In Paradisum – reviews in several languages

(in this order: English, German, Spanish, Russian, Portuguese)

You know what this album feels like? Listening to Visions or at times, to Destiny. Seriously. 

But with all inevitable Strato-comparisons aside, this is competent power metal. It does absolutely nothing new. Fields of Avalon is Visions-era Stratovarius by the numbers and you even get a 9-minute number and an honestly a bit sappy and generic Tolkki ballad which is ridiculous. Come by the Hills is absolutely Stratovarius again. Hell, Mikko Härkin’s keys at the beginning of the song feel like they’re trying to sound like Johansson’s. André Matos sounds like his typical self here and although I do find myself slightly cringing at some of the higher notes, the man does his magic, I suppose. I was never big on the Matos-sung Angra albums, honestly.

So I’m sure power metal fans will be wetting their pants over this one. Personally… I think I’ll take Elysium over this. If I want to hear this, I’ll pull out Visions. But to be fair, this is still very competent power metal and Tolkki certainly proves he can still write a song and perhaps even that Visions was truly a Tolkki affair more than anything. Still, at least Strato is trying to tread new ground while this just feels like Visions with reversed riffs. Still… I have to say that if Kotipelto was singing here, it would likely make this album the best power metal in ages. No disrespect to André Matos but I’m just not a fan.

Oh! And is it just me or does that break in Santiago sound *incredibly* familiar. I swear I’ve heard it on a Strato album but I can’t figure out where.


Is this some sort of a pop quiz?

Hurry up and listen to In Paradisum, Butterflyman, and tell me in 500 words why you love power metal and it is your favorite musical genre based ONLY on this release.  You have the remainder of class to formulate your thoughts and convey them to me

This should be easy enough with this all star cast of characters and one of the top metal singers.
Uhhhhhhhhhhh………..mmmmmmmmmmmmmm…………welllllllllllllllllll…….. ………..whistlewhistlewhistle……… ….taptaptaptap………..
A cover of that song  Ferrrrrrriday song actually would have improved this album.

I don’t like hardly anything here, unless you count boring and generic power metal as something to like.  Even worse, I don’t like Andre at all on this album.  His voice doesn’t work at all for me here and actually sounds a bit whiny at times.  That ballad called Alayna  and that wimpy song I Walk in Neon are complete disasters – vocals included. 

Boy is this album a complete waste of talent!  UGH!

Definitely one of the most expected projects of 2011 for me, even though I had no idea about it until very recently. It’s not just a random supergroup of a kind – except Mikko Härkin, who I have frankly never heard of, and Uli Kusch, whose name I’m aware of, this project consist of 3 of my (musical) childhood heroes. Jari Kainulainen and Timo Tolkki were the backbone of Stratovarius just in the golden era of the band, and Andre Matos used to be and still is the best power metal vocalist ever born (if not even the owner of the best male vocals on this planet). So well, I can’t really see how this line-up could possibly make a fail album, unless they would attempt to record a teen pop or dubstep album. 

But let the actual listening take place before writing any misleading raving reviews. Fields of Avalon is opening the album, and it’s a classic Stratovarius uptempo tune Made In Tolkki. It certainly feels kinda strange hearing Andre singing this, as I’m used to hear Timo Kotipelto in such songs. Come by the Hills sounds even more like a Stratovarius song – I’d say like a revamped S.O.S. motive. It’s obvious these songs were written by Tolkki without any further assistance from other members. Santiago finally sounds more like classic Angra tune from Holy Land times, and you can instantly hear this one was written exactly for Andre’s voice. Then comes Alayna, quite typical Tolkki-penned acoustic ballad….and so on, and so on, I’m not too good when it comes to song-by-song reviews, so I’ll leave it to someone more skilled. 

