How the hell do I write a good intro paragraph? How the fuck can I sum up the legendary Blind Guardian?! I don’t know, and I don’t want to bestow that task on myself. Really, I have enough to worry about. So I’ll just say…after four years, the immensely popular and influential band of German Metal-Bards is back with another album filled with their trademark styles.

While they continue to push personal musical boundaries, this hard-working ensemble remains true to the sound that they alone posses. Hansi Kürsch’s easily-recognizable, unique voice soars over the complex rhythmic and melodic patterns the band produces, and those weird-ass quirks and eccentricities lace the pieces at just the right times. I’ve always found that Blind Guardian takes a long time to digest, and considering the attention to detail, emotion and composition that is present in all releases (whether you ultimately like them or not), such a reaction is justified. “A Twist in the Myth” is no different. After numerous listens, I still find myself surprised and curious. While some moments kind of go over my head or lose my attention (those would be the really Progressive moments, har har), “A Twist in the Myth” is sure to satisfy the old, die-hard fans while surely bringing in new listeners with a slightly updated sound.

I have to confess I was a little confused by the “Fly” EP which preceded the album...I quite liked the song “Fly,” but I couldn’t imagine how it would fit within the context of an entire album, and the other two tracks (including a cover of “In-A-Gadda-Da-Vida”) were sort of forgettable. Now that I’ve heard the whole damn thing, I take my suspicions back. “A Twist in the Myth” is happily reminiscent of older albums while not being derivative of themselves, which is a relief. No, this band of twenty-plus years is not going to fizzle out into a big, greasy pile of washed-up-rock-star-shit.

Oh, and what’s this? A member change? As most of you already know, drummer Frederik Ehmke is the newest recruit into Blind Guardian, replacing Thomen Stauch who had been in the band since its conception in 1985. Ehmke does a super job, and I hope those creepy, obsessive fans give him a fair chance (Are there any creepy, obsessive Blind Guardian fans? Probably. I think I know them).

Favourite tracks include the opening “This Will Never End” and ensuing “Otherland,” plus the aforementioned “Fly,” which is wonderful in its epic weirdness. For some reason I just can’t get into the slowed-down “Carry the Blessed Home,” but the follow-up track  “Another Stranger Me” makes up for it. “Skalds & Shadows” (also featured on the “Fly” EP) is the only other tune that I couldn’t deal with. With a strong medieval / folk / epic influence, in that way easily comparable to older releases, it’s a nice little song but somehow I can never find myself in just the right mood for it. Otherwise,  I dig the tracks. A lot. They feel a lot more self-contained than other albums. For instance, it’s always vaguely dissatisfying listening to “Nightfall on Middle-Earth” (1998) out of order, but “A Twist in the Myth” doesn’t feel so dependent on track placement.

All in all, another commendable release from Blind Guardian! After a few years with no new studio album, my faith in these guys has been rekindled. * Clare B. *

When Blind Guardian released their first live effort, entitled "Tokyo Tales," it left me wanting a lot more. The selection of songs were not entirely to my liking and I felt that the true spirit of Blind Guardian was missed in production and performance. From the simple cover art to how the songs were performed, much of the magic seemed to have been lost on the album. Fortunately the band has now released a live album that not only encompasses more of their material, but represents it in a fashion that does justice to the band's compositional abilities. The cover art to this album alone truly makes for a special atmosphere and all the performances are spot on. This live album ranks up there with Iced Earth's "Alive In Athens" and Edguy's "Burning Down The Opera." This is the definitive Blind Guardian live release.

The classic, spoken introduction "War Of Wrath" opens this tale, and you can hear the anticipation of the band's arrival. "Into The Storm" kicks in with the harmonic guitar work of Andre Olbrich and Marcus Siepen, who are definetely among the most distinctive guitar duo in recent memory. Their work and guitar scales are often very unorthodox and unmistakable (check out the guitar duelling at the 3:13 mark)! The track works extremely well and is infinitely more powerful than the studio version. Thomen Stauch's drumming is also noteworthy, as it is throughout the album. "Welcome To Dying" slices through the air next, and you'll notice that the guitar work is right up front in the production; producer Charlie Bauerfeind has done an excellent job. The audience participates well on this track but I notice that they don't sound as loud as they should, the audience has a somewhat distant feel on this track.

