LABŸRINTH - Architecure Of A God
June 25, 2017, a year ago
Ironic, that as many of the better known, late ‘90s Italian power metallers (or at least those still plying the trade) are packing it in, or radically overhauling their line-up, Labyrinth, who took a several album sonic detour in the new millennium, have reunited the principle components of their success (vocalist Roberto “Tyrant” Tiranti, composer/guitarist Olaf Thorsen, born Carlo Andrea Magnani) and returned to the sound of “old.” OK, it might not be all speedy power metal anthems, but the experimental forays into other musical directions, during Thorsen's absence, are all but forgotten.
“Bullets” opens after a hyper-charged, kinetic first minute, seemingly by avant-garde composer Philip Glass, it's down to high energy (even higher register) power metal. “Still Alive” downshifts into mid-tempo, but with a flurry of synth and guitar showing off. “Take On My Legacy” sees the Italians (and American drummer John Macaluso) delve into (rabid paced0 straight ahead metal. Both “A New Dream” and “Someone Says” have something to offer, think Fates Warning circa Parallels. The proggy, piano begun “Random Logic” is just a short (practically instrumental) palette cleansing intermezzo. Speaking of voiceless tracks, “Children” seems based on the theme to the late night/midnight movie. The nearly nine minute title cut serves as something of a delineation, the last great song, as the second half of the album (apart from a galloping “Stardust And Ashes”) is less fulfilling than the first. “Those Days” is a moody semi-ballad and aptly entitled “We Belong To Yesterday” offers an upbeat prog construct. The “Diamond” finale is ethereal, a spacey, almost exclusively keyboard affair. Still, a welcome return to form, even if it proves to be a one-off.