Pioneers of the heavy metal genre in Russia, Aria is often called "The Moscow Iron Maiden." In 1984, four professional musicians were playing together in an "official" Soviet-style ensemble, called "Singing Guitars." However, in their off-time they decided to record an album in the style which they all secretly loved -- heavy metal. A new project, under the moniker "Aria" recorded in 1985 a semi-illegal album, under a strong influence of Maiden, entitled "Megalomania." The success of "Megalomania" (distributed exclusively by tape trading) and especially the follow-up, more Accept-influenced "Which Side Are You On?" (1986) put the band in good graces with their manager, and Aria became a national act. Unfortunately, in 1987 the band split in half: four people left to play more thrashy music, forming Master, and two -- Valeri Kipelov (vocals) and Vladimir Holstinin (guitars, keys) remained. The change definitely played out well for the band, because the album with the new lineup, "Hero Of Asphalt" (1987) remains their most popular album to date. Very energetic and skillful, the band combined excellent metal music with reasonably intelligent lyrics, written mostly by a poet Margarita Pushkina. They are largely responsible for creating a strong metal scene in Moscow, and up until today are considered to be the leaders of Russian metal. The band persevered over more than twenty years, releasing numberous albums and achieving the cult status. After its eighth studio album, "Chimera" (2001), the band split yet again, as three members, including, most notably, Kipelov, left to form a project titled "Kipelov." Undeterred Holstinin carried on, and the new lineup delivered "Christening By Fire" (2003) and, three years later, "Armageddon" (2006). Present day Aria features Holstinin, Vitaly Dubinin (bass, keys, songs), Sergej Popov (guitar), Maxim Udalov (drums), and Andrey Berkut (vocals).
MANIA VELICHIA (MEGALOMANIA, 1985)
RATING: ****
BEST SONGS: "Torero," "Volonter (Volunteer)," "Bivni Chernyh Skal (The Tusks Of Black Rocks)"
First heavy metal album
released on Russian soil. When the musicians of a professional
Soviet pop band, Singing Guitars, told their manager, Viktor
Vekshtein, that they want to record a heavy metal album, his first
reaction was shock. Metal stood for everything the Soviet
authorities vehemently fought against. However, the times were
changing, and, seeing how popular that kind of music was in the
West, Vekshtein gave them two months to record an album in the
off-hours in a studio and show him the finished
product. Apparently, he didn't mind what he saw, because
he gave the boys an "OK" to play the songs live and
started promoting them (although the album never made it to a vinyl). Needless to say, the production sucks immeasurably. But I just can't say a bad word about the musicians, considering the horrible conditions of the recording, in the underground studio, with lousy instruments and no professional help. Kipelov sounds poorly, and keyboards do not add to the good side of the album. Songs themselves aren't bad, but do not quite measure up to the future works. Two songs, however, stand out, and Aria still plays them today in concerts: "Volunteer," that expresses the thought that all perpetrators and silent witnesses of every evil committed will be punished too, and "Torero," band's first collaboration with a poet, Margarita Pushkina, who later became their permanent lyrics writer. This song is considered by many people to be their finest. Other lyrics were written by Alexander Elin, and tried to adapt to the existing Soviet system. Songs like "This Is Fate" (the message is basically "shit happens"), "Tusks Of Black Rocks" (about mountain climbers, an awesome galloping rocker, with the best riff that Steve Harris never wrote), and "Life For Free" (about a money-chaser), scratch all metal arrangements and heavy sounds, could have been performed by any "legal" Soviet pop group. Instrumental title track is strange, and I'm not sure what is it there for. "Dreams" is a semi-love song, but it's cool and catchy. "Behind Is America" is plain stupid, about some air travel. A decent start of a great career.
