Awakening the World

This album is a pretty unique one. In the beginning, I listened to it, and I thought it was pretty good, but was nowhere near the second LP of the Sweden power metal legends Lost Horizon. Then I listened to it again, and then it was even better. A couple of more listens later, I woke up to the realization that holy shit, this is just as good as their second record, just in a different way. While the second album focused on very spiritually brightening, transcendental themes and songwriting, the debut is a way more down to Earth and straightforward take. Do not make the mistake of thinking this is somehow less intriguing or interesting than the second one. It's just more accessible, but the sheer level of talent and creativity is impossible to deny on this disc.

It takes something special for an album to be so substantial and rich in complexities and storytelling so that it takes multiple listens for someone to find it even better and better. There are albums that wouldn't sound worthwhile even after 10 listens. However, with this one, the more listens it gets, and the better it gets. This is partly due to the style the record is written in. Lost Horizon's epic, heroic power metal approach is some of the most captivating and intriguing in music history. The songs are relatively long with a few exceptions, but the guys were so inspired and passionate about playing power metal that it's impossible not to get drawn in and admire the many different bits and pieces that make up this super sophisticated machinery that's Lost Horizon's at this time, only 4-piece (Can you believe that!?) battle legion.

What is there within these 9 (excluding intro and outro) power metal pieces to be admired? The better question would be what isn't. Power metal rarely gets more well-rounded and complete than it does here. The record is mainly mid-paced, and they go through an incredible amount of different sections and transitions. There is an entire web of sophisticated melodies and catchy hooks that encompass these songs, some for a shorter amount of time, and some throughout entire verses with pre-choruses linked together that together make up an entire melody line, such as in "Sworn In The Metal Wind". This is way beyond your simple, devoured progressions and derived catchy hooks. This is pushing the boundaries of power metal songwriting. But they never go beyond what makes sense. They always stop the exploration right where it still makes perfect sense and doesn't cross the line of including too many different elements, bells, and whistles that ruin the picture unlike Pathfinder did all too many times.

In addition to the outstanding songwriting, this band also features some of the technically finest power metal musicians on Earth. How only 4 people managed to come up with something this full and well-rounded is absolutely beyond me. Not because I haven't seen 3-piece bands play excellent stuff in different styles, but because "Awakening the World" sounds like it's a result of at least 5-6 people. It is THAT extensive and thorough. Wojtek Lisicki on guitars (and on keyboards!) writes magnificently colorful and complex power metal riffs that all feature that philosophical, intellectually driven, searching state of mind we all know and love about Lost Horizon. His solo work is also something to behold, just listen to the one that starts at 2:02 in "World Through My Fateless Eyes". Unbelievable feel for storytelling and emotions, without sacrificing many technical abilities.

Daniel Heiman on vocals hopefully needs no introduction among power metal fans, as he's only one of the greatest vocalists that ever walked the face of this Earth. He's not only genetically gifted with a beautiful tone, but he's also very articulate and unexpectedly good with pronouncing words in English. One of the usual traits of Europower is the funny accents the vocalists have, but that seems to be completely absent from this album, which is refreshing. Also refreshing is the bass on the record, which is perfectly audible and crystal clear throughout the entire thing, which is not always the case with power metal, particularly in terms of early-2000s power metal. It has a very smooth, deep, silky tone that matches everything else perfectly.

God only knows how many unbelievable records we would have heard if only this one band doesn't end up splitting up right after their sophomore effort. Both this and the follow-up were so complete, so effective, so well-executed that this band entered the realm of mythology in my mind at this point. This is probably strengthened by their over the top appearance and their relentless love for individualism and freedom, which are all perfectly matching elements to their style musically. Even if a third Lost Horizon album will never happen, we are extremely lucky that these musicians, in this particular band, with these two albums visited the world of power metal for a brief period of time in the early 2000s. This two-piece discography is worth more than a lof of them that span over decades.

At the beginning of the 21st century, power metal was already a well-established and widespread genre. Indeed, after the debut of the Hammerfall, it had regained its lost popularity. The result was the birth of an incalculable number of bands, some pleasant but not particularly memorable, others definitely good, others well above average.

Lost Horizon are part of the latter category, although they have only written two albums and are less famous than they deserve.

The main reason for their excellence is the ability to further enhance power metal (especially from a vocal point of view) without being monotonous or ridiculous. And although, in fact, they have written a few songs, these are all of the highest quality. Therefore, Awakening the world is a little gem.

