Reviewed -
May 10, 2004
Mask Of Damnation
[Sound Riot Records]
As I’ve mentioned in a number of my reviews, I’m a first-impression type of guy. When I first began listening to Requiem’s Mask of Damnation, I was stunned at how bad the vocalist sounded on the first track ‘Blinded’. As with any power metal band, the vocals can make or break albums like this. Fortunately, both for the band and for myself, I decided to do some work at getting into this album. At the end of the day, it turns out that this album is well worth digesting for a while. It will not reach out and pull you in; you have to work for it.
Requiem plays a progressive/power metal hybrid, with occasional flashes of Gothenburg styled guitar lines. Formed in 1999 and recording two demos before finding a record deal, Requiem began its life as a melodic death metal band. After releasing their second demo, they “started looking for a new singer with clean vocals and high tunes.” Thus Jouni Nikula joined the ranks. This knowledge in mind, it is hard not to listen to the album without wondering how it would have sounded with a death metal vocalist on the pipes. In 2001, Requiem signed a deal with Sound Riot Records and recorded their debut “The Arrival” which ‘arrived’ later in 2002. “Mask of Damnation” doesn’t see an awful lot of growth for the band at this stage, but the record itself is no sophomore slump either.
The main element that separates Requiem from the hordes of power metal clones is the fantastic use of the keyboard. You may have heard of Hendrik Klingenberg as the new keyboardist for Sonata Arctica. Currently in both bands at the same time, his talents will surely be put to good use, to the benefit of progressive power metal fans everywhere. The majority of the keys present in this album are of the Dream Theater variety, often far up in the mix, occasionally soloing along with the guitars. The standout parts however are evident mostly in track 5: “Ethereal Journey.” Halfway through the song, there is a very long bridge section featuring a beautiful soundscape from the keys over a superbly played drum and bass line. This song truly is the gem of this album. If the band could raise the bar of their songwriting to this level on a more consistent basis, they could be leaders in their genre.
Bottom line: The vocalist is weak for the genre. If you can get past his singing, this record can be quite enjoyable. This album is not only for those who love progressive guitar and keyboard wankery either. Unlike most power metal bands there are some good, solid standout riffs that will get you nodding your head. Download a few tracks off of their website and give them a try. Who knows, maybe in a year or two this band could surpass Sonata Arctica.
[Sound Riot Records]
As I’ve mentioned in a number of my reviews, I’m a first-impression type of guy. When I first began listening to Requiem’s Mask of Damnation, I was stunned at how bad the vocalist sounded on the first track ‘Blinded’. As with any power metal band, the vocals can make or break albums like this. Fortunately, both for the band and for myself, I decided to do some work at getting into this album. At the end of the day, it turns out that this album is well worth digesting for a while. It will not reach out and pull you in; you have to work for it.
Requiem plays a progressive/power metal hybrid, with occasional flashes of Gothenburg styled guitar lines. Formed in 1999 and recording two demos before finding a record deal, Requiem began its life as a melodic death metal band. After releasing their second demo, they “started looking for a new singer with clean vocals and high tunes.” Thus Jouni Nikula joined the ranks. This knowledge in mind, it is hard not to listen to the album without wondering how it would have sounded with a death metal vocalist on the pipes. In 2001, Requiem signed a deal with Sound Riot Records and recorded their debut “The Arrival” which ‘arrived’ later in 2002. “Mask of Damnation” doesn’t see an awful lot of growth for the band at this stage, but the record itself is no sophomore slump either.
The main element that separates Requiem from the hordes of power metal clones is the fantastic use of the keyboard. You may have heard of Hendrik Klingenberg as the new keyboardist for Sonata Arctica. Currently in both bands at the same time, his talents will surely be put to good use, to the benefit of progressive power metal fans everywhere. The majority of the keys present in this album are of the Dream Theater variety, often far up in the mix, occasionally soloing along with the guitars. The standout parts however are evident mostly in track 5: “Ethereal Journey.” Halfway through the song, there is a very long bridge section featuring a beautiful soundscape from the keys over a superbly played drum and bass line. This song truly is the gem of this album. If the band could raise the bar of their songwriting to this level on a more consistent basis, they could be leaders in their genre.
Bottom line: The vocalist is weak for the genre. If you can get past his singing, this record can be quite enjoyable. This album is not only for those who love progressive guitar and keyboard wankery either. Unlike most power metal bands there are some good, solid standout riffs that will get you nodding your head. Download a few tracks off of their website and give them a try. Who knows, maybe in a year or two this band could surpass Sonata Arctica.
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Tracklist:
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| Rating: 7.5/10 | ||||||||||||||||
| Release Date: 2003 | ||||||||||||||||
| Length: 42:00 | ||||||||||||||||
| Review By: J. Dean | ||||||||||||||||
| Total Reviews: (1) | ||||||||||||||||
| Bands Website: Go Here | ||||||||||||||||
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