S KEM TY? (WHICH SIDE ARE YOU ON?, 1986)
RATING: ****
BEST SONGS: "Volya I Razum (Will And Reason)," "Vstan Strah Preodolej (Rise, Overcome Your Fear)," "Ikar (Icarus)"
Although Aria debuted in
1985 with the album Megalomania, they didn't get public
attention until their second attempt. This is when the quartet of Kipelov, Holstinin, Granovsky, and drummer Igor Molchanov was joined by guitarist Andrey Bolshakov, a prolific songwriter, who was at the time enormously influenced by Accept and Judas
Priest. Him and Granovsky put Holstinin almost entirely
out of the writing process, and, as a result, the album sounds a lot
farther away from Iron Maiden than anything before or after.
It contained two hits that made the band incredibly popular:
Accept-like "Will And Reason" and "They Forge Metal Here." In
order to function properly within the Soviet system, the band
announced that the former was an anti-war anthem and the
latter a praise to steel mill workers (a common decoy
in those days). Overall, album is very good, even by today's
standards. The production is a bit thin at times, but one must
consider the terrible conditions of the Soviet recording industry.
Still, the songs themselves are mostly good and rocking, such as
"Rise -- Overcome The Fear" (main riff sounds a lot like
"Jawbreaker"), title track, and, what would have been called "power
metal" now, "Icarus" (the only truly Maiden-esque song). "Will
And Reason" is a premier headbanger, and is still widely
popular. Which Side Are You On? was never released on
vinyl either and was distributed only by cassette copying until
1994, when Aria signed with Russia's leading rock label, Moroz
Records, and its every album was restored and released on CD.
GEROI ASFALTA (HERO OF ASPHALT, 1987)
RATING: *****
BEST SONGS: "Hero Of Asphalt," "1100," "Ballada O Drevnerusskom Voine (Ballad Of The Ancient Russian Warrior)"
In 1987 Aria has undergone
radical change in line-up. Granovski, Bolshakov, and Molchanov left
to form heavier, thrashier Master. They were replaced by Andrei
Mavrin (guitars), Vitaly Dubinin (bass, songs), and Maxim Udalov
(drums), who, together with Kipelov and Holstinin soon recorded a
new album. It was the first one released on then only official
Soviet label, Melodia. That event was illustrated by an interesting
occurrence. Originally the album was entitled "Serving The Forces Of
Evil," by the first track, but Melodia people became terrified of
such a scary name (it could easily be interpreted the wrong -- or
the right? -- way), and renamed the album, without notifying the
musicians. Although the album only has six songs, but it's still
considered to be among Russia's greatest rock albums. The sound
became more solid, and the songwriting -- more mature. Songs like
"Serving The Forces Of Evil," which started a series of Aria's songs
dealing with the fight between good and evil, "1100" (recalling
Maiden's "Aces High"), "Street Of Roses" (Aria's first video was
made for this song, and the song itself recalls Maiden's "22 Acatia
Avenue"), and the epic "Ballad Of The Ancient Russian Warrior," all
became instant classics of Russian metal. The speedy title track
with incredible lead break entered numerous "hit parade"
compilations, sharing the fame with "Street Of Roses," and
can still be considered the band's most famous song.
