Pride and joy of Finland, Stratovarius,
of all power metal bands, was at one point even considered
"powerprog" (largely due to an extensive use of keyboards and
progressive influences of a superb neoclassical guitarist, Timo
Tolkki) but that was a long time ago. People who has heard
Stratovarius are divided into two categories: those that think that
they sound very much like Helloween and those
who don't think so. I belong to the former, mostly because of Timo
Kotipelto's high pitched vocals that sound like a carbon copy of
Michael Kiske. They have been around since mid-80s, but weren't
particularly famous outside of their home country. In the 90s,
however, they released several very strong albums in a row: "Fourth
Dimension" (1994), "Episode" (1996), "Visions" (1997), live "Visions
Of Europe" (1998), "Destiny" (1998), and "Infinite" (2000). Their
glory line-up consisted of Kotipelto, Tolkki, Jari Kainulainen
(bass), Jens Johansson (keyboards, famous for his work with Yngwie),
and none other than Jorg Michael (drums) who was in and out, but has finally
decided to stick with Strat. Its members also indulge in various
side projects, such as solo albums from both Kotipelto and Tolkki
and the latter's guest performance on Avantasia). In the
new millenium the star of Stratovarius started waning. After two
subpar albums, it was apparent that both the band and the audience
thought it was time for change. But nobody was ready for the change
that took place. Following a series of Tolkki's acts of mental
imbalance, Kotipelto, Johansson, and Michael left the band. In his
final act of madness, Tolkki hired a female singer. She didn't last
very long, Tolkki received much needed professional mental help, the
lineup was restored completely, and the band released an album
simply titled "Stratovarius" (2005).
VISIONS OF EUROPE (1998)
RATING: *****
BEST SONGS: they are all good, but my choice tracks would be
"Forever Free," "Father Time," and "Black Diamond"
In my humble but strong opinion, one of the best live
albums of the 1990s. It beats High Live, Live Meltdown, and even
Real Live One / Dead One effortlessly. Recorded in Greece and
Italy, it includes all the best from their 3 latest albums, and all
songs kick ass. Most of the tracks are either fast or very fast.
Such rockers as "Forever Free" (killer main riff), "Father Time"
(killer chorus), "Distant Skies" (killer chorus), and "Legions" are
all superb. A couple of mid-tempo and slower tracks are also very
good: "Season Of Changes," "Twilight Symphony" (great keyboard lead
break) and "Forever" (the whole audience is singing -- wow!). My
favorite song is "Black Diamond" from Visions album, it's
both extremely melodic and fast (and the main keyboard classic theme
is just out of this world). Other songs are also great: "Will The
Sun Rise," "Against The Wind," and "Paradise" are all ear-candy.
"Holy Solos" is funny: Timo Tolkki is entertaining the public with
his splendid guitar works (he could teach Malmsteen a thing or two),
"Havah Nagilah" theme is there too. Timo Kotipelto carries the crowd
well, but gets cheesy at times, and that's pretty much the only down
side of the album. A splendid "greatest hits live" collection for
everybody, and, especially, for a starting Strat fan, such as
myself.
DESTINY (1998)
RATING: ****
BEST SONGS: title track, "S.O.S.," "Anthem Of The World"
Another fine album from these Finnish rockers. Album-opening
title track is a defining Stratovarius song: if you want to hear
what Stratovarius is all about, this 9-minute song should tell it
all. One of the best epics of the late 90. The main theme will stay
with you for weeks. More controlled "S.O.S.," wild rocking "No
Turning Back" and "Rebel," and neat ballad "1000 Rainy Nights"
(which heavily reminds me of Queensryche's "Another Rainy Night
Without You") show you why, while many bands try to be Stratovarius,
there is only one Stratovarius in nature. "Playing With Fire" and
"Anthem Of The World" are other great rockers. Simply put, this is
melodic metal to perfection. The problem is that it starts getting
redundant after a while. But until it becomes a problem,
Stratovarius rules. Kotipelto's pipes are excellent, and Tolkki's
guitar playing makes people open their mouths and forget to close
them. Excellent stuff.
INFINITE (2000)
RATING: ****
BEST SONGS: "Hunting High And Low," "Glory Of The World,"
"Freedom"
If you expect something drastically different from the previous
Strat albums, you're not gonna find any. It's the same European
melodic speed metal, done to perfection. While it does have a
tendency to get tedious at times and definitely not for the moments
when you're in the mood for something different, at other moments
it's just what the doctor ordered. Album's opening track, "Hunting
High And Low," is exactly what comes to mind when you say
"Stratovarius": fast mid-tempo, keyboard-and-guitar-driven rocker.
Title track, "Millenium," "Freedom" (great main riff), and "Glory Of
The World" (wonderful chorus) are all excellent songs. "Majesty Of
Gaia" is a mandatory power ballad, and Kotipelto gives it all he's
got, but then again, so do the rest of the guys. "A Million Light
Years Away" reminds me of "Kiss Of Judas" from Visions.