As is common in many power metal albums, there are short atmospheric intro and outro. However, the songs are really classic. Daniel Heiman is an exceptional, versatile singer able to get to impossible notes for almost anyone, and on the other hand his voice is the primary reason for the fame achieved by the band over time. The almost constant carpets of keyboards below the guitar melodies does not diminish the power of never too soft, also underlined by the powerful choruses. The musical variety offered by the guitar also shows a remarkable technical ability. As usual, most songs are fast, tight and embellished by a series of incredible vocalizations. Some, as Sworn in the metal wind, are harder than others, but all of them, regardless of this, are effective. In some instances they may even recall Manowar, especially for enthralling rides, but they are much more melodic. Particularly successful also the solos for their speed. The song of air, interestingly, is a short instrumental interlude entirely made with keyboards, with a sweet and melancholic atmosphere. But on the other hand, almost every other song is raging. The fierce rhythm of the drums is particularly appreciable. Although the speed is basically equal almost everywhere, there is no feeling of monotony. The slower songs, Perfect warrior and The kingdom of my will, are majestic and epic from the start. As it is common in power metal, the whole record is catchy, thanks to the rhythm and above all to the refrains, and the expressive performances. In short, it is exactly the way it should be: powerful, exciting and energetic. Almost absolutely perfect.

Awakening the world isn't on the same level as its successor (which is a true masterpiece of the genre), but it's worth listening to. The composition is solid, the skills of the musicians more than evident and the general atmosphere as fresh and vital as it should be. And records like this deserve a lot more visibility.

Best tracks: The kingdom of my will, Sworn in the metal wind, World through my fateless eyes

One thing that needs to be known right off the bat is that “Heart of Storm” may very well be the greatest Europower track ever written. Like, ever. Everything about this song is right on the money! On top of the palm muting are some leads that transition over to this tiny drum solo before THE MAN Daniel Heiman – second only to Hansi Kursch in terms of vocals – opens up with a scream which leads into his sublime vocal lines that deliver the song’s lyrics with such airtight precision that it ought to be criminal. Just the way he times his higher registers, the utilization of his other notes, the rhythm carried by his vocals – basically, when it comes to vocals, this song has it made! Especially at the end, but we’re getting a little ahead of ourselves. Honestly, there’s not a lot on the riffs front, but the guitar and drum combo does give the song momentum with some energetic picks and beats. But holy shit man, that solo in the middle! Wojtek Lisicki definitely has some chops when it comes to the shred game. After that part, another verse, another chorus, and then that ending scream I mentioned before. Coupled with the thunderstorm, the song goes out with a blaze of glory, cementing itself as the quintessential Europower track alongside such classics as “I Want Out” and “FullMoon”. A thunderous cavalcade of everything Europower!

Unfortunately, Awakening the World suffers from a similar problem that Megadeth’s Endgame does – that is, it’s only got a few really good songs and the rest is filler, but those songs are positioned in a way that the hype stays throughout the entire album. In this case, “Heart of Storm” and “Sworn in the Metal Wind” play right after the intro track, and “Welcome Back” plays near the end. The second song – the most metal post-break up song ever written – has some pretty sweet vocal melodies from Heiman that give the song plenty of punch. Lisicki puts a bit more into the riffs here and the solo really rips and tears towards the end with some crazy neo-classical shredding. I’d say that Lost Horizon is at their best when they just let it rip with the energetic palm muting and drumming while Heiman’s vocals weave some serious tapestry. “Welcome Back” – shiiiit, this right here is their bread and butter with its highly uplifting composition backed up by some particularly technical drumming and bass – and, of course, Lisicki’s soloing and Heiman’s glorious vocals. Given its place in the tracklist, it’s a very appropriate name for the song. When Lost Horizon are out here doing this sort of stuff, the music is genuinely lively and engaging.

But honestly, the rest of this album just kind of happens. If not for Heiman’s vocals, “World Through My Fateless Eyes” and “Denial of Fate” pass on by and do very little of any consequence. Thanks to some bland ordinary riffs, more subdued drumming and solos that aren’t quite so blistering, their melodies don’t really stick out in any particular way. That goes double for the mid-paced “Perfect Warrior” as it just plods on through and that Zakk Wylde pinch does it even less favors. But yeah, you got these mid-paced or sort of fast-paced songs playing out and it’s all okay background noise I guess, but where’s the spark? Where’s the flame? Did it burn out a couple of songs in and we have to wait for a refire? Okay then.

