Between HAVEN & Hell (3.5 / 5)

There is not so long, Kamelot has had some difficult years. It was a bit close to losing the ... Finally, in my case, it has almost been. I had been convinced by moderately Ghost Opera in 2007 that, while not bad, seemed to me less striking than its predecessors. And then there was Poetry for the Poisoned, probably the least popular group effort, which has not rectified the situation, quite the contrary ... the combo onstage performance has not to do otherwise always been remarkable at the time, with, notably, a Roy Khan worn and less voice that will eventually leave Kamelot in 2011. After this decline, the next choice and group movements would be crucial ... and Silverthorn, released in 2012, with very good vocals Tommy Karevic, undertook to restore the crest of Floridians by reviving a more inspired music and catchy ... but do not equal their best feats. It is now time to give a response to this new beginning and to confirm (or not) the health of Youngblood and company.

Haven is the name of the eleventh production Kamelot. Some info: it's not a concept album as could be Silverthorn but the elements which the group has accustomed us for years now meet ... starting with the illustration that still appear a female character . Visually, there is always this mix of romance and darkness that is also reflected in the music. Sascha Paeth is once again in production (assisted by Jacob Hansen at mastering) and there are also a few guests (Charlotte Wessels of Delain, Alissa White-Gluz Arch Enemy and Troy Donockley Nightwish). Musically, the classic ingredients that have contributed to the success combo are there and your gothic-symphonic melodic metal dose is guaranteed. The frame is heavy, the atmosphere is melancholic, sometimes even a little darker than on the previous album without the company sinks into something too depressed either ... because the music of Kamelot retains its epic , removed its passages and melodic flights more positive or hopeful.

The radius of success, there is the opening song, very good Fallen Star that starts the album on a driving mid-tempo and a chorus (first proposed in intro on piano, then resumed amid heavy once the piece started) melodic at will remains in the lead. To me, the most striking title of this album is the Citizen Zero heavy ... heavy, dark, theatrical and heady. Beautiful work. Haven also has some quick and effective pieces. There Veil Of Elysium, speed, with a good melody, easy to access ... it's the kind of compo which will please the fans but I find it still lacks surprise. It's very well done but heard.

In a similar style, with a small dose of extra aggression, there also Liar Liar (no, this is not the soundtrack of a film by Jim Carrey) who has some more modern sounds and sees Alissa White- Gluz grow some gueulantes bellicose. Moreover, we find the singer of another compo modern and aggressive named Revolution placed at the end. Now Haven does not realize that good times. The Under Grey Skies ballad (with Charlotte Wessels and Troy Donockley) does not move me. It is mild satisfaction, classic, predictable ... I am no more enthralled with Here's To The Fall, another ballad in which he does not go much. Certainly Tommy Karevic confirms his talents vocalist but, for me, the EEG remains flat. The instrumental named the album and concludes listening does not seem to embody a memorable end either. Fortunately, there are other good songs, heavy and well made, with well trussed choruses (Insomnia, My Therapy ...) but which, nevertheless, are struggling to compete with the songs composed by Kamelot once. The moods are worked, there are arrangements, good musicians, nice melodies but when one remembers hymns always played in concert as Forever Center Of The Universe, Karma, March Of Mephisto and some others, we realize well aware that the new songs are still not quite of the same caliber.

A word about the performance of Tommy Karevic. It really is very good ... but I regret that, quite regularly, it still imitates too Roy Khan. I know it allows the group to retain its identity (and his fans) but still ...

Yes, Kamelot confirms it will pretty well, that his choice of singer for the continuation of his career is the right (even if his personality still seems a bit muzzled) and he raised his head following his disappointments. Haven is, in my opinion, better than Ghost Opera and Poetry for the Poisoned. This does not even doubt. Now it seems a little less catchy than Silverthorn ... and the group's classics (like The Fourth Legacy and Epica) remain out of reach. Not enough to castigate Floridians, of course, since this remains a working eleventh album opus and classy but that it still lacks some things (more surprises, more hymns ...) to completely seduce me.

Score: 14/20

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