Blind Guardian seem to face the destiny of many classic and long-lasting bands out there. Newer bands catch up with them and sometimes even become far more popular in the given genre, with younger audiences hardly giving a damn and then, either a bad album or an experiment like say “an orchestral album” just estranges everyone, but the most hardcore fans.
The Guardians of the Blind have seemingly suffered both those plagues, by having to perform lower in festivals, than bands half their age and talent, as well as releasing a hot mess of an orchestral album that doesn’t seem to also be what the band had originally envisioned and worked on since the 90s, but a hastily put together attempt at going operatic, but with only one main vocalist, firing back spectacularly.
Thus “The God Machine” needed to be a twice as strong album, in order to dispel any doubts about the band’s viability. And up to a point it is just that album. With a fierceness that’s most unexpected of them, this late in their career, the band delivers an album that could have been the spiritual and actual successor to “Tales…” and “Somewhere…” had the more melodic “Imaginations… ” never happened (which would have indeed been a big pity).
“Deliver Us from Evil” announces itself in a spectacular way, with its bombastic double bass drum barrage taking over after a short atmospheric introduction. Excellent riffs, bridge, chorus and everything else in this symphonic pandemonium that deals with the Salem Witch trials, a long time ago. Hansi really sounds as if he’s possessed, throughout… making this actually one of the best songs on the subject since Darkology’s “Beyond the Grave”, which was a while ago…
“Damnation” doubles down on the ferocity, but still manages to sound grandiose, by going overboard with its choirs. I however am not one to object, when it all sounds so majestic.
And while the band was doing fine, with smaller, self-contained numbers, it decides to really go for it, in the seven and a half minute “Secrets of the American Gods” (based off the eponymous N. Gaiman novel) and while the build up to its chorus is really impressive, it ends up being a tad anticlimactic, once it actually comes around.
“Violent Shadows” is more violent than anything else, with its bridge, being most discernable, along with the solo, changing the pace a bit. Good, but not great.
“Life Beyond the Spheres” on the other hand is exactly the opposite, an opulent but much slower number, that feels a little ill-fated to contrast badly after one of the most intense songs on the album, without actually being that bad itself.
“Architects of Doom” again tries to rectify this, by hitting the gas pedal, which gives it an initial oomph that feels a little sudden, but beside the odd riff here and melody there, it misses more than it hits…
“Let It Be No More” is a slower, melodic piece, which builds to a powerful payoff and while not perfect, is quite a good diversion that allows the listener some “breathing space”. It features all the band’s trademarks (polyphonic, choral parts etc.) and a quite inspired solo that really set it apart from the immediately preceding bouillabaisse of sounds…
And while I feel a bit too old to be impressed by high fantasy lyrics, the dynamic delivery of the band on “Blood of the Elves” leaves little chance to not be impressed by the crushing power metal they offer. This one in particular could have easily fitted on a 90s album and anyone’d be none the wiser if it were.
Lastly, “Destiny” with its mostly mid-tempo and initial cool off, had me fearing a “Twist in the Myth” sort of fluke of a track, but it thankfully manages to circumnavigate that fate, by clever use of dynamics and the commitment of Kursch, who gives one of the more dramatic deliveries on the entire album.
The mix is a little busy and boomy, bass rich, which is not that pleasant, but one could have expected that to be a bit of an issue, due to the sonic territory the band chooses to tread in.
I guess, it’s a good enough sequel to “Beyond the Red Mirror”, playing on the band’s strengths and trying to pretend like that “orchestral” misstep, never really happened. Well, like one Iain of Bright, I am good at pretending, so let’s pretend and enjoy.