But maybe you noticed the main point of this album – this is a perfect fusion of Stratovarius and Angra, although with Tolkki being (probably) responsible for most of the songwriting, the Finnish band’s elements are prevailing. What you surely can’t find here are experiments of any kind – almost every song here will remind you of songs by the previously mentioned bands, and as such, the album will not disappoint people who are getting it based on the band’s line-up (people like me). Though, I don’t think there should be any other reason to check out In Paradisum – if you consider yourself at least a bit advanced power metal fan, you already know who all these guys are, and you shall be trying to get the album by all costs. It’s creme de la creme of current power metal scene, and deserves to be rated as such, even though it brings nothing new but well performed entertaining melodic power metal.

Disappointment… and not really

I’m disappointed because I know the musician history, but not very much because when I started to listen I only Timo Tolkki, I know he worked on this band but I don’t cared about the other musicians. 
So I found it as a recommendation on a music site (I don’t want to named) and I said “why not”. I remembered I listened one song on YouTube (I think was the longest track) and wasn’t bad, so I listened the entire album. Now I’m ultra disappointed. 
First reason: I’m a huge Power Metal fan, I love this genre, and as a power metal fan, to give on a power metal album 3.5/5 is not a good thing. I have very few Power Metal albums whit rating below 4 and you can guess how bad for a PM fan is this.
Second reason: line-up. First I don’t know the line-up excepting Timo. I was surprised to see that is a super group. My reaction “what this bad vocalist is Matos?” Yep, Matos here sound really bad, well he wasn’t my favorite Angra vocalist but I appreciate his vocal skills. I think he could more but here I’m not impressing.
Tracks in general aren’t impressing, excepting In Paradisum and Don’t Let Me Go, I really disappointed. I have no problem with generic metal if is catchy, but this isn’t, if you want a good example of catchy Power Metal listen Powerwolf, they reuse the same elements from other songs in new songs but is still ultra catchy, I can listened the same Powerwolf song for a long time and never become boring, but In Paradisum isn’t interesting.
I don’t know if I should recommend it for someone, but if you really like Power Metal and Matos voice, ya you can listen it, but I, even I love power metal, Matos voice is really bad, not as bad as… the guy from this South American band that was considered by Poohkali the worst Power Metal band ever and the guy the worst singer ever, I forgot their name (I don’t want to check it now so do yourself).

PS: the released date shouldn’t impress me, or I should expect on it for an album released on 1 April.


A band called Symfonia with a album cover looking like this I would never check out out of the blue, but when I came to know that Symfonia was some kind of super-group lead by ex-Stratovarius guitarist Timo Tolkki, I had to check this out. Besides Tolkki, there’s ex-Stratovarius bass player Jaru Kainulainen, ex-Gamma Ray and ex-Helloween drummer Uli Kusch, and ex-Angra singer Andre Matos. With names like theese together in a band, it’s not hard to guess what you get on this album, and yes, this is melodic power metal, and it sounds very much like Stratovarius did back in the end of the 90’s (their prime).

The fact is that In paradisium, as this album is called, is brimmed with top notch power metal with incredible amounts of brilliant melodies. The synth is very much there, but never to such an extent that it turns me off, and the guitar wizardry of Timo Tolkki really gets to shine here. This should be the next Stratovarius album, as this sounds much more like the Startovarius I love than Stratovarius does today.

Even though it may sound like I’m in some kind of seventh heaven, there are some minor things that don’t work perfectly here. The two ballads, “Alayna” and “Don’t let me go”, are not as strong as they could have been, not really bad, but rather boring. The three first tracks on the album is the strongest ones, and they never get up to that insane quality later on the album, but the biggest setback here is the vocals of Matos. Yes, I know many consider Andre Matos to be the god of vocals, but I’m definitively not one of them. Matos voice is pretty weak, and it really sounds strained in a bad way when he sings the highest notes. I cant help but imagine the voice of Kotipelto on this material when I listen to it, and I am convinced that it would sound way better than this.

Weak vocals aside, the music is so strong here that It’s still a joy to listen to this record now and then, even though I’m not as much into the genre as I used to be. Recomended to anyone into classic Stratovarius, and if you happen to be one of those who like the vocals of Matos, you’re truly in for a real treat.