Many people consider Hero Of Asphalt
IGRA S OGNEM (PLAY WITH FIRE, 1989)
RATING: ****
BEST SONGS: "Rab Straha (Slave To Fear)," title track, "Boy Prodolzhaetsa (The Fight Goes On)"
After heavy touring that followed Hero Of Asphalt, Aria returned to the studio and
recorded another album, with a new drummer, Alexander Manyakin. It
lied generally along the lines of its predecessor, but the quality
and the energy of the songs went down a bit. The album doesn't
really have any bad songs, but they all sound somewhat similar, and
the sound isn't quite as heavy as before (although still very
Maiden-like). For example, "What Did You Do To Your Dream" and
"Temptation" are both alright, but don't quite live to the level of
songs from Hero Of Asphalt
KROV ZA KROV (BLOOD FOR BLOOD, 1991)
RATING: *****
BEST SONGS: "Proshaj, Norfolk (Farewell, Norfolk)," "Antichrist," title track
IMHO, one of the best albums, not just in Russian rock, but in the rock music per se. Aria's sound changed a little, due to the use of guitar synths and acoustic guitars, and became heavier, richer, more complex and orchestral. Every song is virtually loaded with energy, and the lyrics, again, investigating the nature of good and evil, do not fall behind. Speedsters like awesome "Farewell, Norfolk" (talking about one of the legends of World War I), "Don't Believe Me, If You Don't Want To" (resembling Maiden's "Heaven Can Wait"), and "Follow Me" ("On the road to hell, the black horseman is riding. / Pale-white face and strange glimmer of the frozen eyes?"), as well as excellent mid-paced pieces "Zombie," "Antichrist," and "Demons" all put this album in the front row of metal. A majestic epic, "Blood For Blood," one of my top ten Russian rock songs, is recalling the story of Pontius Pilate and Mikhail Bulgakov's novel "Master And Margaret" (considered by many to be the greatest Russian novel of the 20th century). Maybe the fact that for the first time, Aria's line-up did not change from one album to the other, contributed to the albums' overall greatness. An outstanding thing, I just can't get enough of it.
NOCH KOROCHE DNYA (THE NIGHT IS SHORTER THAN THE DAY, 1995)
RATING: ****1/2
BEST SONGS: "Paranoia," "Korol Dorogi (King Of The Road)," title track
After another series of
successful concerts, in 1994, Aria signed with Moroz Records and was
ready to record the new album, when a scandal took place, over the
concert organization and the general musical direction of the band.
As a result, Kipelov and Mavrin both left Aria. Soon it became known
that they joined their old friends in Master. After a long agony of
try-outs, Mavrin was replaced by Sergei Terentiev (and Kipelov -- by
Andrey Bulkin of the heavy metal band Legion. Suddenly and unexpectedly,
Kipelov returned to the band, and the guys finished the record with
him. No synths were employed this time, but the sound remained the
same old classic Maidenish Aria sound. Most of the material was
traditional for Aria: "Slavery Of Illusions," awesome "King Of The
Road" (my all-time Aria favorite), also somewhat Priest-recalling
"Spirit Of War," solid politically-oriented "Paranoia," the usual
terrific epic title track (and, as usual, with Maiden's influences
all over: this time it's "Hallowed Be Thy Name"), and another
traditional song about a dead girl, "Take My Heart" (this theme is
present on almost every Aria's album: "Without You" on Which
Side Are You On?, "All That Was" on Blood For
Blood
LEGENDY RUSSKOGO ROKA: ARIA (LEGENDS OF THE RUSSIAN ROCK: ARIA, 1997)
RATING: *****
BEST SONGS: All Of them
In 1996 Aria has released a double live album, Made In Russia, which contained almost every good song they played. The same year, Moroz Records released a series of greatest hits of all major Russian rock bands signed with it: Alisa, Kino, The Zoo, Crematorium, Nautilus Pompilius, and so on. In 1997 the company decided to repeat it with other bands, and, together with second rank stars, most of which I've never heard, Aria's greatest hits album was released. This is truly the "Best Of" album. Unlike almost every other "Best Of" compilation I've ever encountered, I would have a hard time adding any other song to these thirteen. Two of the thirteen are the live versions (including the superhit "Hero Of Asphalt"), off of "Made In Russia." Every album is represented by its best songs. The only change I would make is substituting either "1100" or "Ballad Of The Ancient Russian Warrior" for a rather average (but enormously popular in its day) "Street Of Roses." But then, again, all other tunes are straight rockers, so a little variety doesn't hurt. "Torero," "Will And Reason," "The Fight Goes On," "Farewell, Norfolk," "Blood For Blood," "King Of The Road": all these songs truly represent the best in Russian metal. It also contains the previously unreleased song from 1987, "Give Me Your Hand," which is cool, but not great.
