FEAR

ROYAL HUNT or how not to forget this epic prog metal classic omniesque album!

1. Fear wow the intro, it moves quite a bit between Hollywood sound effects, Lee in the distance, Valkyrie, a little Carmina, screams, bells, the 2 minutes are reached to bring us to a symphonic prog metal , oh the riff and the bass, it's strong and heavy, airy yet; we feel the cold in the austere plains, André's synth in front, the riff so yes we are still in the beginning, 5 minutes for John to come and put his suave voice; prog metal more here; most of all this Dantesque sound, this bass, this Scandinavian drums which cuts more than it hits for a grandiloquent air; synths with twirling violins; so why so many more well it's just perfect in the genre, put yourself aside, it's machine gunning 2. Faces of War follows, more metallic with a sound reminiscent of ARAGON; the symphonic keyboard with its volley of violins echoes the melodic metal of classical inspiration, heavy on light or how RONDO VENEZUELO comes to gig with them; a very good solo from Jacob then the progressive variation, the one that kills, sending the listener to the stratospheres, the bold, Olympian sound again; but how did this album miss out on musical stardom? The flights of sound are like a walk in a field in August and the raising of a flock of partridges! The cinematic finale before its time brings 3. Cold City Lights and its potential hit, deluge of hard FM sounds, well everything is said, you have to love this genre of the 80s and accept the much fuller sound; they do not invent but boost, they also put classical sampled instrumentation back in the spotlight; I find the dancing madness of BON JOVI on one side too; another worked ending leading without firing a shot 4. Lies for their hit album, much less progressive but showing their sonic state of mind; a neo-classical flight on a hard riff, a genre between the Holywood-metal dear to RHAPSODY and the progressive metal of DREAM THEATER; here everything is simpler, melodic, the riff is taken like a wave reminding you that in prog there is progress, advancement, opening and break; the heavy sound on a PRETTY MAIDS for those who follow, you see that it moves quite a bit; the break belongs to the hard brought directly, the keyboard of André, mastermind of the group, does the rest

5. Follow Me yes follow the John the one who replaced the famous DC Cooper, follow him for this super-vitaminized ballad, for this flight which always remains the suave-marshmallow title which breaks a little too much with the dynamite effect of the other titles ; the most is the dithyrambic keyboard solo followed by the guitar-epic one; brief rest 6. Voices then intervenes; yes we went back to the 16th and 17th centuries with classy orchestration; the soaring violins mingle with choirs from now on, the pure progressive spirit of the beginning of the album is lost in favor of a typical break, not bad in itself but much more predictable; now we are more on a sovereign MALMSTEEN than anything else, good but less blood 7. Sea of Time continues ah I breathe better again; the clock, the water, the bell, the cuckoo, this ethereal synth, this riff I find the ROYAL HUNT from the beginning; the progressive climb is that, hard or symphonic or something else, two minutes of pure happiness; John sets the tune going, sheared between riff and backing vocals for a grandiloquent final title, amplifying the big prog metal turbine sound; programmed break with guitar solo, but how well he strummed... and the arrival of the waterfall keyboard flooding our ears is pure joy; yes, a group apart who knew how to create a concept for this album to drink in one go even if the ending is more consensual.