Colawatt Jan 30 2013


I guess I was out of the loop back when this first came out back in April, but that was probably for the better, because this album is possibly the most generic power metal album in existance…and it comes from a freaking dream team of power metal musicians, such as Mikko Härkin, formerly of Sonata Arctica, Andre Matos of lots of Brazilian bands, Jari Kainulainen of Stratovarius, and predictably the guy who’s making this album so generic…yep, Timo Tolkki.

I’m not sure how this story goes, but apparently some people unjustly criticised Revolution Renaissance‘s Age of Aquarius album (so underrated…), so Timo Tolkki put out a generic and boring album called Trinity with singer Gus Monsanto, who was totally unsuited for the role (in my opinion). And about the same time, Revolution Renaissance split up, probably because nobody likes working with Timo Tolkki (the whole Stratovarius drama illustrates this point perfectly, even better when Timo admitted he made everything up. That’s an indication of who this guy is).

And a few months later, Timo is back with a supergroup consisting of pretty big names in power metal, with freaking Andre Matos as vocalist. And we get something that sounds exactly like late-90s Stratovarius. The first few seconds of opener “Fields of Avalon” sounds exactly like some riff off of Infinite, down to the guitar tone and all.

Nothing here sounds remotely original. We get unmemorably dull power metal songs for a while, with totally forgettable solos, a cheesy as hell ballad that sounds like something a certain other Finnish power metal supergroup that I dislike would put out (same keyboardist, too, what the hell), and just overall total Stratovarius worship all the way. I wouldn’t be surprised if any of these songs have parts of them written back in the 90s for Stratovarius, because the best these can hope to be are just Visions rejects.

And then we have the title track, and it actually happens to be pretty good, despite sounding a hell of a lot like an Age of Aquarius song. It has some chilling samples of street children or something, one of which sounds oddly like the female voice from Age of Aquarius. It manages to be good, despite being, yes, unoriginal.

Rhapsody in Black is probably the other highlight here, a good song through and through. Nothing special if it would appear on any other album, but here it manages to shine.

And for the last two songs we have a mediocre acoustic ballad that doesn’t sound like particularly Stratovarius, and “I Walk in Neon,” which consensus seems to state is total shit. I’m inclined to agree, kinda. It’s like somebody distilled everything that people hate about power metal into one song. It’s not terrible, but it certainly doesn’t do this album any favours.

The musicians here are just trying to copy Stratovarius, and it works just as well as you’d expect. Singer Andre Matos’s performance is wildly inconsistant, but for the most part, it certainly isn’t one of his better performances. Timo Tolkki and Mikko Härkin just play forgettable solos that seem oddly lengthy for power metal…maybe it’s just me.

And much as I’d expect out of anything Timo Tolkki touches these days, the band is kinda falling to pieces. Uli Kusch was out of this band pretty fast, and Metal-Archives lists Symfonia’s status as “Unknown.” Makes me wonder whatever happened to that “Return to Dreamspace” project of Timo’s. Probably exploded in the hangar, and we’ll never get to hear him ripping off that album, thankfully.

Overall, it’s strongly recommended to avoid this album, as it offers no redeeming values whatsoever. For anyone who actually wants to get into any of these bands whose musicians made this album, Visions and Holy Land are probably the best options, and infinitely better than this garbage. 2/5 stars for this, but I’ll knock half a star off for the utter waste of talent here.

metalinvader665 Dec 18 2011

I like this album a lot and dont understand some of the bad reviews. Listen to it again and give your opinion again because i think you are wrong (or maybe you have a different taste then i have). Many cool songs like FIELDS OF AVALON, SANTIAGO, the ballad ALAYNA, FOREVERMORE, the killer RHAPSODY IN BLACK or IN PARADISUM that makes this album very good. One of the best euro power metal albums i have listen in the last 5 years. This is a buy or die album for any old ANGRA fans (first two albums) and VISIONS/EPISODE STRATOVARIUS fans.
witchtrap Jun 16 2011

Thank you and farewell Symfonia

After hearing great Trinity I again had faith in Timo Tolkki. Maybe he can come back to top and make a sweet revenge to Stratovarius with this new supergroup of Power Metal.