GENERATOR ZLA (GENERATOR OF EVIL, 1998)
RATING: ****
BEST SONGS: "Gryaz (Dirt)," "Desertir (Deserter)," "Obman (Deceit)"
No, metal is going anywhere
in Russia, as long as its proclaimed leaders keep putting out solid
works like this one. On their 7th studio album, Aria stays true to
itself and to metal. A definite improvement: there are no songs on
this album that have analogues of songs by Iron Maiden. Another
major improvement is the number of tracks: ten. The problem is: it's
hard to compete against the masterpieces of Hero Of Asphalt
and Blood For Blood. I'd say, the album is on the level of, roughly Play With Fire. The album starts off with a speedy but a bit plain "Look! (Generator Of Evil)." Then, a great mid-tempo rocker "Dirt" is followed by a more progressive (largely because of keyboards) "Deserter." Kipelov just rips, but not as much with voice, but rather with intonations, and the song itself, about a soldier who refused to shoot at the enemy and ran away into the forest, is just fabulous. A somewhat unusual bluesy "Torture By Silence" is sung by bassist Dubinin, with Kipelov doing chorus - an interesting piece. "Run For The Sun" (the main riff reminds me of "Lay It Down" by Accept) is not as strong, but the following "Deceit," a fast and rocking fable of a dead king and a jackal, could have been a classic epic, had it been a little longer (it 5+ min.; not enough for the true epic). Still, it's a great song, and a catchy one too. Next song, "The Hermit," was album's first single. It is long and very traditional for Aria. "Sunset" is a mellow track, and "Devil's Heat" should not have been there (just like "Go Away And Don't Come Back" should not have been on "The Night Is Shorter Than The Day"). Final track, "Vicious Circle" starts slow, but turns into a solid rocker. All that sums up into one good album. Aria lives.
HIMERA (CHIMERA, 2001)
RATING: ****1/2
BEST SONGS: "Nebo Tebia Naidet (Heaven Will Find You)," "Goryashaja Strela (Burning Arrow)," "Tebe Dadut Znak (They'll Give You A Signal)"
For the first time in Aria's
16 y.o. career we can say that they don't sound like Iron Maiden
anymore. And this will, undoubtedly, turn off some fans, yet I find
this release quite good and rocking. Yes, it's mostly midtempo and
the production is not quite as sharp as it was (especially not as
crystal clear as it was on Generator), but all the pieces are still there, and the boys continue to deliver. The lyrics are written in part by Pushkina and in part by Alexander Elin, who has not been heard from since "Which Side Are You On?". The album-opening title track is fast and rocking, the best opener since "Farewell, Norfolk." The lyrics talk about a terrorist, who is a hero in his own eyes, but "your goal is chimera!" "Heaven Will Find You" is a fabulous heavy midtempo rocker, talking about hope in the moment of despair for an abused woman and a drug addict. "I Haven't Lost My Mind" is more of the same, only it's slower. "Vampire" I don't like, it's got a strange sound that I just don't stomach very well (seemingly, Aria has been hanging out with a Andrei Lukyanenko, a popular Russian writer: he mentions Aria in his books on several occasions, and this song is directly influenced by his "Daywatch" / "Nightwatch" dilogy). "Burning Arrow" kicks major ass, a new Aria classic, fast and furious. Epicky "The Calm," telling the horrid tale of cannibalism among the stranded sailors, is pretty disturbing. Vocal lines from Kipelov are excellent, he still sounds every bit as good as in his youth. Somewhere exists a version of the song with Udo Dirkschneider on the background vocals, but I haven't been able to hunt it down. "Road To Nowhere" is a very simple but very effective mid-tempo song, with a very catchy chorus. The only true ballad on the album is "A Chunk Of Ice," and it's ok. The final song, "You Will Be Given A Sign," is my current candidate for Song Of The Year. This is one vicious hitter, but its strength lies not in its musical power (although it's an march-like epic), but in its message. A tale of a young man, joining an extremist movement (probably Nazis, although there are hints at other similar groups, like Russian "Chernaya Sotnya"), is probably the most powerful I've heard from Aria. The final part is simply astounding:
The fist, like a flag, over the unruly head!
