Previously I mentioned that "if another band like Hammerfall appears, metal is saved." Behold Nocturnal Rites! This Swedish band started out as a death metal project, but soon switched to more conventional, Maiden-all-over power metal. Although "In A Time Of Blood And Fire" (1995) failed to get major recognition and soon nearly went out of print, but, three years later, "Tales Of Mystery And Imagination" (1998), won international acclaim. Anders Zackrisson (vocals), Nils Eriksson (bass), Nils Norberg (lead guitar), Fredrik Mannberg (guitar), and Ulf Andersson (drums) have re-created great 80s metal with the 90s feeling. "The Secret Talisman" (1999) cemented their status as one of the contemporary leaders of metal. Two things that made them popular were strong songwriting and excellent lead guitar work. But then the band hit the usual problem zone. Due to the internal disputes, Zackrisson and Anderson left the band, promptly replaced by Johnny Lindkvist (vocals) and Owe Lingvail (drums). The band has since then released "Afterlife" (2000), "Shadowland" (2002), and new "New World Messiah" (2004). In addition to relentless touring, the band is showing no signs of slowing down and releasing "Grand Illusion" (2005), their sixth record in 8 years. Meanwhile, Zackrisson, gone from the public sight for 6 years, has seemingly resurfaced, as a singer for project Planet Storm.
IN THE TIME OF BLOOD AND FIRE (1995)
RATING: ****
BEST SONGS: "Black Death," "Lay Of Innui," "Wings Of Death"
Overall, a fine debut from these Swedes, but it lacks some of punch and catchiness of their later releases. Also, the production is rather lousy. Nonetheless, it's still a solid metal work, with youthful enthusiasm making up for many of the faults. Album-opening "Sword Of Steel" is cheesy and Manowar-ish, but starting from "Skyline Flame," it's one good metal track after another. Almost all songs are fast tempo, and they are all very melodic and nice, with excellent guitar harmonies. "Black Death" (nice energy and groove), title track, "Dawnspell," and especially "Lay Of Innui" (perhaps the catchiest track) are all good songs. Album-concluding "Dragonisle" is a melodic mid-tempo track (the only mid-tempo track), but it's not as good as NR's future mid-tempo anthems. Still, good stuff. Anders Zakrisson does not sound quite as good here as he did on the follow-up, but it still works for me. The album quickly went out of print, but in 2005 was re-released, in package with Tales Of Mystery And Imagination.
TALES OF MYSTERY AND IMAGINATION (1998)
BEST SONGS: "Ring Of Steel," "Test Of Time," "Lost In Time" and a whole bunch more
My pick for the "Album Of The Year" title in 1998. Instead of your average "2 fast songs / mid-tempo song / ballad / mid-tempo song / fast song / ballad / mid-tempo" format, they took a CD and filled it with 12 rockers and no ballads. "Ring Of Steel" (gr-r-reat!), "The Dark Secret," "Lost In Time" (gr-r-reat!), "The Vision" (gr-r-reat!), "Change The World," "Pentagram" (gr-r-reat!), "End Of The World," and "Burn In Hell" (gr-r-reat!) are all 5th gear speedsters, and "Test Of Time" (gr-r-reat!), "Warrior's Return" (reminds me a lot of "Blood Of My Enemy" by Manowar), and "The Curse" (gr-r-reat!) are fast mid-tempos. Anders Zackrisson has good voice, although I know some people don't like him, mostly for his mispronounciation of the word "vision" that sounds much like "wishing," but I like the man nonetheless. Both guitarists are also solid, and awesome solos by Nils Norberg on "Lost In Time" (great speed metal track in vein of Maiden) and "The Curse" are truly kicking ass. Album-opening "Ring Of Steel" features too elements from classical (baroque) music: a variation on the "Canon" theme by Johan Rachelbel and some other one in the middle, but that's the only track with such technique: others are either straight ahead speed metal, or melodic power metal, or simply rocking heavy metal tracks. The album's only problem lies with production. Anders produced it himself, and I don't think he should be doing it full time. But, still, TOMAI is a great album, even more so because you can buy it in some of your local music stores. And, if you like one song on this album, you will like them all. This album is not very versatile (which is usually a bad thing, but not in this case), but it still rocks from starting chant "it's the Ring of Steel!" to the final scream "Burn In Hell!" Lyrics, as the title correctly spells, lie in the domain of their countrymen, Hammerfall: myths and legends. To put it simply, get it now!