Well, that attempt surely failed. In Paradisum sounds like collection of leftover songs from Angra and Stratovariusalbums. The number of good songs is zero. Thinking of what kind of masterpieces Tolkki has composed in late 90’s, this album makes me feel sad. Maybe Tolkki could call it a day and quit the music business. He has lost the godlike composing skills he once had. 

Well, songwriting isn’t the only failure here. I’ve never been fan of Andre Matos. I’ve always thought that, alongside with Roy Khan, he is the most overrated Power Metal singer and Matos has never been nothing more than average singer. In this album, however, Matos doesn’t sound average: he’s plain awful. His voice is as whiny and irritating as ever. The “glory days” of 90’s are gone also in Matos’ case.

All in all, this album is pure crap and Symfonia didn’t get even close to expectations I had. As sad as it sounds,Symfonia is just a travesty of Angra and Stratovarius. The biggest disaster of the year.


Damn I hate it when that happens…. You build up an album in your head before hearing it and you already have it pegged as something amazing, but when you finally get a hold of it that familiar underwhelmed feeling kicks in and then you start looking for the next needle in the haystack.

I certainly did this when I heard about IN PARADISUM which was going to be an album that brought together some of the most respected minds in the power metal universe via newly formed band SYMFONIA. I was sure it was going to be mind blowingly good, and when I first got it while I was listening to opening track FIELDS OF AVALON I was thinking to myself “Hey man, this really is as good as you thought it would be…good call!”. But then as the album went on I slowly found myself being less and less impressed until all of a sudden I was actually pretty pissed off with it. Tunes likeSANTIAGO and the very AVANTASIA sounding RHAPSODY IN BLACK were certainly redeeming moments, but I WALK IN NEON is pure crap by any stretch of the imagination.

IN PARADISUM isn’t a bad power metal album, it’s actually quite good….But if this is the best that can be done by some of the greatest people to ever grace the power metal scene then I’m sorry but it’s just not good enough.

In paradisum” ist eigentlich ein saugeiles Album. Die Songs kommen gut und hart und melodisch daher. Der Produktion ist on Top. Es gibt aber eines was mich hier kollossal stört: und das ist Sänger Andre Matos. Der Typ kann echt kein Heavy Metal, kein Power Metal oder sonstiges Metallverarbeitung.
Dauernd nervt er mich mit seinem blassen, hellen Falsettgesang. So kann er sich höchstens als Ablösung von Candice Night bei Ritchie Blackmore bewerben. Aber der wird sie wohl kaum eintauschen wollen.
Schade, denn mit einem anderen Sänger hätte dieses Album glatte vier, wenn nicht gar vier-einhalb Sterne verdient. Hurz!



Symfonia es el nuevo proyecto de Mr. Timo Tolkki, tras el batacazo que a nivel de audiencia y ventas se llevó con “Revolution Renaissance”, a pesar de la extrema calidad, en mi opinión, de sus dos primeras obras.

Para esta nueva aventura, parece que ha querido jugar sobre seguro, rodeándose nada más y nada menos que de André Matos a las voces (Angra, Shaman, Virgo), Jari Kainulainen al bajo (Stratovarius, Evergrey), Mikko Härkin a los teclados (Sonata Arctica, Wingdom) y Ulli Kusch a la batería (Gamma Ray, Helloween, Masterplan, Ride The Sky), auténticos colosos del género, bien conocidos por todos.