Maniac said: "We'll take what's ours, with an interest!"
In the darkness, the enemies cannot hide!
It's time, get ready to take a step!
You will be given a sign!
You will be given a bayonet!
You will be given a gun!
You will be given a crowbar!
You will be given a tank!..
as the music fades, drums beat the funeral-like march. Truly exceptional, and again I did not expect it from Aria. This song is a fitting exclamation point in the legacy of the band. Excellent album, and kudos to the band for continuously kicking ass, while marching through time.
TRIBUTE TO ARIA (2001)
RATING: ****
BEST SONGS: "1100," "Dreams," "Rise, Overcome Your Fear"
First of all, I don't know many featured artists, so my review is very unbiased. I must mention an excellent booklet: pictures of each band, liner notes from band members, etc. Really neat.
E-Zone "Will & Reason" (from 86 Which Side Are You On?). Rammstein-style techno-metal with two vocalists, a male and a female. Not bad, considering I do have a soft spot for this sound (see my love for "KFD," "Demo," etc.). But this is a complete tongue-in-cheek performance, as they're using a variety of samples, including a sample from "Beavis & Butthead"! The song is about preventing a nuclear war, so it's kinda inappropriate, but I'm not going to bitch here. The female singer really looks like Gillian Anderson. B
Wind Rose / The Arrow "Give Me Your Hand" (the original is a song from the Hero Of Asphalt writing sessions, previously unreleased, included on their greatest hits comp Legends Of Russian Rock). Another act with a male/female vocal tandem. An odd choice for a song, but it's very well done, faster and punchier than the original, with female singer in the chorus adding a second dimension to the one-dimensional original. A-
Morbit "1100" (from 87 Hero Of Asphalt). One of my favorite Aria tunes about a crashing WWII plane. Sweet effects! Plenty of airplane sounds, adding a nice touch to this song. The mid-range vocalist makes up in conviction and "wickedness" what he lacks in range (and even deathly growls on the far background don't hurt). Guitar... during the sung parts, it's probably the biggest highlight of this album: I'VE NEVER HEARD THIS GUITAR SOUND BEFORE! I don't even know how to describe, but it's AWESOME! However, during the melody parts, it takes a huge step back, simply highlighting the dominant synthesizers (again, think Rammstein). No solos at all, but this is one hell of a cover! And the liner notes that say "Why did we pick "1100"? Because even 1100 girls would never substitute for one real fighter plane!" make this song an instant winner. A
Dylan Troy "Dreams" (from 85 Megalomania). I mildly enjoyed the original ballad, but this one RULES! This Dylan Troy (leader of a cult band Adolf Castle) can surely sing! Great power, range, conviction, emotion, and pitch ! He slightly resembles Dio, Jeff Scott Soto, and Goran Edman (what I've heard from the last two: both were singers for Yngwie Malmsteen at some point). Great production (miles ahead of the original, but, of course, Aria can't be blamed for poor production back then), awesome sound, quality lead breaks (one of two tracks with solos comparable to those of Aria), I want nothing more. A
X-Factor "Rise - Overcome Your Fear" (from WSAYO?). Another song that I love. Very close to the original, with some added licks in choruses. The vocalist is good, though not as pure in his delivery as Kipelov (he got a mild throaty tone to his singing). Guitars sound JUST like the original, only slightly better. This track also ended up on X-Factor's s/t album released in the same year. A
