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│ METAL CLASSICS ARCHIVE │
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│ P R E S E N T S │
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│ + Cryonic Temple - Deliverance-(KICP-1920) + │
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│╔═════════════════════╗ │
│║ Release Information ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Release Date.nov-04-2018 Encoder......L3.98.4 -V0 --lowpas ║ │
│║ Genre........Metal Graber.......EAC ║ │
│║ Year.........2018 Khz/Bitrate..44,1/ Br ║ │
│║ ║ │
│║ Ripper.......anthem Songs........15 ║ │
│║ Covers.......Yes Url... n/a ║ │
│║ ║ │
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│╔═════════════════════╗ │
│║ Release Notes ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Artist : Cryonic Temple Rating : You Decide! ║ │
│║ Album : Deliverance-(KICP-1920) Label : King ║ │
│║ ║ │
│║ ║ │
│╠════════════════════════════════════════════════════════════════╣ │
│║ ║ │
│║ Description : ║ │
│║ ║ │
│║ There is a long held stereotype within the metal ║ │
│║ world that one of its more consonant and ║ │
│║ accessible sub-genres, namely power metal, is a ║ │
│║ monolithic synthesis of hook-driven, flashy 80s ║ │
│║ influenced fair with a faster tempo and ║ │
│║ fantastical to the point of cartoonish lyrical ║ │
│║ subjects. While the charge of excess is one that ║ │
│║ any variant of metal would openly celebrate, the ║ │
│║ notion of a one-dimensional approach is a ║ │
│║ laughable one when the number of bands ║ │
│║ encountered goes beyond four or five. Of ║ │
│║ particular note is the somewhat lighter and ║ │
│║ prog-influenced variation that one might refer ║ │
│║ to as Sci-Fi metal, namely a subset of the Euro ║ │
│║ power metal revival dealing predominantly with ║ │
│║ space travel and featuring a spacey, almost ║ │
│║ ethereal combination of ambient keyboards and a ║ │
│║ lighter shade on the Helloween approach that was ║ │
│║ pioneered to a large extent by Stratovarius' ║ │
│║ earlier 1990s output, and 1992's Twilight Time ║ │
│║ in particular. This sound was further developed ║ │
│║ and given an even lighter and more cosmic twist ║ │
│║ by the subsequent efforts of outfits like the ║ │
│║ short-lived Portuguese symphonic outfit Oratory, ║ │
│║ as well as Russia's Ghosthill on their first two ║ │
│║ LPs and the ongoing, 80s New Wave infused ║ │
│║ offerings of Keldian. ║ │
│║ ║ │
│║ Perhaps one of the more unlikely candidates to ║ │
│║ adopt this lighter and loftier approach is ║ │
│║ Sweden's Cryonic Temple, a band that was better ║ │
│║ known during the latter days of the millennial ║ │
│║ power metal revival as a swords and sorcery ║ │
│║ outfit after the likes of Steel Attack and The ║ │
│║ Storyteller, with maybe occasional interludes ║ │
│║ into social commentary. Nevertheless, following ║ │
│║ a long period of studio silence after the ║ │
│║ modern, groove infused flop that was their 4th ║ │
│║ studio offering Immortal, that is where long ║ │
│║ founder and guitarist Esa Ahonen and his newly ║ │
│║ recruited lineup found themselves when 2017's ║ │
│║ Into The Glorious Battle came into being. Though ║ │
│║ there was an unmistakable familiarity to the ║ │
│║ game of speed metal infused majesty and noodling ║ │
│║ guitar leads that characterized said album, ║ │
│║ there was a notably spacier and more symphonic ║ │
│║ atmosphere afoot, one that played in quite well ║ │
│║ with the outtake to the final battle scene of ║ │
│║ Star Wars: Rogue One that was the album art. The ║ │
│║ biggest departure in sound, however, came in ║ │
│║ vocalist Mattias Lilja, who had a deeper and ║ │
│║ more nuanced vocal delivery that was about as ║ │
│║ far removed from Johan "Glen Metal" Johansson's ║ │
│║ wild, Dickinson-inspired banshee wails that many ║ │
│║ core fans of the old days haven't accepted. ║ │
│║ ║ │
│║ With a cover more befitting Tron: Legacy than ║ │
│║ anything in the Star Wars franchise, one might ║ │
│║ think that Cryonic Temple's quick follow up in ║ │
│║ Deliverance would change things up a tad bit, ║ │
│║ but overall it plays things very close to where ║ │
│║ they were a year prior, so much that one might ║ │
│║ rightly speculate that this material was written ║ │
│║ during the same sessions as the previous album. ║ │
│║ It's naturally not a full out carbon copy, as ║ │
│║ Lilja does expand upon his somewhat mid-ranged, ║ │
│║ moderately gravely croon to include a bit more ║ │
│║ attitude, not to mention a commendable attempt ║ │
│║ at channeling the iconic Halford shriek during ║ │
│║ the chorus of the title song "Deliverance". ║ │
│║ Likewise, the harder-edged speeder "Pain And ║ │
│║ Pleasure" goes back to the good old days of In ║ │
│║ Thy Power by laying on the riffs a bit heavier ║ │
│║ and also features a guest lead vocalist who ║ │
