lukretion
When his previous band, power metal act Twilight folded, Danish keyboard player Finn Zierler embarked in a new project, aptly named Beyond Twilight to mark a sort of continuity between the two bands. In fact, Beyond Twilight begin where Twilight ended: Zierler’s new creature takes the power metal epicness of his former band and morphs it into a dark, progressive beast that may draw parallels with acts like Kamelot and Evergrey for the brooding, theatrical nature of the music on display. If you are however expecting a minor record that follows the footsteps of the aforementioned more well-known acts – think again: The Devil’s Hall of Fame is a stunning masterpiece that vastly surpasses most releases in the dark progressive/power metal genre. Here is why.
First of all, Beyond Twilight’s line-up on this release can count on one of the most formidable singers in metal: His Majesty Jørn Lande. Here at the beginning of his lustrous career, the Norwegian vocalist combines the grit and power of Ronnie James Dio with the soulful delivery of David Coverdale. His performance on The Devil’s Hall of Fame is absolutely spectacular, injecting power and feeling into beautiful vocal melodies that are catchy and instantly memorable, but never banal or boring. The rest of the lineup is also very solid. Bassist Anders Lindgren and drummer Tomas Fredén, who had already played on Twilight’s debut album, provide a reliable backbone that strikes the right balance between simple groove and intricate playing. Anders Kragh is a skilled and versatile guitarist who adapts his playing to suit the different needs of the music, from muscular no-frills riffs, to subtle melodic leads, to tricky technical passages and blazing solos (“Hellfire”). Beyond Twilight’s mastermind Finn Zierler is also a very proficient player. I particularly enjoy the wide range of keyboard sounds and samples he employs on the album, and the use he makes of the instrument – always very imaginative and inventive.
Strong musicianship counts for little without strong compositions. Fortunately, this album has both. Its eight tracks are exceptional examples of how to write keyboard-driven prog metal that is not just all technical twiddly bits and intricate songwriting, but also has feeling and depth. The intricacies of prog are certainly there, as most songs follow feature frequent tempo changes, plenty of instrumental detours, unusual melodic solutions (the suddenly uplifting second part of the chorus in “Shadowland”), and unexpected turns (the extravagant Latin choirs in the title-track and “Perfect Dark”). But each song is also cleverly anchored in excellent melodic ideas that hook you in and make the music immediately enjoyable and memorable. Credit here goes to both Zierler who composed and arranged all music, and Lande, who wrote the vocal melodies. I also dig the overall mood of the album, dark and ominous. It is a perfect match for the dystopian sci-fi concept that runs through the record, about a man who travels through the depths of his own mind and slowly loses grip with reality.
There are no dull moments on this album. Each song is a small gem, from the bleak and hyper-heavy “Godless and Wicked”, to the hard rock accessibility of “Shadowland”, to the two short, evocative instrumentals “The Devil’s Waltz” and “Closing the Circle”. My favourite songs are the title-track and the closing piece “Perfect Dark”. The former is a sprawling epic that covers a lot of ground, traversing different moods and musical styles from its doomy first part to the proggy extravaganza that explodes halfway through the second half, in a way that reminds me of Arjen A. Lucassen’s best (and heaviest) work with Ayreon and Star One. As per its title, “Perfect Dark” is a perfectly dramatic conclusion to this awesome album. Foreboding, slow and sinister, it is powered by a massive crescendo where Jørn Lande is at its absolute best.
In summary, if you are a fan of progressive metal – especially its dark, melancholic variety – you simply must listen to this album. I struggle to find things to criticize (perhaps the sound production is a bit thin), or to pinpoint better records in the genre than this. Instantly enjoyable and with great repeated listen value, The Devil’s Hall of Fame is up there with the best music of Ayreon, Evergrey, and Kamelot. Beyond Twilight will go on to record two further albums, although Mr Lande will step down from his role as vocalist after this one. It’s a pity, as his vocals clearly play a big role in making this record such a masterpiece. But the quality of the music is really high too, so I very much look forward to listening to Beyond Twilight’s other two records as well.