Una advertencia, si alguien va buscando algo nuevo, rompedor o desencasillado, va mal encaminado. Después de casi 30 años en la escena, con más de 150 temas escritos, millones de discos vendidos y salas y salas de conciertos llenas hasta la bandera, el finés, obviamente no tiene nada que demostrar, y aquí vuelve a retomar los patrones que a él le gustan y sobre los que se siente cómodo. Su sonido está claro, nunca ha intentado engañar a nadie. Las guitarras suenan como siempre, los riffs emulan a su pasado glorioso, los solos vuelven a sonar trabajados y las melodías insisten en las estructuras por las que se ha hecho archifamoso.

A partir de aquí, quien quiera encontrar otra cosa, ya sabe que con Symfonia se equivoca. Y como todo esto lo hace como nadie, el disco vuelve a convencer y a sonar como siempre ha sonado su música, sin falsas apariencias, sincera, y en mi opinión tan seductora como el primer día.

El sonido vuelve a ser muy bueno, todas las labores técnicas de producción rozan el sobresaliente, y las interpretaciones y ejecuciones suenan a la altura de los músicos que las representan. Los teclados incandescentes, con mucha presencia, Jari soberbio al bajo, Ulli pletórico a la batería, copándolo todo, potente, y André como es André, o lo amas o lo odias, pero nunca te deja indiferente… Obviamente yo soy de los primeros, es uno de mis referentes desde siempre.

“Fields Of Avalon”: Tema 100% Power Metal de los 90′. Riff de guitarra muy marcado que funciona como gran pistoletazo de salida, para un tema muy rápido, “speedico”, con un estribillo marca de la casa, que me recuerda muy mucho a los temas rápidos de Edguy (véase Avantasia). Brillante solo de guitarra y gran presencia de teclados solistas, con André Matos a gran nivel en las voces. 8/10

“Come By The Hills”: De lo mejor del disco. Arranque de clavicordio, guitarras con mucho peso y estructuras 100% Stratovarius. Estrofa acústica, puente enérgico y estribillo engalanado con muchos coros, muy “Infinite”, con mucho rollo sinfónico, armonizado en su fase final con los dibujos de guitarra del riff inicial. Toda la banda a muy buen nivel, aunque quizás se le podía dar un poco más de peso a las voces en la mezcla final. 8,50/10

“Santiago”: Riff de guitarra muy grave y oscuro, estrofas muy melódicas, muy Helloween, y estribillo que se podría colar en cualquiera de los tres discos que grabó el cantante brasileño con su banda madre, muy bien construído y desarrollado. En torno al minuto tres, el tema se sosiega, pidiendo tregua en forma de estructura acústica y una construcción a medio tiempo a base de batería y melodías de guitarra, para recuperar de nuevo, ya para acabar, el riff inicial. 8/10

“Alayna” es el gran “pero” en mi opinión. No es cutre, pero no viene muy a cuento, sobre todo dado el historial y el bagaje del gran André Matos en temas pausados. Se les exigía un poco más en esta rúbrica. Balada muy poco resultona, construída a base de unos arpegios sencillos y una melodía que elude casi en forma de plagio a cualquiera de los temas lentos de Stratovarius… “A Drop In The Ocean”, “Liberty”, “Celestial Dream”… Incluso pacere que en cualquier momento va a aparecer el señor Timo Kotipelto en plena interpretación. 6/10

“Forevermore” recupera la vena puramente Powermetalera. Riff de guitarra de nuevo muy versátil, marca de la casa, doble bombo muy resultón y estructuras ya conocidas por todos. Las melodías son buenas, pero tampoco te dejan marcado, incluso André, salvo en el estribillo, suena demasiado comedido, sin demasiada espesura. Tema a mil revoluciones, podría citar mil ejemplos como referencia, ya que el amigo Timo Tolkki ha debido escribir más de cincuenta canciones en esta línea. 6,75/10

