Sold as a cross between Enigma, Kate Bush and Evanescence may not be the typical fair would you expect to read about at V1, but this in truth is probably closer to experimental prog rock than you would imagine.  It’s certainly very modern in sound making generous use of samples, loops and synths yet there is an underlying rock element to the proceedings – not to mention some quite glorious melodies, hooks and vocals from Jade Ell.  The majority of the music comes from Pelle Händén who has done a good job of keeping a interesting sound inside commercial length tracks as well as delivering a very full production along with mixing and mastering help from Mind’s Eye main man Daniel Flores.  In addition to the more pop elements there is a nice bite of metallic rhythm guitar here and there and overall it’s a very interesting hybrid of sound – certainly unique and whilst not typical of what you would expect from Lion Music it’s an interesting listen than holds its own. 

Recommended for the more adventurous readers out there.

Rating – 80%

A 20^th anniversary re-release which sees completely new guitar and vocal tracks over re-mastered and remixed original backing tracks from guitarist Lars Eric Mattsson.  Where we get some variation over the original is in Lars handling all vocals himself and to my knowledge marks his debut recording on lead vocals.  Whilst initial unheard concerns of him doing an Uli Jon Roth are unrealised its safe to say Mattsson’s vocals, are whilst not world beating, are not as bad as one might expect from a virtuoso guitarist who are normally terrible when it comes to vocal pipes e.g. the aforementioned Roth and Malmsteen. 

 The music of “No Surrender” is firmly rooted in classic metal  with neo-classical touches and yes at times it does sound dated when compared to the more modern progressive output from Mattsson (e.g. War), but at the same time there is a certain charm and nostalgic feel to the album.    Mattsson himself even concedes in the press material “Of course some things do mature better than others over time but overall I am quite happy with these songs representing my early career, and most of all, I had a really great time playing them again”, so kudos for being honest.  But then again the likes of “Tear Down The Border” with its strong Rainbow feel and strong chorus as well as another corker in “Lady Luck” showcase strong guitar work in the much loved musical framework of yesteryear.

 Sonically the album is good, maybe a little digital sounding in places (guitar tracks especially) but given than the album has been out of print for many years its sure to satisfy those that have been wishing for a copy to complete their collection.  As a nice bonus Lars has thrown on 5 live tracks on the end which are a nice bonus in themselves.

 Rating – 78%

The return of former Riot vocalist Mike DiMeo, backed by an Australian band. I don’t know if it’s solely DiMeo’s voice, but I detect a strong Riot influence in the music, which is never a bad thing.

“Power metal” has become a dirty word, thanks to the masses of faceless continental bands that turn up the kick drums for yet another Helloween rip off, so I won’t besmirch the band by using this epithet. Let’s just call it heavy metal, a perfectly good term. The song structures and keyboards hint at some prog influences but the band never meanders off into self indulgent noodling, although the title track comes close.  Average song length is well over 5 minutes, with the songs taking unexpected turns on several occasions.

DiMeo is a great singer for this kind of music. He doesn’t reach the high notes some of his colleagues go for, but he compensates by having plenty of power. There are loads of shreddy guitars and keyboards. Musicianship throughout is excellent, with the rhythm section doing a solid job in the background.

Production was handled by Tommy Hansen, so there’s little reason for concern there. That being said, the rhythm guitars are a bit buzzy.

Comparable bands? Well, 90s Riot, obviously. Melodic, powerful heavy metal basically, akin to Rob Rock’s solo albums but proggier.

A surprising album.

Hot spots : Hibernal Thaw, Omnipaedia, Fragmented Glory, The Little Witch Of Madagascar
Rating  - 85%
Review by Joost Vlasschaert

PRAYING MANTIS – SANCTUARY
Frontiers Records - Out Now

Survivors of the NWOBHM, with some links to Iron Maiden (Clive Burr, Dennis Stratton and Paul Dianno have all passed through the ranks at one point or another), Praying Mantis never hit the big time. Will the new album Sanctuary (another nod to the mighty Maiden?) change that? Probably not, but that doesn’t mean there’s nothing to enjoy here.

I have to admit this is the first Praying Mantis album I’ve heard. Maybe they were more metal on earlier releases, but this album straddles the line between melodic metal and hard rock, with even hints of AOR thrown in. The album has a distinctly 80s feel about it, both in the songwriting and production department. The ten tracks run the gamut from heavy rockers to bombastic ballads, all covered in big harmonies and melodic lead guitars. For some reason I’m reminded of Winter’s Reign. Singer Mike Freeland has the perfect voice for this kind of music, bright and with ample access to the upper registers.

A thoroughly enjoyable album that has made me curious to check out more from this band.

Hot Spots : Tears In The Rain, Threshold Of A Dream, Playing God, Sanctuary
Rating – 85%
Review by Joost Vlasschaert