THE SACRED TALISMAN (1999)
BEST SONGS: "The Iron Force," "Ride On," "Eternity Holds"
If on TOMAI Nocturnal Rites "killed with power" (quoting either Manowar or Hammerfall, whichever you prefer :), on this one, they kill with versatility. It has a great blend of fast, mid-tempo, and slow tracks, and production also improved quite a bit. Anders still sings great (I don't care what people say), and the whole thing is a gem. Album's first single, "The Iron Force," is one of the best mid-tempo melodic rockers I've heard: superb mixture of keyboards and guitars, I can't restrain from singing along the chorus EVERY time, and the words "Lay down your magic, put down your arms!" send me to heaven. Other songs are also incredible. "Ride On" sounds a bit like "Burn In Hell" from their previous work and it's gr-r-reat! I also noticed that Nocturnal Rites have developed a somewhat unique thing -- fast and extremely positive, in major keys, speedsters. Kinda like Gamma Ray, but not exactly. On TOMAI it were "The Vision" and "Change The World," on this one -- it's "Free At Last" and "Hold On To The Flame" (thank god, it sounds nothing like "Take Hold Of The Flame" by Queensryche, because that one is one of the best songs in history, and not many tunes can stand next to it). "When Fire Comes To Ice" is sort of, in between the "positive" and evil. I like the "evil" better (the reason why I prefer Iron Savior over Gamma Ray), but NR does such an awesome job that one has to wonder, when are they going to stop. Another gem is a fast mid-tempo "Eternity Holds" (killer chorus). Now, TST has something that TOMAI doesn't: a slow song, "The Legend Lives On." Emotional and powerful, very decent. Btw, so is everything else. By the end NR remembers its mission, and the last three tracks are all "fast and furious" (quoting Priest is very fitting -- the legacy of mighty Priest isn't going anywhere with works like this).
AFTERLIFE (2000)
RATING: ****1/2
BEST SONGS: "Wake Up Dead," "The Devil's Child," "Sacrifice"
While this is technically a good album, most of the magic that made the previous two albums "special" has departed with Anders Zackrisson. Frankly, I liked their "swords n' sorcery" theme more than their new "hell n' damnation" aesthetics. The solos also became shorter. The lyrics still don't make much sense. My favorite song is easily "Wake Up Dead" (not the Megadeth song): very catchy chorus. At least THAT MUCH stayed the same: most of the songs have catchy choruses: "Genetic Distortion Sequence," "Sacrifice," "Devil's Child," "Temple Of The Dead," etc. The new vocalist is pretty cool and fits the new direction well. The music is still power metal, but it definitely sounds different from most of the contemporary euro-pm bands (mostly due to the modern synth sounds that may turn off a few fans, but that's definitely the least of my concerns). Oh well, it's a good album nonetheless, and worth having every time you need a power metal album with a different sound.
P.S. I admit, this album weathered a lot better than many of its contemporaries. Initial semi-negative response was largely the result of disappointment with Zackrisson's departure, but in itself, Afterlife is an excellent dark power metal album. Five years after having it, I cannot but express my appreciation with its staying power and give it another half-a-star.
SHADOWLAND (2002)
RATING: ****
BEST SONGS: "Never Die," "Vengeance," "Birth Of Chaos"
At first I really liked this album, but it had virtually no staying power. However, in terms of sound, it was definitely a step in the right direction. THE MELODIES ARE BACK! THE LEADS ARE BACK! Way to go, Nils! Great production, great sound (still a bunch of cool synthetic sounds for extra taste). Finally the band is starting to find balance between excellent melodies of the 90s and the darker power metal sound that is becoming a dominant force in the 2000s (see Tad Morose). Good quality songwriting can be found on several tracks -- "Eyes Of The Dead," title track, ass-kicking "Never Die," "Vengeance," and "Birth Of Chaos" -- great hot-blooded metal anthems, but they don't measure up favorably against the masterpieces of the old, which I couldn't get out of my boombox. "Faceless God" is a great mid-tempo rocker. Most of the devil-worshipping is gone. What is missing? Anders Zackrisson, of course, Anders Zackrisson and his magic. Lindqvist just does not sound as good, period. But he is not bad enough to become such a liability that would prevent me from enjoying the album. Good stuff, and the band that was once refered to as "Maiden of the 90s" is on the way back up to that standard, but it's got some distance to go.
NEW WORLD MESSIAH (2004)
RATING: ****
BEST SONGS: "Against The World," "The Flame Will Never Die," "Nightmare"
Nocturnal Rites is currently the band in limbo. After a horrendous fan reception of Afterlife, which, in retrospect, was a fine album, but far from what the fans (myself included) expected, for the last three years they have desperately been trying to return to their old sound, without entirely losing face. Well, there are two problems with that: you get a "forced" feeling from their last two albums and Lindqvist does not fit the music the way you-know-who did. "Avalon" is a good example: the music would not be out of place on The Sacred Talisman, but Jonny is just too harsh! Now, when the band exposes their darker side, in "Against The World" (easily the best song on the album, mostly due to the excellent multivocal harmonies in the chorus) and "The Flame Will Never Die," the vocals fit the music. Speaking of music: is the band is starting to run out of ideas? Probably not (hell, not many bands are known for coming up with a completely different set of musical ideas for their fourth album, but NR did... and they're trying something different here as well), but songwriting-wise, they are clearly not sure as to where they are or what they want to do. Another example is "Egyptica": does the world need another Egypt-themed song, with pseudo-Arabic sounds, intended to paint the unhappy picture of "Ancient Egypt"? Clearly the boys have been listening to Yngwie's "Pyramid Of Cheops" and "How Many Miles To Babylon" too many times. They're still competent musicians, and both Nilses deliver excellent solos, but the album leaves a rather mixed feeling. Is it bad? No, it isn't, for the melodies and guitar harmonies, if nothing else, but it is not exactly inspiring in the way their past masterpieces were. I must also mention that guitar work in the beginnings to two final tracks, "One Nation" and "Nightmare," are really cool. Next couple of years will be critical to the band's legacy. Pressured from all sides, they nonetheless need to sit down and re-evaluate what exactly is it that they themselves want to do.
