THE FOURTH LEGACY

For many prog metal fans, this is where Kamelot began their journey. While the album still represents a stage in their transition, by this time the prog influences are becoming clearer, with the focus moving slowly but perceptibly from strong melodic hooks to something altogether more challenging. There is no major change of direction here though, this is still primarily a melodic album rooted in the metal genre.

The opening combination of the overture ("New Allegiance") and the title track immediately declare that the band has ambitions well beyond what has gone before. The title track is in fact a magnificent blend of power metal, symphonic rock and atmospheric chorale. The song has a majesty and appeal which sets it apart from anything by the band which has preceded it.

There remains material which would have been equally at home on previous albums in terms of composition ("Silent goddess", "Alexandria"), but even these are augmented by vastly improved arrangements. There is a nice touch too where "Nights of Arabia" is preceded by an eastern instrumental "Desert reign", the two tracks combining to form a 7 minute min-epic. "Nights. . ." actually includes some very commercially oriented harmonic singing, the rising orchestral keyboards and female vocals of Cinzia Rizzo adding some excellent dramatics.

Many albums of this nature will include an obligatory ballad, and in this case we have the atmospheric "A Sailorman's Hymn". Metal fans may cringe at its delicacy, but the truth is this is a wonderful song with emotional vocals and synth orchestration. It serves to add yet another magnificent dimension to the album. The song has a similarity to Pendragon's acoustic version of "The shadow", originally from their "Masquerade overture" album. A second such track is "Glory", further emphasising the band's willingness to make the album they want to make.

I find "The inquisitor" to be the only track which does not quite work for me. It is hard to pinpoint why, as it retains many of the characteristics of its peers. It is perhaps though that the overall sound is a little more muddled, the song being rather lacking in definition.

The final track " Lunar Sanctum" has a real Ayreon/Luccassen feel to it, especially with the space theme. It is quite different to the rest of the album, but retains the albums overall impressions of competence and invention.

Although once again rightly classified as a metal album, I would propose that this is lite metal. Those who tend to pass by music from the genre can safely enter here, and be assured that they are likely to find much to enjoy. The symphonic arrangements and attention to detail in evidence transform what might otherwise have been pretty standard fare into something far more considered. One could debate at lengths just how prog or otherwise "The fourth legacy" actually is, but the bottom line is this is a quite remarkable album.

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