Avalon, that mythical and unreal place where magic lives and one can get healed from illnesses, and even resurrect... Timo Tolkki, the renowned guitarist who operated in Stratovarius, which is one of the most influential power metal bands, fell ill and for a long time it felt that he had lost his power and magic.

Thus, "Avalon", I suppose. It sounds like he had become whole and was recuperated. His "Way of Suffering" had been traveled through. In 2012,invented by the record label, this project was created, and in 2013 the suitably-titled debut album 'The Land of New Hope' was released. This is a "metal opera", and isn't anything new under the sun. However, this album proved that Mr. Tolkki was back at it again, after so many years, and this is basically his story, even though clad into an age-old tale of a group of survivors of an apocalypse leaving for a promised new world.

Tolkki and his guitar... He is a nimble-fingered wizard at his best, but also has a heavy riffing hand. He is on fire with his neoclassical shredding here. And what is at least equally as important is that his on-point songwriting is happening here, too. He did not get lost from that ski track this time around; I think skies were much clearer and it didn't snow during dark polar nights. His solos include both shredding and cool melodic, and memorable, leads.

The vocals are handled, in order of appearance, by Russell Allen (3 songs; Symphony X etc.), Rob Rock (6 songs; Impellitteri etc.), Elize Ryd (6 songs; Amaranthe), Tony Kakko (1 song; Sonata Arctica), Sharon Den Adel (1 song Within Temptation) and Michael Kiske (1 song; Helloween). A good bunch of characteristic voices. Whenever Allen is on, things brighten up, as he is one of my favourite vocalists ever. He and Rock have some grit in their voices, and Rock goes higher in range, so they do complement each other. Michael Kiske does it like he's done in the past, but nowadays there's more vibrato in his voice, and I would be happier if he played it down. Elize Ryd has a good and strong voice, yet rather poppy, not unlike Anette Olzon (ex-Nightwish), and the duet with Den Adel is a nice touch, because of her unique style. I guess the play parts, but the story itself isn't very interesting.

While the album begins with more gloomy, in power metal index, it is rather pop-ish. We get some hefty power metal riffing, as well as hard rock style ones (Rainbow, anyone?). The "ABBA metal" rises its head already on song number 3. Generally, a lot of songs get life and meaning from vocals, as poppier songs include verses without guitar (or then there's just very subtle playing). Most of the songs are on the chirpy side. The ending is most massive with big symphonics. There are two slow songs, one melancholic and other sugary like a bun with a pat of butter (king of mid-sugary).

So, there's a cast of well-known vocalists in their roles, and somewhat surprising bunch of musicians. The "joker" of the pack is keyboardist Jens Johansson of Stratovarius! I haven't read deep into Tolkki versus Stratovarius story, but I see that forgiveness does work. Anyway, there are also other keyboardists: Derek Sherinian (ex-Dream Theater), Mikko Härkin (ex-Sonata Arctica) and Timo himself, plus voluminous orchestrations. Darker symphonics remind a lot of Kamelot's (especially on the great opening song) and I get strong Aina vibes from more positive bits, and the closer has a strong Helloween aura to it, and not only because of Kiske. There are also sole piano and wind instrument sounds. Then we get electronic sounds, the modern way. Alex Holzwarth (ex-Rhapsody Of Fire) was behind the drum kit, so it is guaranteed quality work.

The production is stellar, like expected. Each instrument is clearly heard. I love the loud role that was given to the bass guitar; just like in Stratovarius. It's good when listened to with low volume, but gets really cool when it's blasted louder. When you look at the artwork, you'll know what you'll get inside.

As a whole this is better than Tolkki's latter era Stratovarius works, and a big portion of releases with his other bands (or projects) after he had left Stratovarius. This is tighter and contains some memorable songs, but does not bring anything new to the table in its genre, and that is the biggest failing of the album. I mean you know what you'll get here! It has some muscles, but also very soft pieces, so it requires wider musical taste from a listener. It's one of those more successful albums that are born via record label proposition (the project was meant to put out a trilogy of albums, but did one more), and not a total nosedive like some of these are.

Rating: 7½ (out of 10) ratings explained

Reviewed by Lane
05/29/2022 20:31