Despite Blind Guardian being an excellent live band, in terms of musicianship and so on, I sometimes find that lead vocalist Hansi Kursch is too laid back and not interacting with the audience in an upbeat manner. Don't get me wrong, he does his job as a vocalist and performer, but when talking with the audience he doesn't have the same stage presence as, say, Tobias Sammet (Edguy, Avantasia). "Nightfall" is a disc highlight and the chorus is amazing in a live setting; the audience is alive and well, here. Check out the drum roll at the 2:16 mark…not only can Stauch annihilate his drum kit, but he can be tasteful as well. The track also introduces Michael Shuren who does a good job on keyboards, when applicable. "The Script For My Requiem" is as one would expect, heavy and with a big chorus. Background vocals are done mainly by the two guitarists and they sound great. For those who think Blind Guardian's trademark multi-layered vocals cannot be reproduced live, think again!

"Harvest Of Sorrow" is the first acoustic track and one experiences first hand Hansi's hallowed voice. The delicacy of this track is remarkable and the lyrics are melancholy yet beautiful. The 2:38 mark feels very epic, as a few seconds previous to this marker, the composition builds nicely with Hansi's vocals. Gorgeous song! "The Soulforged" was a song I initially did not like so much, particularly the album version, but live it does grow on you. I like how Hansi introduces the song and how he sings the chorus. The song is also a great example of the truly intricate guitar work this band employs.

"Valhalla" is fantastic and may very well be one of the greatest songs with the word "Valhalla" in it! The band sounds so utterly tight on this track…just listen to the 2:00 mark and hear why! I love how the audience sings the chorus at the end of the piece and how Stauch keeps the beat.

"Majesty" is a quirky track and in all honesty I would have preferred another one in its place. It's a swift song with plenty of incredible musicianship but I think there are many better tracks at the band's disposal. "Born In A Mourning Hall" is a great way to end the second disc— pure power! This is old school Speed Metal at its finest and I hope Blind Guardian will revisit this style somewhat soon, perhaps on their next album! Listen to the rhythm guitar on this piece, very interesting.

Disc two is slightly more favourable in my opinion, exhibiting more songs of my liking. "Under The Ice" has some great Indian flavouring and a pounding rhythm section. This may very well be the best live track from "Night At The Opera." "Bright Eyes" has always been a fan favourite, and although I have never been a fan of the studio version, the live rendition has its charm. I do, however, prefer Blind Guardian's more mystical or fantasy-orientated tracks. Some nice vocal harmonisation and 'choir' work at the beginning of the song. "Punishment Divine" is one of the heaviest tracks on the disc, and there are some nice double bass runs throughout the track. Listen to some of that guitar chug at the 2:04 mark…nice. Some wicked time changes, particularly in the rhythm guitar, dot "Imaginations From The Other Side." Listen to the nasty 80s riff at the 1:19 mark, and a few seconds later some solid open bar riffing.

Other strong cuts are the old school Speed Metal tunes "Lost In The Twilight Hall," which is the style I prefer, and the incredible ballad "A Past And Future Secret." This particular piece has gentle acoustic work and great percussion (although I think it's keyboard based). All in all a great live Metal album! My only deductions come from comparing this live album to that of Edguy's "Burning Down The Opera." There is a real energy on Edguy's live effort that this album lacks. Blind Guardian put on a great performance but there simply does not feel like there is a great deal of interaction between the band and the fans, apart from "The Bard Song" of course. Perhaps Blind Guardian's music is a bit darker, however, so that may explain a lot. Simply put, I just don't get the same level of energy from this live effort, as I do from the aforementioned band. Anyhow, great live album, if not a bit conventional and low key. *Daniel Dees*

An entire single devoted to several versions of one song? The Gods must be crazy!...Or they are simply providing Metal fans with what they want. Either way, I'm happy. One of my fondest memories was singing "The Bard Song" when I saw Blind Guardian here in Toronto, and now I get to live the moment again! Well, not quite. Despite this single containing several live versions of this piece, none of them were recorded here in Toronto. Well, life is not always fair but Blind Guardian fans from around the world do the song justice, so I suppose my complaint ends on a high note…a Timo Kotipelto high note.

On this single we are treated to a new version of the song (which differs little from the original) and three live versions. The new studio version is good, with a slightly different vocal approach (more nasal) and some added strings. Not too bad. However, it is the live tracks that are truly commendable, each providing a slightly different approach to the song, mainly caused by the audience participation. The reality is that the song comes across differently depending on where it's being played, geographically speaking. First up is Milano, which is my favourite rendition. Here we have the song divided well between Hansi and the audience singing. The audience participates throughout, but comes off strongly during the chorus, which in my opinion is where they belong. Truth be told, I don't like when an audience sings the full song, as I am really interested in the singer, and not the drunk guy next to me (You can send hate mail to Hail_Brother@yahoo.com ). Well done Milano!!! The performance in Munich is alright, but sung far too much by the audience. This sounds special and magical, and I'm glad they included it, but as I mentioned before, I prefer a more equal approach. Finally we have the version in Madrid, with soccer chanting and all! Hmmm, this particular rendition sounds a little out of place, but still a worthy inclusion. Let's just say it's the most unique of all the tracks.

