Review Summary: Some of the best and worst material of their discography.
Labyrinth is a band that moves in mysterious ways - in consistence with their name. Their first few releases left them regarded as one of the underrated gems of the power metal genre. Oddly, the original band then decided to split for eight years (their main songwriter, Olaf left). When the band reunited, they wrote a comeback album, a sequel to their sophomore album called "Heaven Denied II" (2010). Somehow the sequel matched the quality of the prequel and featured dramatically improved studio production. Yet Labyrinth's audience still remained just a small set of hardcore fans.
Now, here we are again after another seven year hiatus in 2017, and Labyrinth has left us with some surprises. Most of Labyrinth's releases are growers, and this album is even more so. I appreciate them a lot, because they could have tried to copy their original formula. A formula that worked three times already. But this time they tried something different. Many new elements are present, and these new elements can be quite divisive. For example, right from the get go, this album features many new electronic sound effects in the intros and transitions. In some cases, the electronics provide great buildup and atmosphere (Bullets, the Title Track, & Diamond), but in other cases, the electronics come off as out of place and forced (Children).
One great thing about this album is the production. The songs are quite busy, with six band members competing for attention in complicated sections. Yet, not only does the studio mastering distinctly separate each sound for clarity, there is quite a bit of room to breathe. The triple guitar-guitar-keyboard solo in Bullets is quite the spectacle in that regard. This goes hand in hand with the other stellar feature of this album, its attitude. Many power metal bands have a melancholy attitude surrounding all of their works. Labyrinth is a rare metal band in the sense that they use their music to showcase the value, the meaning, and the inspiration found within life, especially on their recent two albums. The songs on this album all show appreciation, awe, and a naive optimism. Part of this may come from the main songwriter's overtly Christian faith. Olaf's skillfully crafted lyrics also help you to feel strongly with the emotional pull of each song, even if this record shows a more mature, wistful attitude than past releases. Other pluses for this album include the always-tight songwriting and the spectacular vocals of Rob Tyrant - probably one of the best voices in the scene.
Now for the downsides, of which there are quite a few. While the first three songs are good and have a lot in common with Labyrinth's old style - a mix of typical power metal bangers with some thrash and progressive elements added, the rest leave much to be desired. The band decided to add four very repetitive ballads along with a cover of a classic trance tune that is hit or miss. "A New Dream" is the first one of the ballads and is quite good - it is also a throwback to an old song of theirs. However the other three "Someone Says", "Those Days", and "We Belong to Yesterday" end up being quite repetitive. The band even oddly uses the same riff in three different songs... Then, there is the cover of a trance song "Children." Most people who grew up through the 90's will recognize this song. Unfortunately, the electronics that are added to this song make it sound quite odd, which is a shame because the guitar soloing within the second half of "Children" is very moving. The closing track of the album, "Diamond", is bittersweet and is a misstep in my opinion too. The track is beautiful in a melancholy way, but it also closes the album on a very depressing note, and is not nearly as good of a closer as "A Paining on the Wall" or "Die for Freedom" on their previous releases.
The other songs on the record are good, with one or two potentially being classics. But with at least five sub-par tracks, this album feels bogged down by a lot of baggage. The unique art that Labyrinth brings to the scene here is well worth a few spins, but the flaws of this record will harm its replay value. With any luck, Labyrinth will be able to trim their sound down while retaining the experimental elements of this album that worked. It just might take another seven years.
Standout tracks:
Still Alive
Architecture of a God
Stardust and Ashes