“Pilgrim Road” se mete entre lo mejorcito del CD. Dibujos de guitarra y teclados muy atractivos, con un importante aire celta, con ciertos recuerdos al “Braveheart” de Yngwie, aquel tema que me dejó boquiabierto y que abría su gran “Facing The Animal”. André brillando por derecho propio en las líneas de voz, estribillo pegadizo y gran desarrollo instrumental, con mucho peso del sensacional Jari Kainulainen en las partes de bajo, replicando excelentemente todos los dibujos de guitarra. 8/10

“In Paradisum” es la perla, sin duda. Suena 100% Timo Tolkki, y yo lo ubicaría sin dudarlo en la época de “Destiny”, sonando incluso muchísimo al tema que abría aquel trabajo. Típica estructura de guitarra aderezada por coros y teclados, generando ese toque sinfónico que tan bien se le da a las veces al escandinavo, desarrollos acústicos, “increscendos” y estribillo de lujo, armoniosamente perfecto, con los coros empastando a las mil maravillas con las líneas solistas de André Matos. El brasileño aquí se mueve como pez en el agua. Por cierto, la estructura de guitarra que salta en torno al minuto 3.50 es una delicia. 8,75/10

“Rhapsody In Black” es otra de las joyas. Estructura de guitarra brillante, a medio tiempo, con mucho gancho, muy rítmica. Verso sereno, aderezado por las acústicas, y estribillo convincente. Tema muy fresco, muy redondo, muy dinámico, que te lleva y te lleva y te lleva… 8/10

“I Walk In Neon” vuelve a sonar indiscutiblemente a los Stratovarius de siempre. Inicio clásico a base de clavicordio, obviamente sonando muchísimo a cortes tipo “Black Diamond” y melodías y desarrollos muy típicos de su última etapa, más modernos, viniéndoseme a la cabeza canciones como “Fight!”, “I Walk To My Own Song”, “Learning To Fly”… Ese “I Walk In Neon Today…” del final del estribillo suena muy mítico. Receta ganadora, no hay más. 7/10

“Don’t Let Me Go” es la segunda balada del disco, más inspirada que la anterior, algo más modernilla en las melodías, de aire pomposo y arreglada a base de cellos, otorgándole cierto aire señorial. Las melodías están bastante trabajadas y André Matos sale claramente vencedor en las interpretaciones, sutiles y sentidas. 7,50/10


Muy decepcionante. Le doy un 5 porque algún día votaré discos frikis que merecerán más crueldad..y yo se la daré, por supuesto. La única canción realmente decente es la última y sólo se trata del epílogo a un trabajo completamente aburrido, hecho sin ganas y carente de cualquier atisbo de imaginación. El resto de temas son fiasco tras fiasco, empezando por los dos primeros, que rozan el más completo ridículo. El tercero alcanza un nivel aceptable dentro de la mediocridad del disco y nos mete de lleno en una balada que es de lo peorcito que se recuerda por aquí. A partir de ahí vienen una serie de temas powermetaleros de melodías insulsas que pasarán sin pena ni gloria por vuestros oídos hasta desembocar en la atroz “I Walk in Neon”…

Por descontado, esto podría ser un disco en solitario de Timo Tolkki. Lo compone todo de principio a fin y quien diga lo contrario, miente. Los demás ni pinchan ni cortan. André Matos canta fatal, sin ganas, sin fuerza y aún encima, desafinando bastante por momentos. No le echo toda la culpa del desastre porque está claro que las melodías son las que son y las tiene que cantar en ese tono, pero el resultado es horrible.

Discos como este me hacen reflexionar sobre algunos inconvenientes de la era digital. Cosas como que ahora resulte tan fácil grabar discos sin que ni siquiera tengan que juntarse los miembros de la banda para poner ideas en común, o que cada uno pueda grabar sus partes por separado desde su casa mientras hace crucigramas. Esto en principio parecen ventajas, y así lo son muchas veces, pero otras hacen que el resultado final sea demasiado frío y sin ningún feeling. Por otro lado, quizás en otra época canciones como las de este disco nunca se hubieran grabado..eso que nos hubiéramos ahorrado.

robe793 Apr 13 2011


Очередной новый проект бывшего лидера Стратовариус  многострадального Timo Tolkki. После расформирования своего предыдущего проекта Revolution Renaissance прошло меньше года и альбом новой супергруппы уже готов. На этот раз Тимо объединил усилия со своим старым знакомым басистом Кайнулайненом, известным бразильским вокалистом Andre Matos, не менее именитым драммером Кушем и клавишником Хяркиным, также переигравшем во многих металлических коллективах. 

