Even through the combustible proceedings of the single releases ‘The Raven Child’ and ‘Moonglow’, the elegantly dramatized Symphonic Power Metal project of outlandish Edguy vocalist Tobias Sammet progresses with the succeeding Avantasia instalment of Moonglow. After releasing both The Metal Opera and the The Metal Opera Part 2 over fifteen years ago, Mr Sammet could never have imagined that he would release six more illustrious episodes of Avantasia in the meantime; considering the project was only supposed to be a short-lived adventure.
With a galloping stampede of special guests, Moonglow kicks off with a priceless agenda and a sincerely-ghostly orientation; delving deep into the paths of the unknown with the lengthy pioneering contender ‘Ghost In The Moon’; awe-inspiringly escalating beyond unspeakable boundaries with splendour and surrounding appreciation. Consequently hitting all the marks with the usual musical constructive mastery or the Broadway based approach and methodology. Sammet gathers his masses in swarms to create another impressive expedition and a harmoniously valiant endeavour, which is a mysterious advancement of the ferociously-bombastic track ‘The Book of Shadows’; including the magnificent special guest of Blind Guardian’s Hansi Kursch.
Astute emergences from the Folk-influenced Candice Night and Magnum’s Bob Cately make a prodigious impression with a euphonious calibre, whilst capturing wavelengths of supreme majesties with a magically-driven stamina, right through to the stimulating additions into the back catalogue of Avantasia. Modern entries ‘Moonglow’ and ‘Lavender’ call upon the angelic heights of the heavens through the eyes of the world with the guiltlessly affably-cored nucleus, containing the sweet-coated pillars of glorious praise and exuberant admiration. Congratulating Sammet on this prime piece of work and distributing musicality would be an early gesture and call to make in speculation, however this particular offering has its own flaws of individuality in the minority of tracks through a different sense or right; including the strange option for the cover and articulation of Michael Sembello’s eighties dance-floor filler ‘Maniac’. Questionably, no-one could ever see what was occurring inside the neurological brainwaves of Tobais’ choice for placing this musical particle and projection in this lengthy hand-basket of Moonglow; it just does not make any sense at all and it disrupts the flow of the glow with an obviously turbulent affair.
As one can expect from the outspoken words and seraphic realms of Avantasia, the arrival of the exceptionally good and elegantly gifted screeches of Helloween frontman Michael Kiske offers the uproarious cavalry back into the sumptuous homelands of symphonically-arranged Power Metal, through the pacey and stupefying anthem ‘Requiem For A Dream’. Nonetheless, in the hands of reality there is nothing conspicuously new to offer from the prominence of this release, and it securely pays homage to the accustomed structural and formulaic tradition that Avantasia is most acknowledged; keeping things moving sweetly and pleasingly, whilst staying promisingly safe within the basis of the genre without wandering too afar in the uncustomary distance.
Comprehensively, Sammet and the theatrical fold has reached the ethos of attainment furthermore with another benefaction into the Avantasia threshold. Apprehending the scales of justice combined with the soothing plains of the Metal opera and the midnight fantasy world, whilst keeping the flame burning with a truthfully honest and fittingly-firing balance in the meantime. There will never be an opportunity to hold down the chains and fists of Avantasia in any theoretical circumstances, especially with the wide radius of noteworthy guests appearing for each and every musical emancipation or album that Sammet seethes out with the reigns of superlative gratitude; therefore, there will be no time for the clock hands to freeze over just yet or for the raven child to remain submerged in a sea of silence.