Nordream feat. Masha Zhukova "Street Of Roses" (from Hero Of Asphalt). The credits list vocals, guitar, bass, keys, and drums, but the only thing I hear is the voice and synthesizers (with some guitar heaviness in choruses). The song got the dance beat to it and can be put on any techno Euro collection, and nobody would notice/care. Not bad, but not quite up to my liking, plus the singing girl is not really a power plant. B-
Electric Land feat. Cyril Thor "Temptation MMI.AD" (from 89 Play With Fire). According to the booklet, the line-up features Al Bone (vox), V. Beard (guitar), and Cyril Thor (guitar, programming), so it should be another techno remix? Well, not exactly, it's actually quite rocking, slightly faster than the original. The vocalist is pretty weak, only the fact that he stays in mid-to-lower register makes him tolerable. Again, choruses you can easily dance to, but the lead break is very neat. The outro has some undistinguishable spoken words on the background (Bible?). The picture has one guy laying on a coach with a gorgeous absolutely naked girl all over him, and his hand grabbing her ass. Would do well with Metal Sludge. B
Vortex "Don't Believe Me, If You Don't Want To" (from 91 Blood For Blood). High pitch vocalist, reminds me of Riot's Tony Moore, as well as some other such people. Very well played, with an updated sound (double bass drums, that weren't in the original) and good lead break. Somehow lacks the magic of the original, although it's played note for note. B+
Oversun "They Forge Metal Here" (from WSAYO). The picture has a guy who looks just like Tommy Lee in his DJ Grand Master Tom era. Again, Rammstein, sampling, and industrial all over, which doesn't exactly fit the "METAL POWER!!" of the original. It's OK. C+
Black Raven Group "Lost Paradise" (bonus track to the Best Of Aria 1998 compilation, which I don't have). It's not going to be fair, because I haven't heard the original. It's a ballad, and not a bad one, but not par with other great Aria ballads. The performance is also alright, but no more than that, and the vocalist sounds like some modern rock group guy, like Goo Goo Dolls. This song would win greatly from a better singer, like, for example... Kipelov :)) C+
Give feat. Victor Maleev "Volunteer" (from Megalomania). A cross between industrial and thrash, something Nevermore would do, with two vocalists, one literally CRYING the chorus (the credits list him with "bass, guitar, hysteria"). Well, this is pretty pathetic. Again, like something Nevermore would do. C-
Strike "Give Me Your Hand" (see above). This band opened for Aria in late 90s, the lead guitarist/vocalist, Andrey Strike, has since joined Master. Why would TWO bands do this song is beyond me. Even faster than the first cover, especially in the choruses. The vocalist sucks, but without ruining the song. Smoking lead. B+
Gods Tower "Power & Reason" (translation of "Will & Reason"). Oh boy. I guess it's not as bad as it could be, but it's still pretty bad. But since the lyrics in Russian aren't Shakespeare either, I'm not commenting. The vocalist (by the name of "Lesley Knife") sounds like Chris Boltedahl, not quite as deep and more deathly, with slight touches of Mille Petrozza and Udo. Funny. B for effort.
A good find! If somebody wants it, I can get it for you in a Russian music store!!