Как ни странно, наконец-то у Толкки вышел достойный его уровня диск. Да, последний альбом Revolution Renaissance уже был очень неплох, но In Paradisum вышел еще лучше. Музыка вся та же, традиционная для Толкки, Melodic Power Metal с симфо-элементами, но все выполнено в лучших традициях Stratovarius второй половины 90-х. И самое приятное для меня – на альбоме доминируют именно скоростные вещи и почти нет занудных медленных вещей, кроме Alayna и баллады Don’t Let Me Go. 

Клавишник Mikko Härkin  играет неотличимой от Jens Johansson манере выдавая соответствующие неоклассические пассажи, Толкки как обычно шредит, но вот вокал Матоса кажется каким-то охрипшим и подсевшим, то ли Андре был простужен во время записи, то ли его высокий голос с возрастом подсел. 

Наиболее порадовали Fields of Avalon, Santiago, Forevermore, I Walk in Neon – давно такого от Толккинутых проектов ждал. Неплохи Come by the Hills, Pilgrim Road с фолковыми частями (похоже на RR Into the Future), эпик In Paradisum также достоин внимания, в нем хватает хороших моментов. А вот упомянутые мной вначале неспешные вещи я признаю самыми слабыми. 

Да, альбом вовсе не оригинален, все Стратовские клише на нем присутствуют (есть даже явные переклички со старым творчеством, например, медленная атмосферная часть в Santiago очень напоминает подобную в Stratosphere.
), но и пусть, именно за это я и любил старый добрый Stratovarius. Это лучший диск Толкки за последние лет 13, на голову выше всех поздних Стратовских работ, как с Толкки, так и без. В общем, диск для поклонников настоящего евро-Павера и талантов Timo Tolkki, наконец-то вышедшего из затяжного творческого кризиса. 4.9/6.0.


Os vocais de Andre Matos (Viper, Angra, Shaman), a guitarra de Timo Tolkki (Stratovarius, Revolution Renaissance), o teclado de Mikko Härkin (Sonata Arctica, Kotipelto), o baixo de Jari Kainulainen (Stratovarius, Evergrey) e a bateria de Uli Kusch (Helloween, Masterplan): o estreante Symfonia tem um line-up respeitável e pra lá de experiente, com uma folha corrida de diversos serviços prestados à música pesada. Por isso, a expectativa em torno do debut do conjunto era imensa, com os mais apressadinhos já prevendo o surgimento de uma nova obra-prima. Não é bem assim.

A audição de In Paradisum deixa claro uma coisa: o álbum soa mais como Stratovarius com os vocais de Andre Matos do que com o Angra dos tempos de Angels Cry com a guitarra de Timo Tolkki. Uma sonoridade até previsível, visto que Tolkki sempre foi a força criativa por trás do grupo finlandês, enquanto Andre dividia as composições em seus tempos de Angra com Kiko Loureiro e Rafael Bittencourt.

É até estranho ouvir um álbum como In Paradisum em pleno 2011. O que sai das caixas de som é aquele metal melódico cristalino, acelerado e não tão pesado que fez a cabeça de uma multidão de fãs nos anos 90. Herdeiro direto de Visions, o disco chave da carreira do Stratovarius, In Paradisum irá agradar mais os fãs da carreira de Tolkki do que qualquer outra pessoa. Ainda que reserve alguns bons momentos de alegria ao ouvinte, o CD não possui a energia e a inspiração que fizeram de Visions um dos melhores trabalhos da história do metal. E, como você deve imaginar, a falta desses dois elementos faz uma falta tremenda.

