┌───────────────────────────────────────────────────────────────────┐ │■ ■│ │ .-/ .-. │ │ _.-~ / ___ | ~-._ │ │ \:/ -~| / __/| .\:/ │ │ / || (:/:| \ │ │ / /\/| |:\___\| |\ \ │ │ / /:::|.::/:::/:.|:\ \ │ │ / /:::/ \\/:::/::/:::\ \ │ │ / .::\ \-~~~~-/\/:.. \ │ │ /..:::::\ /:::::..\ │ │ /::::::::- -::::::::\ │ │ \:::::-~ ~-:::::/ │ │ \:-~ ~-:/ │ │ METAL CLASSICS ARCHIVE │ │ │ │ │ │ │ │ P R E S E N T S │ │ │ │ │ │ + Cryonic Temple - Deliverance-(KICP-1920) + │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Information ║ │ │╠═════════════════════╩══════════════════════════════════════════╗ │ │║ ║ │ │║ Release Date.nov-04-2018 Encoder......L3.98.4 -V0 --lowpas ║ │ │║ Genre........Metal Graber.......EAC ║ │ │║ Year.........2018 Khz/Bitrate..44,1/ Br ║ │ │║ ║ │ │║ Ripper.......anthem Songs........15 ║ │ │║ Covers.......Yes Url... n/a ║ │ │║ ║ │ │╚════════════════════════════════════════════════════════════════╝ │ │ │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Notes ║ │ │╠═════════════════════╩══════════════════════════════════════════╗ │ │║ ║ │ │║ Artist : Cryonic Temple Rating : You Decide! ║ │ │║ Album : Deliverance-(KICP-1920) Label : King ║ │ │║ ║ │ │║ ║ │ │╠════════════════════════════════════════════════════════════════╣ │ │║ ║ │ │║ Description : ║ │ │║ ║ │ │║ There is a long held stereotype within the metal ║ │ │║ world that one of its more consonant and ║ │ │║ accessible sub-genres, namely power metal, is a ║ │ │║ monolithic synthesis of hook-driven, flashy 80s ║ │ │║ influenced fair with a faster tempo and ║ │ │║ fantastical to the point of cartoonish lyrical ║ │ │║ subjects. While the charge of excess is one that ║ │ │║ any variant of metal would openly celebrate, the ║ │ │║ notion of a one-dimensional approach is a ║ │ │║ laughable one when the number of bands ║ │ │║ encountered goes beyond four or five. Of ║ │ │║ particular note is the somewhat lighter and ║ │ │║ prog-influenced variation that one might refer ║ │ │║ to as Sci-Fi metal, namely a subset of the Euro ║ │ │║ power metal revival dealing predominantly with ║ │ │║ space travel and featuring a spacey, almost ║ │ │║ ethereal combination of ambient keyboards and a ║ │ │║ lighter shade on the Helloween approach that was ║ │ │║ pioneered to a large extent by Stratovarius' ║ │ │║ earlier 1990s output, and 1992's Twilight Time ║ │ │║ in particular. This sound was further developed ║ │ │║ and given an even lighter and more cosmic twist ║ │ │║ by the subsequent efforts of outfits like the ║ │ │║ short-lived Portuguese symphonic outfit Oratory, ║ │ │║ as well as Russia's Ghosthill on their first two ║ │ │║ LPs and the ongoing, 80s New Wave infused ║ │ │║ offerings of Keldian. ║ │ │║ ║ │ │║ Perhaps one of the more unlikely candidates to ║ │ │║ adopt this lighter and loftier approach is ║ │ │║ Sweden's Cryonic Temple, a band that was better ║ │ │║ known during the latter days of the millennial ║ │ │║ power metal revival as a swords and sorcery ║ │ │║ outfit after the likes of Steel Attack and The ║ │ │║ Storyteller, with maybe occasional interludes ║ │ │║ into social commentary. Nevertheless, following ║ │ │║ a long period of studio silence after the ║ │ │║ modern, groove infused flop that was their 4th ║ │ │║ studio offering Immortal, that is where long ║ │ │║ founder and guitarist Esa Ahonen and his newly ║ │ │║ recruited lineup found themselves when 2017's ║ │ │║ Into The Glorious Battle came into being. Though ║ │ │║ there was an unmistakable familiarity to the ║ │ │║ game of speed metal infused majesty and noodling ║ │ │║ guitar leads that characterized said album, ║ │ │║ there was a notably spacier and more symphonic ║ │ │║ atmosphere afoot, one that played in quite well ║ │ │║ with the outtake to the final battle scene of ║ │ │║ Star Wars: Rogue One that was the album art. The ║ │ │║ biggest departure in sound, however, came in ║ │ │║ vocalist Mattias Lilja, who had a deeper and ║ │ │║ more nuanced vocal delivery that was about as ║ │ │║ far removed from Johan "Glen Metal" Johansson's ║ │ │║ wild, Dickinson-inspired banshee wails that many ║ │ │║ core fans of the old days haven't accepted. ║ │ │║ ║ │ │║ With a cover more befitting Tron: Legacy than ║ │ │║ anything in the Star Wars franchise, one might ║ │ │║ think that Cryonic Temple's quick follow up in ║ │ │║ Deliverance would change things up a tad bit, ║ │ │║ but overall it plays things very close to where ║ │ │║ they were a year prior, so much that one might ║ │ │║ rightly speculate that this material was written ║ │ │║ during the same sessions as the previous album. ║ │ │║ It's naturally not a full out carbon copy, as ║ │ │║ Lilja does expand upon his somewhat mid-ranged, ║ │ │║ moderately gravely croon to include a bit more ║ │ │║ attitude, not to mention a commendable attempt ║ │ │║ at channeling the iconic Halford shriek during ║ │ │║ the chorus of the title song "Deliverance". ║ │ │║ Likewise, the harder-edged speeder "Pain And ║ │ │║ Pleasure" goes back to the good