I should also mention the cover art on this album, which is fucking beautiful! Rarely does artwork get to this level, and this is a high one! The cover art on this album challenges Grave Digger's "Rheingold" as one of the most beautiful 2003 has offered thus far.

If you love "The Bard Song," you will love this single. If you hate this song, this CD will ultimately wind up in a large pile of garbage, filled with poo and such. I like this song, so there's my opinion! However, because this album is supposedly a teaser for their up-coming live album, I cannot help but feel as though they should have included at least one more song…Oh well…life isn't fair… *Daniel Dees*

Blind Guardian has achieved great status in the Metal world, a band whose name is synonymous with quality, integrity, impeccable musicianship and a knack for Fantasy-tinged Metal. After nearly three years of waiting comes the band's newest offering, "A Night At The Opera." Their most complex work ever, the album clearly establishes the band as some of the finest musicians this genre has to offer. The artistic vision is undeniable, the technicality and complexity of the music is there, and the execution is spot on. All elements of a memorable disc in place, this album becomes one of the strongest releases of the year, no short feat considering some of the wonderful metal 2002 has so far brandished.

"Precious Jerusalem" opens the album with its pummeling drums, Middle Eastern guitar harmonics and epic chorus, a Blind Guardian trademark. The opener is followed by the equally heavy "Battlefield," a classic medieval battle song sure to have you wielding steel. Fans of the Dragonlance saga must take note of "The Soulforged," a Metal anthem based on the series' character Raistlin Majere. It is these songs that round out the quartet's ambitious, multi-layered, heavy sound. However, in true Metal fashion, the album also features two ballads, "The Maiden And The Minstrel Knight" and "Mies Del Dolor," both equally good and the latter being sung in Spanish. Singer Hansi Kursch's pronunciation is excellent, quite an accomplishment for a German singer. To doubt the ambition of this band is to doubt that team Canada beat the U.S. in hockey (hehe).

One must only look at the epic "And Then There Was Silence," a fourteen minute masterpiece which took four months to record, utilizing more than 128 tracks, including fifty for the vocals and thirty for the guitars. The piece is remarkable, bringing the listener through a diverse musical journey that spans a multitude of emotions. The song is based on the Trojan War and helps close the album with power. A song of such length can run the risk of being repetitive, but fortunately the music is expansive and does not quarantine itself in any particular style. There is, however, something that should be cautioned: this CD's rating is based mainly on the musicianship and the amount of effort that has gone into this album. I should, however, mention that these songs, despite being techincally amazing, are not always that memorable or catchy. It does indeed take repeated listens to appreciate this work and level of talent.

Bringing this talent to sound is Charlie Bauerfeind, who does a superb job producing this album. Musical kudos also goes to drummer Thomen Stauch, whose performance is awe-inspiring . His combination of speed and technical prowess is matched by few; he is a true master of the kit. Fortunately the rest of the band is on par, especially guitarists Andre Oldbrich and Marcus Siepens, whose elaborate scales can perplex the ear. All in all, a wonderful release and further proof that Metal can cross a wide selection of sounds and appeal to a large audience. North America, put away your Korn and Slipknot. Experience what True Metal is. * Daniel Dees *

It appears as though Blind Guardian were eager to show its fans and critics just how hard they had worked for their new album, "A Night At The Opera." They therefore decided to release one mighty single titled "And Then There Was Silence." The title track is a massive piece of work, clocking in at over fourteen minutes and containing various tempo changes and moods. The epic track takes multiple listens to fully appreciate as their is so much to be heard and absorbed. What I find particularly noticeable about the track is the unique guitar work, with its satisfying tone and the varied but often pummelling drums. The 7:41 mark slows the composition down and introduces a particularly melodic section with excellent vocal work (Hansi's voice sounds very layered, reminiscent of the work from Def Leppard). Unlike most epic pieces, which only contain maybe four or five different tempo changes, "And Then There Was Silence" constantly changes its melody yet somehow manages to stay on track. Again, it's a lot to listen to so be prepared!