A abertura com “Fields of Avalon” é mais do mesmo, e você já ouviu faixas similares dezenas de vezes. O mesmo vale para “Come by the Hills”, bem construída e redondinha, com coros interessantes no refrão, mas que não diz grande coisa a qualquer metalhead já veterano no estilo. “Santiago” tem um ótimo início, com guitarras agressivas e boas linhas vocais de Andre, mas cai em sua parte final em melodias pretensamente belas que, na verdade, soam apenas cafonas. Mesmo assim, a faixa acaba se destacando, com uma excelente performance dos músicos, principalmente Tolkki, que ratifica o seu status de guitar hero com louvor.

O início acústico de “Alayna” dá uma acalmada nos ânimos, e a faixa evolui para uma balada com bons vocais de Andre. Tolkki volta ao comando em “Forevermore”, uma das melhores músicas de In Paradisum, com tudo aquilo que irá empolgar os fãs: riffs de guitarras rápidos, excelentes linhas vocais de Andre Matos – aliás, o bom gosto do vocalista nessa faixa é digno de nota – e cozinha mandando ver na melhor tradição do metal melódico. Destaque para a passagem onde o teclado de Härkin toma à frente, que, apesar de breve, é bem interessante.

“Pilgrim Road” é uma boa faixa, grudenta e empolgante, daquelas que, ao ouvir, a gente imagina o público pulando e cantando junto nos shows. A épica faixa-título, com mais nove minutos, apresenta influências do Avantasia, notadamente de The Metal Opera II (2002), e também de Infinite, álbum lançado pelo Stratovarius em 2000.

“Rhapsody in Black” tem um bom riff de Tolkki e um andamento interessante, enquanto “I Walk in Neon” agrada na primeira audição. O play fecha com “Don´t Let Me Go”, composição contemplativa perfeita para o encerramento do trabalho.

Em suma, In Paradisum é um disco deslocado no tempo. Se fosse lançado na época em que o heavy metal melódico dava as cartas no cenário, talvez hoje ostentasse o status de clássico. Atualmente, agradará apenas aqueles saudosos fãs do estilo – e, é claro, os devotos de Andre Matos e do Stratovarius. Um bom disco, feito claramente por quem entende e domina o gênero, mas que veio ao mundo na época errada, o que o faz soar fora de contexto.

Resumindo: o metal melódico se desgastou muito com a megaexposição que sofreu nos anos noventa, fazendo com que quem curtia o gênero migrasse para outras ramificações do heavy metal. Ou seja, a parcela de público do estilo atualmente é radicalmente menor àquela de quando ele estava no auge, fazendo com que o ouvinte potencial do Symfonia seja reduzido. Mas, mesmo assim, um fato é inegável: quem ainda mantém aceso o interesse pelo estilo irá curtir In Paradisum sem muito esforço. Se você faz parte desse grupo, compre já o seu!

cadao Apr 05 2011

About Janus

Janus Aureus is my recently-inaugurated personal blog (written in portuguese, but with some texts in english as well). Fiore Rouge is my old (but still very active - in fact, more than Janus :P) blog (I started it back in 2005). Mentalize is a fan-made website (since 2005). if you wish to contact me for any reason, visit my blog and leave a comment OR see email above (top left) - no, my name's not Andre - actually, I'm not even a guy! LOL Long story... O Janus Aureus é meu blog pessoal - escrito em português - ainda sem muito conteúdo, pois foi começado no final de dezembro de 2011. Já o Mentalize foi aberto em 2005 e está escrito em várias línguas *rs* Privilegio o uso do inglês ali porque o pessoal estrangeiro não tem muitas informações sobre o AM. Quem quiser entrar em contato comigo por qualquer motivo, deixe um comentário nos meus blogs ou use o email que está aí em cima à esquerda (e não, eu não sou o Andre - aliás, sou mulher!).

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