“The Awakening” is Kamelot’s thirteenth’s album and one that’s taken probably the most time between releases, in recent times (we have the Pandemic to thank for that). The multinational power metal band returns in great form and with great aplomb, seeking to shuffle the cards a little, to avoid sterile repetition that seems to be plague many bands with releases that veer into the double-digit territory. They largely manage to do so, by partially exchanging their goth and dark cloak, with one that doesn’t have more “major key” accents, bringing to mind the more symphonic Khan-era works of the band in a fine balancing act between the two. Tommy Karevik, several songs in his tenure with the band, seems to have strongly found “his voice”, not opting to go for a Khan impression most of the times, but naturally landing pretty close, most of the time.
“Overture” is one of the more impressive intros the band had in a while, with “The Great Divide” that follows it, feeling splendorous in its symphonic manifestation.
“Eventide” exchanges a bit of speed for atmosphere, and its well-placed orchestrations give it that little extra spice that it needs, as it shifts from darkness to light seamlessly. Sublime.
“One More Flag in the Ground” sounds like a great merchandising opportunity! Well, it’s one of thos big-dramatic pieces with wild dynamics and effects,and all that, which the band knows to do well. Think “March of Mephisto”, but a little more exotic in places. It was released as a single and I can’t fault the choice, although, it tends to overstate its chorus a few too many times, but thankfully the solo break alleviates the sense of monotony that could have set in. It also closes the track in a somewhat unexpected and unusual move.
“Opus of the Night (Ghost Requiem)” is a sequel to “Ghost Opera”’s story, smartly repricing its main theme, but doing so in a very classy way and packaging it with a lot more velvety parts. The time apart from the eponymous album also makes it a sequel that’s not an afterthought, but a welcome memory revived.
Along with it, the next track, “Midsummer’s Eve”, includes the contributions of Grammy nominated cellist, Tina Guo. The latter is a ballad with subtle Celtic undertones, sparsely strewn throughout. “A Sailorman’s Hymn” this ain’t, but it comes close in terms of lyricism. Bit like “midsommar”.
“Bloodmoon” weaves it’s eastern motif along with the guitars ingeniously to arrive at a great Kamelot composition that sounds fresh and vibrant, despite being the seventh song in the band’s thirteenth album. Not such an unlucky a number, then, as it includes a lot of singalong moment’s this one.
“Nightsky” is a darker, moody number, with Khan-tastic hues liberally thrown in. The fact that it could have easily come from any of the Khan era, trifecta of top albums, is a testament both to the band’s songwriting abilities, but also to their enduring appeal.
“The Looking Glass” has some neat introductory percussion and overflows with “Karma” & “Epica” vibes. I mean, what’s not to like?!
“New Babylon” manages to outdo Sabaton’s bombast, at their most bombastic, while remaining really low in the cheesy scale. It’s a little melodramatic in places, but that goes with the territory, I guess. And the polyphonic conclusion to the song… I mean I haven’t been this impressed with a song since Savatage’s “Chance” or the eponymous song from “Wake of Magellan”, which should give you an indication about the amount of layering that’s going on.
At this point I’d also have to sing praises to Alex Landenburg’s percussive prowess, that’s only matched, by the most impressive players out there. He exerts an effortless, yet masterful performance, with great sophistication and without lacking in power. He’s been drumming for the band for a while now, playing the parts to perfection, but’s only debuting on a record, with this effort and he makes the wait, absolutely worthy.
“Willow” is a mellow, yet somber number, not entirely a ballad, as it has it’s fuller moments, but offers some respite from the over-the-topness of it all, which in all honesty, feels necessary, as the band retains a sting at the tail-end of the album with “My Pantheon (Forevermore)”, a number that begins rather timidly, but rises sharply once the bridge/chorus come around, even going as far, as to have a growly part, thrown in there that doesn’t necessarily offer much, but at least doesn’t detract either.
“Ephemera (Outro)” is an outro, a softer, string-rich piece, which seems quite involved with a bunch of ideas explored briefly, but it’s the piano lead out in its sublime frailty that finally manages to calm things down to a halt.
BTW I can’t also help, but to exalt the album’s wickedly cool cover, probably one of the best, if not the best, the band had in their entire career. It’s truly majestic.
Overall, this latest album trades blows with “Silverthorn” for being the best Tommy era, Kamelot work, which is rather commendable and when it really works, (which is often – but not always) it even dares to gaze towards the band’s greatest albums, without finding itself lacking in any department. Kamelot are subtly trying to avoid, dry repetition, by using some more color in their palette, than they have had as of late (if you excuse my Bob-Rossy pun) and are doing a damn fine job of it and of keeping their legacy alive, at this point in their career.