SHTIL (THE CALM, 2002)
RATING: ****
BEST SONGS: "The Time Is Now," "Heaven Will Find You," "You Better Believe Me"
This is a "from the vaults" collection of random tracks, and a final release featuring the voice of Kipelov. The opening title version of "The Calm," originally found on Chimera, features none other than Udo Dirkschneider, singing a duet with Kipelov in Russian. Udo's voice is funny as is, but it gets downright hysterical when he attempts to sing in Russian. Still, I can't but applaud him for being brave and open-minded. "The Time Is Now" is listed as a Manowar's song, translated into Russian, and it is "Return Of The Warlord" from the Louder Than Hell album (1995), being translated very closely to the original. It's very well sung and played (albeit the lyrics are fairly brain-dead, but so is Manowar), and it's great for driving (or riding a bike). Speaking of which: out of 11 tracks, 6 deal with motorcycles. They should have picked a different title for this release. "Heaven Will Find You" (also originally on Chimera), 2002 version, is almost identical to the original, only in the final chorus the music is turned down while the choirs are turned up, giving it another dimension: a nice touch. The original version of "Angel Dust" (1994 version) differs from the final version found on The Night Is Shorter Than The Day only in a slightly different solo, everything else being the same. "Freedom" is listed as a translated cover of White Lion, and it's pretty neat, although not very heavy. "Hero Of Asphalt 99" is not all that different from the original; the main difference being that Kipelov's voice has changed slightly in 12 years, so it sounds somewhat different. I prefer the original though. "Lost Paradise" originally a bonus track on one of Aria's "greatest hits" collections, only this version is recorded with a full symphonic orchestra, and it's pretty neat. "You Better Believe Me" is a translation into English of Aria's own classic, "Don't Believe Me If You Don't Want To" (found on Blood For Blood). It's an excellent song, the translation is agreeable, and Kipelov sounds every bit as great as he did back in 1991. "Carefree Angel" is a translation of a song I was told to be "Going To The Run" by Golden Earring, but I have never heard the original, so I can't confirm. It's a ballad. "Death Machine" is a new track, and it's pretty average. Finally, "Give Me Your Hand," an unreleased track from 1987, already appeared on Legends Of Russian Rock, and was included here as a bonus. Is it worth having? Yes, especially if you're an Aria completist, and more than on occasion you'll be tempted to raise your fist and yell "Hell yeah!" Too bad this proved to be Aria's final release with Kipelov, Terentiev, and Manyakin.
KRESCHENIE OGNEM (CHRISTENING BY FIRE, 2003)
RATING: ***1/2
BEST SONGS: "Kolizei (Colloseum)," "Palach (The Executioner)," "Tam Vysoko (There Up High)"
Well, the change of line-up
has not done this band any good, and it's mostly reflected in the
weak material. Aria has taken a serious leap back to the Maiden's
sound and arrangements, but now, instead of being "the best songs
Maiden never wrote" the songs become "the songs that Maiden has
already written and played to death" and "the songs that Maiden
never wrote for a reason." After dark, edgy, and fresh-sounding
Chimera, this album sounds intentionally dulled. I don't have a problem with the new frontman: Arthur Berkut is a very agreable replacement for one of the most dominant singers in metal history, and in some places (second half of "The Executioner," for example), you simply can't tell the difference. In places he sounds like he's trying too hard, but it's not a major problem, like it was with Ripper in Priest or Wade Black in Crimson Glory. In fact, in the
lower registers, I even prefer Berkut to Kipelov, as he shows more
grit. But it all boils down to songs. Opening "Patriot" seems to be
the tribute to the Russian troops in Chechnya (an exact opposite of
"Chimera"'s opening track), and it's average at best. The
title track features some pseudo-Buddhist sounds, but again, it's
rather mediocre. Next come two tracks that are these album's saving
grace: "Colloseum" and "The Executioner." "Gladiator"-based
"Colloseum," the first single, is the most consistent rocker here,
with catchy vocal lines, excellent musical hooks, and steady
performance. Epic "The Executioner" is another attempt by Aria to
give a different spin to the story of Christ and the Crucifixion,
and, besides an interesting idea, it features more musical and vocal
hooks, especially in the first half, where Berkut sounds
outstanding. Then it all starts to fade. "Your New World" (about the
internet and role games, ever-popular in Russia) and "White Flag"
(featuring some bizarre barking and howling from from Berkut) are,
again, average and don't add much to the legacy of Aria. "There Up
High" is a very good ballad, another highlight here. The last two
songs, "The Battle" and "The Ball At The Prince Of Darkness," are
downright embarrassing. The first features probably the stupidest
lyrics Aria has ever sang, and the second is an enormous over-baked
epic, taking yet another look at Bulgakov's classic novel "Master
& Margaret," already featured in the title track for Blood
For Blood. This time, the result is disastrous: it's gotta be the worst song Aria ever written or played. It also seems like Vladimir Holstinin is starting to run out of ideas for lead breaks, I have either heard them all before or they're entirely unmemorable. Maxim Udalov is a competent drummer, perhaps more reserved than Manyakin was, but more precise. So, while this is not an entirely bad album, and probably worth having for the highlights, it is still a low point in Aria's career.
