Kamelot - 2012 Silverthorn


ARTIST: Kamelot
ALBUM: Silverthorn
LABEL: SPV/Steamhammer
YEAR: 2012


LINEUP: Tommy Karevik - vocals * Thomas Youngblood - guitars * Sean Tibbetts - bass * Oliver Palotai - keyboards * Casey Grillo - drums

TRACK LISTING: 01 Manus Dei * 02 Sacrimony (Angel Of Afterlife) * 03 Ashes To Ashes * 04 Torn * 05 Song For Jolee * 06 Veritas * 07 My Confession * 08 Silverthorn * 09 Falling Like The Fahrenheit * 10 Solitaire * 11 Prodigal Son * 12 Continuum

RATING: image



In 2011, it seemed Kamelot's future was insecure. They'd just lost their iconic singer Roy Khan, and their previous, rather experimental album wasn't so well-received by the fans and critics.

Their solution was to hire the Swedish prog metal prodigy Tommy Karevik and write one of their trademark, epic power metal concept albums - and this solution proved to be an excellent one.

The Songs

While it starts with an instrumental, the song that truly kicks off the album is their hit single 'Sacrimony (Angel Of Afterlife)', which was released with a video, and blew everyone away, being spun to the point of overplaying in many a Kamelot fan's house.

With a catchy chorus and guest performances by rising stars of female-fronted metal, Elize Ryd and Alyssa White-Gluz, it couldn't have failed, but would the rest of the album follow suit? Yes, and many songs even outmatched this outstanding hit.

'Ashes To Ashes' isn't one of them, but it is a rather decent tune.

The four song run that follows it, however, is the strongest material on the album.

'Torn' is a whirlpool of power metal, with much vocal bravado, 'Song For Jolee' is positively tear-jerking and a sure staple of all Kamelot live concerts to follow (although some have commented it sounds like a typical ballad you'd hear on the Eurovision song contest, but I don't see the connection).

'Veritas' is a crushingly evil symphonic metal track that harks back to Kamelot's 'Ghost Opera' days (legendary power metal guitarist Luca Turilli was listed as 'Latin consultant' for his assistance on this song), and 'My Confession' offers many an emotional moment to savour.

Next up is 'Silverthorn', a shaded, subdued track, followed by a curiously progressive 'Falling Like The Fahrenheit', sounding like an anthem of a defeated man.

The absolute fun slide 'Solitaire' could rival anything from Kamelot's best days of 'Karma' and 'Epica', and the epic closer 'Prodigal Son' is the most solemn song I've heard in the past several years.

How could it not be, with brilliant operatic singing with choral background (completely new to Karevik, but he nailed it) which summarizes the entire concept of the album, re-telling this story of a rich family's loss, remorse and shame.

In Summary

An astoundingly well-crafted album, with a confident new singer, impeccably written and performed, and combining all the strengths Kamelot have been demonstrating over the years.

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