Two P.S. notes. The cd comes with two mpeg files, a video for "Eyes Of The Dead" (off of Shadowland, quite amateaurish) and a 15 minute clip of the band fooling around all over the world. Also, if you noticed a rather characteristic yellow color gamma in the cover painting, it is done by Leo Hao, who worked on Aria's last few booklets.
THE GRAND ILLUSION (2005)
BEST SONGS: "Fools Never Die," "Never Trust," "One By One"
Just when we thought Nocturnal Rites settled firmly in their vain pursuit to recapture their early melodic speed metal, while still fronted by Lindqvist (and spelling his name differently on every album), they come out with a surprise: their new album, Grand Illusion, is a lot closer to Afterlife. Darker, crunchier, featuring sinister synthesizers again, this album is destined to please the fans of two categories: those that loved Afterlife from the get-go and those that originally rejected it but hated two intermediate releases even more and now yearn for another Afterlife. I happen to enjoy the band's entire catalog to some extent, and, therefore, enjoy this one as well. The band does not lean back on the double-bass structure anymore; instead they cover the entire temporal palette, including mid-tempo numbers that work especially well for this sort of music and sound. "Never Trust" and "Cuts Like A Knife" are particularly close to Lindqvist's inaugural album with NR, the former kicking ass in vein of "Wake Up Dead" and the latter very much resembling "Sinner's Cross" (with some additional growls, resembling Shagrath's performance on Kamelot's "March Of Mephisto"). Nevertheless, certain moments, like "Never Ending," definitely recall the Zackrisson era, so, needless to say, Lindqvist does not suit the music quite as much. Nils Norberg is still very much a creme of the crop of the fretwork world and probably the most overlooked and underrated guitar hero of the day. Guest list includes appearances by Henrik Danhage of Evergrey and Jens Johansson of Stratovarius on "Cuts Like A Knife." One unusual thing on this album is the uncharacteristically high quality of lyrics: not only they RHYME (which is something the boys never bothered with), but they MAKE SENSE as well. "Fools Never Die," "Our Wasted Days," and "One By One" are vicious and angry statements of political chaos in the world, neighbored by equally cynical "Never Trust," "Cuts Like A Knife," and "End Of Our Rope." The album was produced by the "SHEP" team, whoever they might be, and I guess they captured whatever sound the Rites wanted to have at that moment. Overall, a great addition to the Nocturnal Rites legacy, one of a few remaining unpredictable bands. One side comment: in the "thankyoulist" Jonny says "No thanks to pedophiles." He wasn't... well, you know... was he?
THE 8th SIN (2007)
BEST SONGS: “Tell Me,” “Not Like You,” “Pain & Pleasure”
Very much in mold of Afterlife and The Grand Illusion, but more “modern” and melodic. Some critics throw around the Evanescence comparison, and I think it’s valid to some extent, with one exception: I’ve never heard Evanescence writing anything as awesome as this. Some melodic riffs remind me a little of In Flames. True, this album has some electronic beats and sounds, but, instead of making it a trend-chaser, these actually make it sound fresh. Basically the songs are so well-written, it’s amazing that only a year passed since their previous terrific outing. “Never Again” has a wicked choppy rhythm and a cool solo. “Not The Only One” is a rocking anthem (background choirs in the refrain make it similar to “Against The World” from New World Messiah), and Johnny sounds a bit like Zakrisson here. “Tell Me” and “Leave Me Alone” both feature a driving “optimistic” main riff. “Tell Me” has a quiet first verse, but then explodes in the pre-chorus. Norberg is again on top of his game with solos, but fewer songs actually have lead breaks, with guitar licks either appearing in unexpected places (like “Not The Only,” which has a nice guitar outro) or not at all (“Pain & Pleasure”). “Not Like You” in an upper-mid-tempo song with double-bass drums and killer leads. It is a perfect blend between TOMAI and Afterlife; a superb tune! So is “Strong Enough,” with yet another majestic chorus. “Me” is an acoustic piano ballad that we haven’t heard from NR since “The Legend Lives On” (on The Sacred Talisman). Album’s highest point, IMO, is the last song, “Pain & Pleasure,” which seems to have walked off Afterlife in its sheer creepiness. Keyboard-heavy, it is nonetheless extremely groovy. I also dig its lyrics (actually the texts are much more interesting than in most songs out there). The Norberg / Mannberg / Eriksson team just does not seem to run out of super-catchy vocal hooks. This may possibly end up being the Album of the Year on the hooks alone. Speaking of hooks: I wonder what drugs was Nils Norberg on when he wrote his “thank you” note to “Flesh. Fire. Die. Dead. Flower.” Well, knowing him, this is probably just a recipe for the type of beer he is brewing. An outstanding work.
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