MISSIA (THE MISSION EP, 2003)
RATING: ****
BEST SONGS: all except "The Ball At The Prince Of Darkness"
Why in the world would Aria release an EP with FOUR SONGS STRAIGHT FROM THE PREVIOUS ALBUM? "Christening By Fire," "Ball At The Prince Of Darkness" (oh no, an instant skip), "The Executioner," and "There Up High" are the unaltered album versions. How ridiculous. Next come two older tunes, "The Antichrist" and "Angel Dust," performed with (a) a new line-up and (b) a full orchestra. *sigh* Apparently the only band that can pull it off is Scorpions (in fact, I happen to own the bootleg of Aria's "live with the orchestra" performance; it's alright, but nothing oustanding). These versions aren't bad, but the orchestra does not add another dimension to these classics, as it should, but rather leaves an impression of wasted effort. Hey, at least we know what they sound like with Berkut handling the vocals on the old classics. Which brings us to... only four more live tracks, one of which is "Colloseum"? Whatever. Instead of releasing their second double-live album with the old line-up, which was already after the split (which is exactly what they did: In Search Of A New Victim is a double-live album featuring the old lineup came out after the split), wouldn't it make more sense for Holstinin and Dubinin to wait and release a live cd with the new members? Anyway, the new guys do a commendable job on "The Calm," "Heaven Will Find You," and "Street Of Roses." I must mention that Berkut is (a) every bit as good live as he is in the studio and (b) he is almost every bit as good as Kipelov, without sounding like a clone. I am impressed. I realize that some studio diddling probably happened here (nobody can be THAT perfect), but barring major league cheating from the producers, Aria is clearly on top of their game. Good stuff, now can we please have more?
Actually, soon enough the band released another double live album (THIRD!) with the new lineup, titled Zhivoi Ogon (Live Fire, 2004), which I haven't heard.
ARMAGEDDON (2006)
RATING: ****
BEST SONGS: “Messia (Messiah),” “Krov Koroley (Blood Of Kings),” “Chuzhoy (Alien)”
In comparison to Christening By Fire, this album wins. While it does not have the instant classics like “Colloseum” and “The Executioner,” but it does not have the absolute crap that were “The Battle” and “The Ball At The Prince Of Darkness” either. It is solid throughout, with music fitting Berkut’s voice well, but, in all honesty, he is just not as good as Kipelov was. The songwriting is very sharp, still in vein of Maiden, but without sounding tired. The only embarrassing musical moment is the main riff in “Messiah” that is almost identical to the one in “Wrathchild,” but the excellent chorus redeems the song completely. The production is crisp and clear: this is the best Aria sound since Generator, but even punchier. The lyrics are relatively weak, with topics of nuclear war already beaten to death back in the 80s (although it is revived with the Iranian threat) and rhymes sometimes bordering on putrid, but they are still OK. Yes, Pushkina overstayed her welcome, but what are we gonna do? Epic “Blood Of Kings,” rocking “Viking,” and hard-driving “Alien” are all highlights. I also dig “Mecheny Zlom (Marked By Evil)” and closing “Tvoy Den (Your Day),” written by Berkut. The mandatory ballad with an awful title, “The Light Of Love Gone,” is average, not as good as “There Up High.” The reason why this album is guaranteed to be overlooked in the Aria catalog is its evenness: never stooping too low, never flying too high, without clear-cut hits. But it’s still a pleasant listen for the entire duration, which is more than many other albums can say about themselves.
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