| The
Review |
It's been over four years since
Vanden Plas has graced us with their special blend of progressive
metal. In that four year hiatus, the band's lead singer, Andy
Kuntz, has been quite busy working on his solo project Abydos,
as well as some time on the theatre stage. Four years later,
Kuntz, guitarist Stephan Lill, drummer Andreas Lill, bassist
Torsten Reichert, and keyboardist Günter Werno have reunited
to create one of the most powerful and brilliant progressive
metal albums to date.
The album is based on The Count
of Monte Cristo, by Alexandre Dumas. Having never read this
book, I cannot comment on the album's faithfulness to the
story. However, I do hear that the book is one of the finest
pieces of literature ever written, and I believe that this
album makes an excellent tribute to that book.
From the beginning of the album,
we are treated to a 40-piece classical choir of the Pfalztheater
in Kaiserslautern. This intro segues into a softer melody.
Quickly we are treated to some chugging guitar riffs very
typical of Vanden Plas' style. The chorus is, truthfully,
nothing new here - epic, powerful, and melodic. This musical
theme will continue throughout the album - chugging guitar
riffs, powerful keyboard and vocal melodies, and a very tight
rhythm section.
"Postcard To God" starts out immediately,
skipping the choir intro in favor of some nice guitar work
and a few time changes as well. Kuntz's voice is as powerful
as ever, too, and the keyboards once again lay the groundwork
for the melody. "Wish You Were Here" takes a more laid back
approach in the verses, and again becoming more powerful for
the choruses. "Fireroses Dance" is a beautiful ballad that
really kicks up the tempo and aggressiveness towards the end.
"January Sun" stands out as possibly the most epic song on
the album, and clocks in at over 10 minutes. Some amazing
harmonies here, as well. Again, nothing here that Vanden Plas
hasn't done before, but they are doing it so well. The only
track that I feel stands out negatively is the official album
closer "Lost in Silence" ("Gethsemane is a bonus track").
It really seems out of place, as if after all was said and
done, the band got burned out.
So if Vanden Plas isn't reinventing
the wheel, then what makes this album so good? There's a fire
and passion in this disc that seems like it was missing from
their last album over four years ago. The time away to focus
on solo projects, and Kuntz's time on a theatrical stage have
brought back a stronger, better Vanden Plas. Is this album
original? Not really. But it is one of the finest progressive
metal albums I've heard in a long time. Fans take note - this
is Vanden Plas at its best, and for those new to the band,
here is an excellent stepping stone to the catalogue of one
of progressive metal's most prolific bands.
FINAL SCORE: 9/10
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