old days of In ║ │ │║ Thy Power by laying on the riffs a bit heavier ║ │ │║ and also features a guest lead vocalist who ║ │ │║ sounds a good bit closer to Glen Metal's bygone ║ │ │║ gritty shouts. Yet as an overall package, this ║ │ │║ album relates back to its immediate predecessor ║ │ │║ in much the same fashion that their first three ║ │ │║ albums did to each other, emphasizing a degree ║ │ │║ of stylistic consistency and precision that make ║ │ │║ it all but impossible for anyone who liked Into ║ │ │║ The Glorious Battle to dislike this one. ║ │ │║ ║ │ │║ It's a rather curious thing, but in spite of ║ │ │║ being dominated by this atmospheric feeling of ║ │ │║ floating in zero gravity amid the stars, this is ║ │ │║ an album that wants for little in the impact ║ │ │║ department. Following the shimmering strings and ║ │ │║ thematic beauty that rounds out the introductory ║ │ │║ instrumental, Cryonic Temple grasps back into ║ │ │║ the late 80s well of Helloween and comes out ║ │ │║ with a rather obvious though unique nod to ║ │ │║ "Eagle Fly Free" in "Rise Eternally Beyond", ║ │ │║ complete with a bass vs. guitar vs. drums solo ║ │ │║ duel at its climax. Similarly enthralling ║ │ │║ excursions through flashy, speed metal territory ║ │ │║ emerge in the riff happy Judas Priest homage ║ │ │║ "Knights Of The Sky" and the warp speed thrill ║ │ │║ ride "Starchild". Likewise, when things take on ║ │ │║ a more mid-paced flavor as on "Under Attack" and ║ │ │║ "Through The Storm", there is a strong, chunky ║ │ │║ guitar assault that manages to punch through the ║ │ │║ airy keyboards and gives things a bit of an ║ │ │║ Accept feel, while more keyboard-dominated mid- ║ │ │║ tempo anthems such as "Temple Of Cryonics" and ║ │ │║ "End Of Days" deliver some truly massive, hook- ║ │ │║ happy choruses and see Lilja putting a bit more ║ │ │║ gusto into his vocal delivery. Truth be told, ║ │ │║ minus the somewhat sappy and dispensable ballad ║ │ │║ "Loneliest Man In Space", there isn't really an ║ │ │║ outright weak moment to be found here. ║ │ │║ ║ │ │║ During an interview for The Black Sabbath Story ║ │ │║ Volume II: 1978-1992, the now departed legend ║ │ │║ Cozy Powell noted something along the lines of ║ │ │║ every fan having an era of Sabbath (of which ║ │ │║ there were many by 1992, let alone after) that ║ │ │║ meant something special to him/her, implying ║ │ │║ that no one era of said band was necessarily ║ │ │║ better or worse than the rest. While many die- ║ │ │║ hard Ozzy and Dio fans would fight to the death ║ │ │║ against this notion, there is a certain wisdom ║ │ │║ to it that is applicable to Cryonic Temple's ║ │ │║ evolution as a band. Some will likely continue ║ │ │║ to see this band's name as implying a throwback ║ │ │║ to the days of yore when chivalry and jousting ║ │ │║ duels were the norm that was cryogenically ║ │ │║ frozen and then revived in the early 21st ║ │ │║ century, which was the gist of their sound prior ║ │ │║ to the release of Immortal, but this need not ║ │ │║ imply that there is no room for a new ║ │ │║ interpretation of a lone person from the past ║ │ │║ being frozen by the same means and then ║ │ │║ awakening to a different world in the distant ║ │ │║ future where the conquest of the stars is ║ │ │║ underway. For those who are capable of ║ │ │║ treasuring the past and also hoping for the ║ │ │║ future of power metal, Deliverance is the right ║ │ │║ album at the right time, whether the implied ║ │ │║ year be 1099 or 2199. ║ │ │║ ║ │ │║ Review written by hells_unicorn for www.metal- ║ │ │║ archives.com ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │║ Mattias Lilja - Vocals, Piano ║ │ │║ Esa Ahonen - Guitars ║ │ │║ Micke Dahlkvist - Drums ║ │ │║ Roland Westbom - Bass ║ │ │║ Markus Grundstr÷m - Guitars ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │╚════════════════════════════════════════════════════════════════╝ │ │ │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Tracklist ║ │ │╚═════════════════════╩══════════════════════════════════════════ │ │ │ │ 01 - Intro: The Morning After The Longest Day [02:29] │ │ 02 - Rise Eternally Beyond [05:07] │ │ 03 - Through The Storm [04:52] │ │ 04 - Knights Of The Sky [05:28] │ │ 05 - Deliverance [04:21] │ │ 06 - Loneliest Man In Space [05:04] │ │ 07 - Pain And Pleasure [03:41] │ │ 08 - Temple Of Cryonics [05:12] │ │ 09 - Starchild [04:23] │ │ 10 - End Of Days [04:06] │ │ 11 - Swansong Of The Last Emperor [04:30] │ │ 12 - Under Attack [04:09] │ │ 13 - Blood And Shame [03:46] │ │ 14 - Insomnia [05:39] │ │ 15 - Walking With Fire (Bonus Track) [04:30] │ │ │ │ Total Length : [67:17 minn │ │ │ │ │ │ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ │ │ │ │ │ │ │ │ ╔═════════════════════╗ │ │ ║ Greetings To: ║ │ │ ╚═════════════════════╝ │ │ │ │ Too all people who contributes to make this │ │ archive of good music in a exceptional conditions │ │ │ │ │ │ │ │■ ■│ └───────────────────────────────────────────────────────────────────┘