Verdict: very cute, very melodic, energetic and pretty, it will not
disappoint any Strat fan. But, again, do NOT expect the
unexpected.
INTERMISSION (2001)
RATING: ***
BEST SONGS: "Will My Soul Ever Rest In Peace?", "Why Are We
Here?," "Hunting High & Low"
As the band members were on vacation from each other, they
nevertheless decided that the world can't live without them for so
long and released an album full of various Japanese bonuses, covers,
live performances, and previously unreleased stuff; 15 tracks total.
Before I go into detailed analysis, I must mention that the booklet
contains some of the most idiotic photoshoots I've ever seen. Strat
boys are featured either in full FBI-type suits, or half naked with
Heineken cans. Either way reminds us why exactly they're considered
to be the Ugliest Band in the World. Excellent cover art, though, as
Derek Riggs reminds us that he is one of the best there is at
drawing pyramids (Maiden<, Gamma
Ray, etc.). Anyhow. There are more ballads on this CD
than other songs, and, frankly, more than I would like on a single
CD (unless it's (Morgana) Lefay, which can never write
enough ballads). "Will My Soul Ever Rest In Peace" and "When The
Night Meets The Day" are good ballads, "Keep The Flame" is an OK
ballad, "What Can I Say" and "Dream With Me" are boring ballads.
"Falling Into Fantasy" is a semi-good semi-fast song. The song list
credits Tolkki with lyrics to "Requiem," but I didn't hear any
lyrics. "Bloodstone" and "Kill The King" bugged me for years on
their respective Priest and Dio tributes.
Kotipelto's accent is not getting lighter with age, that's for sure, but then again, neither
does mine. "Why Are We Here?" is a good mid-tempo song, with a great
solo from Tolkki. "It's A Mystery" kinda rocks. Live "Hunting
High And Low" sounds IDENTICAL to the studio version, with
occasional Kotipelto shouts; it's too good to be a straight live
recording. Aside from that, a good CD to have if you are, like me, a
Strat fan.
STRATOVARIUS (2005)
RATING: ***
BEST SONGS: "Gypsy In Me," "Zenith Of Power," "Leaving The
Tribe"
First of all, I have made up my mind: from now on, any album
with song titles "Fight" and "Carry On" will automatically have half
a point slashed off its rating. ENOUGH ALREADY!! Then there is
something odd about bands releasing a self-titled album after a
change in style, as if they are trying too hard to re-establish
themselves (see Motley Crue). And with Strat, it's no
exception. After two Elements albums that were completely
oblivious to the change in musical climate, Tolkki finally hops the
train of "slightly darker" power metal and gets rid of double-bass
galloping completely. I am willing to give him credit for simply
being tired of the same old, same old and deciding to try something
new. I guess that's what that whole affair with the female singer
should have accomplished. But now Kotipelto is back, Johansson is
back, and the result is slightly crunchier, slightly heavier, fairly
slow Stratovarius. Good news? Uh, no. It takes more than cosmetics
to stay relevant, modern, and fresh. Edguy succeeded with Hellfire
Club. This album is trying to be Hellfire Club, but it
is mediocre at best. You want to know why? What made Stratovarius so
good back in the day? The melodies, of course. The melodies, played
at top speed or mid-tempo, bombastic or simplistic, were still the
backbone of Strat's appeal. Now they are absent from sight. Nobody
would call riffs in "Kiss Of Judas" or "Freedom" complicated, but
the riffs and melodies on this one are just primitive and not
memorable on top of that. I guess they are OK, while you're
listening to them, but the memorability factor is below sea level.
There are certain good moments though. "Fight" is as close to the
"old school Stratovarius" as this album gets. "Zenith Of Power"
(pronounced "zinit of pauweh") is haunting in some places (but very
annoying in others). "Leaving The Tribe" is alright. "Back To
Madness" would have been the best song on the album (with its strong
chorus riff), if not for the "madness / sadness" rhyme and some
AWFUL "vocalizing" in the mid-section, which would put Rhapsody,
Kings of Pretentiousness, to shame. What is it supposed to
symbolize? And that narration at the end... Fuckin' ridiculous. The
lyrics are still rather kindergarten, even when they try to have a
meaning, like in "Zenith" or "Land Of Ice And Snow." It's like a
preschooler that's been asked to write about his love for his
country, and he proudly stands on a chair and spews banalities with
a breaking voice. There are better ways to do Finland justice, OK?
Translate "Kalevala" for us or something, like Amorphis
did a long time ago. Also, after ten years of singing in English,
even such language butchers as Peevy Wagner or Klaus Meine improved
somewhat, but not Kotipelto. To sum it up: if you want to abandon
your trodden musical territory, crunch alone wouldn't cut it, you
have to change (and, hopefully, improve) songwriting. This album
does nothing of that kind, making it an album you can do without.
Plus, like I said, any album with song titles "Fight" and "Carry On"
automatically gets half a point off.
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