Chance of course, because you now just has a vocal fixture. One can the albums best, give even more variety and so also reach listeners, where the instrumentals was too much formerly. Even Perez brings structure in the aspect of the familiar for many years guest voices. On the other hand just falls this vocal variety (of Sandra Nasic, about Max Cavalera to Till Lindemann) immediately away. Who does not like the voice of the new arrival, has quite simply been unlucky. In addition, theoretically there is a danger that from an exceptional band like Apocalyptica an ordinary will. So far you have to - singer or not - fortunately not go, because for the Finns have too much talent and too fine antennae. Of course, driving "Shadowmaker" the store not before the panel because the Apos it comes to new possibilities and shades (so I would then interpret the album title), not about compulsively to draw everything on the left. It goes without saying that Perez is not constant is used, but the instrumental group also takes enough time for yourself. Why fix something that is not broke? Exactly! And therefore we find, among other classic rousing Apocalyptica fabric like "Reign of Fear" or the multifaceted Achtminüter "Til Death Do Us Part" on this long-player. In "Riot Lights" there is even worn correctly, because here the musicians try something completely new, if they so to speak only with their cellos and equally breathtaking drumming of Mikko Sirén present a techno number - pumping Beat included. I think the guys crazy enough to present this blinkered loose exclamation even live. Right there, on the stage, the new constellation of course provides some possibilities, like in the form of the new songs. They include namely hide some real gems, as it shows the latest after the second round. The haunting "Slow Burn" as well as the soulful catchy "Sea Song (you waded out)", which is only topped by "Hole in My Soul", a song that is in itself good, but still even scary benefited from the strong vocal melody, thus clearly gaining traction. Who cares there already that Franky Perez a first not equal skin with the first note from the base and it is perhaps a little more skeptical? That he knows his craft, prove not only the references of previous employers (Slash, Scars on Broadway), but with increasing playing time also "Shadow Maker" on which he of elegiac whisper ("Sea Song") to pithy cries ("Come Back down ") a more than decent range interrupted.
The moral of the story is that change need not be always bad. Contemporary poets like Barney Stinson list as many "New is always better". The question must not say whether the new Apocalyptica now are better or worse than the old, but if that is what presents "Shadow Maker" works and sweeps the listener. The answer can only a loud "Yes!" be. Classic case of dream debut!