│║ sounds a good bit closer to Glen Metal's bygone ║ │
│║ gritty shouts. Yet as an overall package, this ║ │
│║ album relates back to its immediate predecessor ║ │
│║ in much the same fashion that their first three ║ │
│║ albums did to each other, emphasizing a degree ║ │
│║ of stylistic consistency and precision that make ║ │
│║ it all but impossible for anyone who liked Into ║ │
│║ The Glorious Battle to dislike this one. ║ │
│║ ║ │
│║ It's a rather curious thing, but in spite of ║ │
│║ being dominated by this atmospheric feeling of ║ │
│║ floating in zero gravity amid the stars, this is ║ │
│║ an album that wants for little in the impact ║ │
│║ department. Following the shimmering strings and ║ │
│║ thematic beauty that rounds out the introductory ║ │
│║ instrumental, Cryonic Temple grasps back into ║ │
│║ the late 80s well of Helloween and comes out ║ │
│║ with a rather obvious though unique nod to ║ │
│║ "Eagle Fly Free" in "Rise Eternally Beyond", ║ │
│║ complete with a bass vs. guitar vs. drums solo ║ │
│║ duel at its climax. Similarly enthralling ║ │
│║ excursions through flashy, speed metal territory ║ │
│║ emerge in the riff happy Judas Priest homage ║ │
│║ "Knights Of The Sky" and the warp speed thrill ║ │
│║ ride "Starchild". Likewise, when things take on ║ │
│║ a more mid-paced flavor as on "Under Attack" and ║ │
│║ "Through The Storm", there is a strong, chunky ║ │
│║ guitar assault that manages to punch through the ║ │
│║ airy keyboards and gives things a bit of an ║ │
│║ Accept feel, while more keyboard-dominated mid- ║ │
│║ tempo anthems such as "Temple Of Cryonics" and ║ │
│║ "End Of Days" deliver some truly massive, hook- ║ │
│║ happy choruses and see Lilja putting a bit more ║ │
│║ gusto into his vocal delivery. Truth be told, ║ │
│║ minus the somewhat sappy and dispensable ballad ║ │
│║ "Loneliest Man In Space", there isn't really an ║ │
│║ outright weak moment to be found here. ║ │
│║ ║ │
│║ During an interview for The Black Sabbath Story ║ │
│║ Volume II: 1978-1992, the now departed legend ║ │
│║ Cozy Powell noted something along the lines of ║ │
│║ every fan having an era of Sabbath (of which ║ │
│║ there were many by 1992, let alone after) that ║ │
│║ meant something special to him/her, implying ║ │
│║ that no one era of said band was necessarily ║ │
│║ better or worse than the rest. While many die- ║ │
│║ hard Ozzy and Dio fans would fight to the death ║ │
│║ against this notion, there is a certain wisdom ║ │
│║ to it that is applicable to Cryonic Temple's ║ │
│║ evolution as a band. Some will likely continue ║ │
│║ to see this band's name as implying a throwback ║ │
│║ to the days of yore when chivalry and jousting ║ │
│║ duels were the norm that was cryogenically ║ │
│║ frozen and then revived in the early 21st ║ │
│║ century, which was the gist of their sound prior ║ │
│║ to the release of Immortal, but this need not ║ │
│║ imply that there is no room for a new ║ │
│║ interpretation of a lone person from the past ║ │
│║ being frozen by the same means and then ║ │
│║ awakening to a different world in the distant ║ │
│║ future where the conquest of the stars is ║ │
│║ underway. For those who are capable of ║ │
│║ treasuring the past and also hoping for the ║ │
│║ future of power metal, Deliverance is the right ║ │
│║ album at the right time, whether the implied ║ │
│║ year be 1099 or 2199. ║ │
│║ ║ │
│║ Review written by hells_unicorn for www.metal- ║ │
│║ archives.com ║ │
│║ ║ │
│║ ║ │
│║ ║ │
│║ Mattias Lilja - Vocals, Piano ║ │
│║ Esa Ahonen - Guitars ║ │
│║ Micke Dahlkvist - Drums ║ │
│║ Roland Westbom - Bass ║ │
│║ Markus Grundstr÷m - Guitars ║ │
│║ ║ │
│║ ║ │
│║ ║ │
│╚════════════════════════════════════════════════════════════════╝ │
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│╔═════════════════════╗ │
│║ Release Tracklist ║ │
│╚═════════════════════╩══════════════════════════════════════════ │
│ │
│ 01 - Intro: The Morning After The Longest Day [02:29] │
│ 02 - Rise Eternally Beyond [05:07] │
│ 03 - Through The Storm [04:52] │
│ 04 - Knights Of The Sky [05:28] │
│ 05 - Deliverance [04:21] │
│ 06 - Loneliest Man In Space [05:04] │
│ 07 - Pain And Pleasure [03:41] │
│ 08 - Temple Of Cryonics [05:12] │
│ 09 - Starchild [04:23] │
│ 10 - End Of Days [04:06] │
│ 11 - Swansong Of The Last Emperor [04:30] │
│ 12 - Under Attack [04:09] │
│ 13 - Blood And Shame [03:46] │
│ 14 - Insomnia [05:39] │
│ 15 - Walking With Fire (Bonus Track) [04:30] │
│ │
│ Total Length : [67:17 minn │
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│ ╔═════════════════════╗ │
│ ║ Greetings To: ║ │
│ ╚═════════════════════╝ │
│ │
│ Too all people who contributes to make this │
│ archive of good music in a exceptional conditions │
│ │
│ │
│ │
│■ ■│
└───────────────────────────────────────────────────────────────────┘