Review Summary: A very solid album of neoclassical power metal that doesn't overdo its technical theatrics. Everything feels "just right," as it were, but some forgettable tracks and questionable decisions bring the album down a few notches.
Iron Mask seems to be a revolving door when it comes to band members, as new musicians come and go, similar to Avantasia, but in this case the rotation probably isn’t part of an artistic vision. Luckily, the creative juices all reside in Dushan Petrossi who, like Tobias Sammet, writes all the music and determines the direction of each album. Shadow of the Red Baron is the successor to the excellent, if not near perfect Hordes of the Brave, and while this too is a great album it pales just ever so slightly.
One of the band’s strengths is in vocalist Goetz “Valhalla Jr.” Mohr, a man’s man of a singer who occupies a very polar opposite to the 80s-style and at times upbeat neoclassical riffing that permeates the album so tirelessly. He’s not guttural, per se, but he has a somewhat smoky, deep voice that he projects loudly and confidently, while maintaining clarity. Oliver Hartmann chimes in, too, and takes the lead on the song Dreams, which seems to have been written just for him because, well, his voice is just so strikingly similar to Jorn Lande’s that one would be hard pressed to differentiate the two.
With such a strong vocal presence Petrossi counters with equally strong songwriting. One tendency in neoclassical power metal is to over-embellish solos into technical showcases that rarely fit comfortably into the musical direction of the song, but Petrossi has a talent for making the incorporation tasteful. Not one moment did I ever feel he drifted off into solo land just to showboat his skills. I didn’t forget there was a chorus, a bridge, or even a singer and as a result I actually cared about where the songs went when the solo was finished.
For most of the album Petrossi shows yet again that he’s still full of big ideas, just in case you were afraid the well would run dry at Hordes. The cup does indeed spilleth over, as the title track so superbly demonstrates with its typical Malmsteen-esque rhythm and a memorable chorus that you’ll never get out of your head. Many of the songs are in this vein, actually, shoving infectious choruses down your throat with a mighty fist pump, and encasing them between rhythm sections that in many cases are more technical than they should be, but since the delivery is so damn tight there is absolutely no reason for it to be otherwise.
Many times we are taken down memory lane, as songs have a tendency to float around 80s territory, with some riffs being pretty dramatic and choruses derivative of a big hair era. Sahara is one such example, and its painfully simple but punchy chorus will remain in your head forever and ever and ever. And ever. Also coming to mind is Only the Good Die Young, which is more complex, musically, and is still a very solid, feel-good track. This stylistic throwback wasn’t necessarily as prominent on Hordes, so Shadow, as a result, feels more of a conglomeration of different ideas and influences.
To further illustrate the point, let us skip to Black Devil Ship, which explodes with riffs that would suit a set of bagpipes just as equally a guitar. A rambunctious Captain Mohr sounds really comfortable in his newfound role as a pirate, and indeed this is the type of song that Rebellion or Grave Digger in its more recent days could only wish to write. Other tracks, such as the title track, Dreams, and Universe sound more modern and despite what era you evoke as you listen to the album all the songs, for the most part, are written very well.
That is, until you notice a few areas where you might think, “Hmm, was that really the best choice right there?” One such case is We Will Meet Again, which is a sad but surprisingly uplifting number dedicated to the memory of Petrossi’s late mother. Here, Mohr is a tad too harsh and sounds off key in some moments, and the melodic rhythm is better suited to Hartmann’s more versatile and emotional range, which he has demonstrated many times before, not just in Iron Mask but in At Vance as well. The same could be said about My Angel is Gone, which incidentally, shares the same lyrical theme but musically it’s a slow moving ballad. Here, though, personal preference could lean in favor of Mohr as well, but like I said, “Hmm, was that really the best choice right there?” The final track, I think, is a bit more straightforward. The death growls are way too out of place and just plain lethargic when juxtaposed with the neoclassical showmanship that Petrossi exhibits.
Although it’s not the way I would prefer to conclude an album it’s not enough to leave a sour taste in my mouth since I can always just skip it and get to the real meat of the album. Again, I’ll have to give Petrossi some credit for trying to meld neoclassical with, I guess…death metal, and it would indeed be an interesting pairing, but he shines most brightly when he sticks to what he knows best. Shadow of the Red Baron still resonates with enough positive energy to be considered a really good effort, just not excellent, and I certainly wouldn’t pass it up.
