Yes, there is actually a lot ballert double bass, but a real firecracker sounds different. Somehow clarified and without Esprit spit a five melodic rock professionals towards this number, as they wanted with as little effort appease all their critics. According to the motto: Look, we can still hard and now shut up. This attitude permeates the entire album. Taking most of the reviews and the chart position (rank 13) for advice, it worked even dazzling. The pack more style comes in contrast to the comparatively harmless compositions of the first album well received. Enthusiasm everywhere. I find it difficult to share, even though I like it so much wants.
I simply lack the freshness, the passionate struggle for sophisticated melodies, like him the first fruits has commanded. In the finally published in August "Light of Dawn" RECOURSE much piecemeal. A successful riff here, a strong chorus there. After the first run I was even shocked and thought the LP was totally for the ton. Quite so bad it is not after all.
After the kick-off turned into a triumph. After the uplifting classical intro "Venite 2.0" prepare Mandy Meyer and Kai Hansen with her guitar duel the way for a melodic Speedgranätchen. In the best tradition Helloween rattles the double bass and Michael Kiske attracts with its even more adorable singing under the spell. "Your Time Has Come" is the piece and likely many fan yesteryear wrest a stunned amazement. You can actually still. No AOR or melodic rock. The track here is a sharper, more aggressive. Yes, it is metal, precisely because of the overly positive textual message. Otherwise you can hear Kiske exclusively in the context of metal opera Avantasia in such hardship regions.
The only downer: As in the past Place Vendome album "Thunder in the Distance" (2013) Hamburg seems again to too high a pitch. It sounds more like a desperate attempt to regain former fans and convulsively to prove that you have not heard of mid-40s on the scrap heap. This guy's just not 19 like "Keeper of the Seven Keys" times and honestly I'm glad drum. The squeaking of the time I find always unbearable. I prefer to be deeper, more mature timbre. He fascinates me really.
On the second single "Exceptional" drives Kiske said organ in the chorus also to dizzying heights, but this time it fits perfectly. Edler song with absolutely brilliant chorus. Significantly softer than the entry. Old school melodic rock in powerful mid-tempo, the sounds rancid or stuffy second to none. Here shines the whole troupe. Nice that it also gives to a video clip.
However, real figurehead of the plate shall be the fleet "For the Kingdom". The verses in the more than obvious parallels with the Scorpions classics "Is there anybody there?" have not only been set out by me. In addition, the chorus turns into a loveless zusammengepappten Happy Metal Allerweltsgebäck as it can be heard a million times in the delivery of other average confectioners (äääh bands). A lot of noise about nothing. Since helps no double bass, which is not strong enough here.
Even with the powerful stomper "not gonna take anymore" I can not make friends quite me. The verses inspire the chorus lame again. Where are the charming aha moments, who had awarded the debut? There remains the feeling that the band has not taken long enough time to hone to the smallest detail to the piece. If one knows how long the work has drawn on "Unisonic" understanding may cause. Nevertheless, it is regrettable. The spontaneity with which one this time approached the production has unfortunately just spawned another chorus of the rod.
On "Night of the Long Knives" however, there is absolutely nothing wrong. Fabled melodies and a sensational opener cry. DAS is Kiske! Finally he shows all his facets. Exactly such songs make this man into a giant whose voice is on a par with legends like Ronnie James Dio, Rob Halford, Ian Gillan and Bruce Dickinson. The top league of rock so. Passionate and moving.
It runs like a thread throughout the work - some of the faster songs have their weaknesses. "Find Shelter" surrounds so nothing beguiling. The chorus goes one just on the mind and Kiske screeches be unmotivated and strained to an end. Weak.
The first ballad "Blood" is a little simple one, but at least tempted to satisfied swaying. Nice part, even though I'd rather stay at about genius "Over the Rainbow" from two years ago.
With "When the deed is done" return Unisonic completely back to the sound of the debut. Good for them. Pleasant, thrilling piece in AOR style. Slightly melancholic, yet sublime. Is the album about still to Breakers?
"Throne of the dawn" reinforced this hope at first. Finally like sometimes a uptempo track. What a royal Chorus! Since stand on hackles with enthusiasm. Such diamonds would have previously required in greater density. You can actually and really, really good! As good as only few others.
And yet you will not shake the feeling that in some places Ausschussware was boiled for some archives. "Manhunter" draws just as higher level namely with a blow back into the cellar. By and by boring. Emotionless unwound duty. The weakest song on the album.
At least save the evocative ballad "You and I" still a lot. Somehow reminds me of the Allen / Lande project, even if Kiske considerably gentle and sensitive singing. Great number full of heart.
And also the bonus track "Judgement Day" you can reinziehen hesitation.
All in all, it is not enough for big hit. On the contrary, "Light of Dawn" contains some unusually violent Patzer. Highs and lows are balanced. Trying again fails to become harder largely. The impression remains of a hectic produced quick shot without lifeblood. Somehow empty and soulless comes one before the matter. Also contributes to the somewhat clinical sound. It lacks the necessary foundation. Especially the snare of Kosta Zafiriou degenerates so for popping high-tech farce. As bassist and producer Dennis Ward on "Unisonic" has worked much more convincing.
After all, some really outstanding tracks on the CD, but that was expectable in this promising band constellation. And so it will flash on unfortunately too rare, this unique gift the listener completely to captivate and hold in its own sound universe. Ultimately, the impression remains that all parties it could have done better. Three stars are as yet benevolent. Hopefully it goes not so.
