dark and forboding, a serpent lurking underneath the surface. Strings and angelic backing vocals give the song textured symphonic drama and Gus G (current Ozzy guitarist) rips it up for the guitar solo.
Slow, heavy and full of midnight,
"Necropolis" takes huge, ponderous steps as the vocals are strung distorted thin across the landscape. Not one of the standout tracks by itself, but as taken with the album as a whole, it does pop out for being so very different in nature. As does the savage opener,
"The Great Pandemonium" which picks up on the modern edge that was "Ghost Opera's" driving force. Guitars are like rabid razors, slicing with finesse while the vocals are whispered and twisted out of shape. Thick and wicked to the core. Bjord "Speed" Strid guests some screams in there.
Speaking of the wicked, Jon Oliva (Savatage) takes a turn in the guest vocal hotseat for the rabid
"The Zodiac", a song so progressively minded it has another "song" set it up (
"Dear Editor"). Now that is progressively pretentious. It is like Satan and a dark angel are singing together, their voices fusing and ripping away with artistic effect. You can hear the Olivia influence staining the track into something deeper, dancing on the chasm of sanity, as murderers would be (as the song portrays).
"Seal of Woven Years" is a meticulous progressive piece that hits hard and features some mesmerizing guitar work that rips and weaves its own tight web. The trampling rhythm section with Khan's voice soaring over the top and bits of piano delicately laced through is reminiscent of Conception. The vocals here are just magnificent as well, making this a song that stops you in your tracks and forces you to take notice.
"Train of Thoughts" wanders down this same path, looking into its own soul and beyond into the nothingness of the afterlife (or absence thereof). Sharp guitars cut, and dribble their metallic blood for the bubbling short solo.
"The Poetry for the Poisoned" takes four tracks to begin, develop and finish.
Part I "Incubus" sets up the storyline, Youngblood's guitar prickling underneath the turmoil bubbling on the surface. From soft and progressive to rapid fire bombast, violins racing. A short piece, that ends with a spoken definition of the song's title (
"Incubus").
Part II "So Long" becomes mind blowing, the theatrical dramatics brought to an aching magnificence. Khan playing the part of the tempting darkness and the light, pleading female vocals of Simone Simon rip your heart right out of your chest, and just bring the song into another realm altogether. The drumming is tight and frantic without becoming obnoxious, every instrument feeds the disturbed anxiety and longing that wrap their tendrils around the track.
Part III "All is Over" is a quick transition from the taut
"So Long" into the melancholic and finally abruptly exploding,
Part IV "Dissection". As a whole,
"Poetry for the Poisoned" (the song) tells a story, fragrant with rich emotion, and centered around the luscious
"So Long". Taken apart, it suffers as individuals, because the tracks are obviously meant to be little glimpses of a larger picture.
"House on A Hill" brings Simone Simons back into the fold. The play between their two voices meld together nicely, but the song lacks the penchant for overwrought drama as their previous "The Haunting" shared. Feathery piano and an emotional whirlpool keep this lighter track a memorable one, also because it is the only ballad of the album. The grand finale is a tasty metallic treat.
"Once Upon a Time" explodes wide open in swirls of synthesizer and a promise of being power hungry. Khan spins his blackened fairy tale on metallic wings and another great hook right out of the book of
Kamelot. It sounds familiar but plays that sense up to its advantage. A comforting, traditional track that closes the disc on a highly energetic note.
There are no songs here that are as quick and assaulting as something like "March of Mephisto", the entire album takes time to absorb and appreciate on all its layered levels. The production is clean and crisp, as expected from the duo of Sascha Paeth and Miro. Of course there are going to be people that clutch their battered copy of "Siege Perilous" or "Dominion" and cry foul, but
Kamelot has long since abandoned the power metal cliches of yore and set off for new shores. Those that embraced Sonata Arctica's metamorphesis on "The Days of Grays" will adore the places
"Poetry for the Poison" promisingly whispers, to take them.
Written by
Alanna Friday, September 24, 2010
Show all reviews by AlannaRatingsAlanna: 8.5/10Members: 7.5/10 - Average of 1 ratings.
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 | Steen (Staff)
Rating: 7.5/10
I never gave Ghost Opera a fair chance but Poetry... has quickly made an impression. Super... · Read more · |
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