AVALAND – Theater Of Sorcery
Release Date: 2nd April 2021
Label: Rockshots Records
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Genre: Symphonic Metal, Power Metal, Metal-Opera.
FFO: Avantasia, Ayreon, Beast In Black, Nightmare, Sonata Arctica.
Review By: Lucas Di Mascio
While Avantasia and Ayreon have both put the “musical theater experience as a metal band” concept through its paces both in recording and live, both bands have become a little too formulaic over the years with the roster of guest musicians, length of the songs and lofty lyrical content. Especially in Ayreon’s case, the length and progressive nature of their albums can turn off metal fans that want to get introduced to the idea. Thankfully, this isn’t the case with Avaland’s latest release, Theater of Sorcery. While Ayreon’s conceptual themes often get lost on me and the rapid pace their guest vocalists pop in and out of their songs can get distracting, Avaland takes a more grounded approach to the sound and structure of their influences. While the lyrical content is probably a little too basic for fans of Ayreon, it’s definitely a much more accessible album than anything Ayreon has released in recent memory.
Every guest vocalist plays a character in this fantasy world named after the band, some notable standouts are Ralf Scheepers(Primal Fear) as the king of Avaland, Zaher Zorgati (Myrath) as the main character’s inner voice. The main character is played by band frontman Adrien G. Gzagg. Some of these guest choices, such as Zorgati, are refreshing. Stephan Forte (Adagio) even makes an appearance, playing a solo on Gypsum Flower. There’s a clear influence in Avaland’s production and songwriting that keeps the guest musicians from being distracting to the overall song. They feel less like guests and more like an integral part of the production.
With the guest musicians out of the way, how’s the music? The sound is undeniably more “power metal” than progressive or epic, with an emphasis on very medieval sounding keyboard sounds and arrangements. There are all of the modern power metal staples present here- big choruses, melodic vocal lines, chunky guitar riffs, and punchy drums. While I found the first few songs to drag on a little bit in their length, the second half of the record is pretty strong and kept me invested. There’s a bit more of an emphasis on the 80’s guitar riff writing in the later songs which worked well with the arrangements. Some of the song structures, while predictable, are never outright boring. I’d listen to more of the second half of the record. This isn’t to say the first half of the record is bad- it’s just got a little bit more cheese in it’s melodies, and the songs overstay their welcome a bit. I get it- it’s a concept album and you have a lot to say as a songwriter to get the points in the story across. A few long songs here and there aren’t a problem, it’s more because they are all right at the start of the record and one after another.
Some songs I liked a lot were Escape to Paradise, I’ll Be Ready For Your Love, and War of Minds. Escape to Paradise has a very Iron Maiden inspired guitar melody towards the end that has a bit of a celtic feel to it- reminds me a bit of Maiden’s later releases. If you like power ballads then I’ll Be Ready For Your Love is definitely up your alley, it has just enough of the 80’s throwback in its production and vocal melodies to hit that nostalgic note but doesn’t stick out like a sore thumb amongst the other tracks. War of Minds has great lead guitar licks, soaring vocal melodies and showcases Avaland’s songwriting abilities. It’s dynamic, allows for an emotional connection, and has some great headbanging moments.
The few things that I wasn’t too crazy about on this release were some of the keyboard samples used- especially in the earlier songs, some aspects of the lyrics, and the aforementioned runtime and placement of some of the earlier songs. Theater of Sorcery and Let the Wind Blow – two of the long songs in question, suffer from some poor sample choices in the keyboards/synths department. Some samples they used just sounded a little bit on the cheap side and they stood out like a sore thumb in those songs in particular, lending them to sound a little bit cheesier than the rest. The lyrical content doesn’t take itself too seriously (I don’t think?) which is fine, and it’s definitely more palatable than Ayreon’s lyrics tend to be, but not a single phrase really latched onto my mind and stuck with me after I listened to the album.
The production is stellar however, and the songwriting, for the most part, is great. It’s a great way to dip your toe into what Ayreon and Avantasia are known for doing without being overwhelmed mentally by the guest placements, lyrics and length of material. If you’re a fan of power metal and want something with a bit more behind it than say Hammerfall or Dream Evil, then Avaland is definitely worth checking out.
Now, I just have to find out how to overthrow Ralf Scheepers (very unlikely) and crown myself King of Avaland…
(3.5 / 5)