On the more simplistic side we have the ballad "Harvest Of Sorrow." Interestingly enough I get more emotion out of this track than the epic one, as it is simple and straight to the point. This song is beautiful, with a gorgeous chorus and Hansi turning in one of his best vocal performances ever. This song has quickly become a fan favourite, and it's almost always being played during their live shows.

Good EP and actually might be worth purchasing instead of the whole "A Night At The Opera" album...simply because right here you have some of the best tracks! * Daniel Dees *

The cover of "Somewhere Far Beyond" immediately lets the listener know what sort of music they are about to hear. Blind Guardian toil in Tolkien-inspired music and have developed a massive international following, which I can only assume not only consists of Metal fans, but fans of Tolkien and related literature. With the line up of Hansi Kursch (vocals), Andre Olbrich (guitars), Magnus Siepen (guitars) and Thomen Stauch (drums), this album is often a fan favourite and one of their heaviest efforts. I personally happen to enjoy Blind Guardian's material, but I remind you that they are infinitely more appropriate and better in a live setting. For whatever reason that escapes me, Blind Guardian's true strength lies in their onstage performance, which has no fancy stage show, but nonetheless contains lots of power. They are also an old school band and I have only heard them at the top of their game, regardless of what performance it was. Solidity and Blind Guardian go hand in hand.

If you were disappointed with "A Night At The Opera" and the band's slightly different approach therein, "Somewhere Far Beyond" may very well be for you. The excellent "Time What Is Time" begins with an acoustic passage but slowly winds itself into a full Sspeed Metal assault. I always notice Thomen's drum performance, which is consistently remarkable, and how much of the band works around his solid work. This particular track is quite varied, with some slower moments, faster moments and Kursch's ever-expressive voice. There's a lot of staccato guitar work here too, almost reminding me of Jon Schaffer's (Iced Earth) work. Good track! "Journey Through The Dark" is similar in its musical approach, except less varied in tempos. The chorus is great too, and quite memorable. There's nothing like seeing a horde of Blind Guardian fans singing this chorus live.

"Black Chamber" has Hansi's troubadour styled vocals and is a mostly piano-based piece. It's a short score and acts as an interlude to "Theatre Of Pain." This track does nothing for me and I often skip over it, especially considering that "The Quest For Tanelorn" is next. This is perhaps the most epic song on the album, and Kursch's hallowed vocals introduce the piece. The 0:50 mark increases the pace and soon the song is in gear. The rhythm in this song, at times, can be difficult to follow, but when the chorus comes in it is all clear. Blind Guardian have excellent choruses almost always. This track is surprisingly dark, something which separates Blind Guardian from the usual flower power metal, and is a welcomed change. Nice guitar solos in this song too, as Siepen and Olbrich intertwine their guitars nicely.

"Ashes To Ashes" is a creepy track with some cool drumming and a very dark atmosphere. It's a decent song but feels somewhat spotty after the excellent "The Quest For Tanelorn." "The Bard's Song" is the classic song on this album, and perhaps Blind Guardian's most herald scores. This is one of the greatest songs to be heard live, as the audience participation is remarkable. It is for this very reason that I cannot wait for Blind Guardian to release their live album, simply entitled "Live." The acoustic work here is calming and soothing, and Kursch's storyteller voice is perfect. However, I do stress that this song, like much of the band's material, is to be heard live. Nonetheless, one cannot help but feel like a hobbit or warrior sitting around a camp fire and listening to this tune...

The title track of the album is quite good, and finishes the album on a strong note. There is a nice marching beat at the 1:26 mark and some dramatic vocals following. The 3:50 mark is interesting, with some bagpipes in the background and once again a marching beat...not bad. This, however, marks the end of the good stuff as the final few songs are really just filler and from what I know, are essentially bonus tracks on the re-release of this album.

There is a problem with this album which lies in the production. The production of the actual instruments is fine, but like most Blind Guardian albums, with the exception of a few, the production feels cold. I never fully get the emotion Blind Guardian is attempting to convey, apart from when seeing them live. With that in mind, perhaps that is why I only really began my interest in this band after seeing them live. Live there is a great warmth in all these songs, but in the studio versions, much of it feels too 'by the book.' Perhaps that is a testimony to their skill level, as all the musicians here are fluent in their craft, or perhaps not. I don't know. This is a good album with a few staple Blind Guardian tracks. However, I do think hearing the band live is really required for fully appreciating the band's capabilities...otherwise you may be wondering what's so special. *Daniel Dees*