Oh, but surely, it at least ends on a good note, right? Ehh kind of? “The Kingdom of My Will” has some similar problems in that it’s just all dialled back, and the fact that it’s 9 minutes long means that this is going to be a long, unsatisfying ride. Interestingly, you could scan through any snippet of this track and probably enjoy it. The bell chime at the beginning signalling the arrival of an epic; the vocals over some plodding mid-paced riff; that highly melodic chorus; that part where he’s going “today is the day” over and over and then he inexplicably adds in a “HEY! YO!”; that fucking terrific part kicking off the last third where they go balls out by upping the overall pace while Lisicki solos his heart out – like, there’s a good song in here somewhere, you just have to get through quite a bit of fat to get to it.

It’s weird how this got USPM fans listening – like, on a very fundamental level, it makes sense as it’s like a mix of Europower and German power metal. But it’s more like you’re putting together the airy riffs from Europower and taking the Germans’ no-nonsense approach to it. It’s like getting a mermaid who’s got the fish part for its head. I guess it’s the lack of keyboards? The solos? Heiman’s god-like vocals? Gotta give it to them, though, they’re a power metal band during the 2000s that knew they weren’t Blind Guardian or Kamelot and thus they didn’t put in a ballad – they’re already not quite so good on the mid-paced stuff, I’d hate to see them go slow. When Lost Horizon try to play more “normal” power metal, dull and boring instrumentals are carried by soaring vocals. But when Lost Horizon all but throw caution to the wind, they put together some banner fucking great music.

But if there’s anything that this album truly gets right, it’s the track ordering. It’s a massive stroke of genius. Having two genuinely exciting songs precede a quick ambient intermission before three lame songs before an exciting song before an “epic” that’s half good half droning can feel more like an album all full of genuinely top-tier power metal to make all the Iced Earths and Blind Guardians of the world go home and cry to their mommas. Who cares that three of the songs are nothing more than pleasant background noise when just before are balls out upbeat and exciting power metal? Just don’t listen to the three tracks on their own! That’s the best way to enjoy this album; as a whole. You’ve got the catchier-than-cholera songs and you’ve got the... well, background noise. The trick is to just let the good songs carry you through, lest you get bored and listen to something else before “Welcome Back” comes on.

I stumbled across Lost Horizon on Spotify when I was just looking for lesser-known power metal bands to listen to, and boy am I glad I found this. "Awakening The World" is absolutely glorious and a huge recommendation of mine to anyone looking to dive deeper into power metal. The Helloween influence in Lost Horizon is obvious, but I can tell they blended in their own ideas and different sounding stuff then just pure Helloween. There's nothing wrong with making stuff that sounds exactly and only like Helloween, but it is rare that it succeeds.

The guy who did the best job on "Awakening The World" has to be the vocalist. Beautiful, powerful voice, and always in-tune. To point out the vocalists highlights on this album would be basically listening to the whole thing. Might have to list Ethereal Magnanimus as the best power metal vocalist in the power metal underground. I think it would be interesting if Ethereal Magnanimus sang on Lorenguard's "Of Tales To Come" EP. Just a thought.

As for the guitar part, while I cannot give the title, 'impeccable' to the guitar solos on this album, it was great nonetheless. These solos would be great to learn for someone just getting in to shred. As I listened to the solos, I actually made out most of them in my head and knew where/how to play it on the guitar. I really liked the solos to "Welcome Back" and "Kingdom Of My Will". "Kingdome Of My Will" in fact is probably the best song on this album. The guitar work actually didn't sound much like Helloween at times, so that might be one of the things contributing to the variety of sound that makes Lost Horizon more than just Helloween obsessors. Of course there are solos and techniques that came straight from the Helloween book, don't get me wrong.

Maybe just as equally impressive as the vocals has to be the drum part. The guy who does the drum part on "Awakening The World" is wicked fast and good. There were lots of times where the guy played the bass drum to the rhythm of the lead guitar part, which is very impressive, creative, and adds complexity. Doing fast and/or complex rhythms on guitar while the bass drum copies that is something pop music will only ever dream of.

In closing, Lost Horizon puts power metal in a very good light and would do very well at being representatives for power metal if they were given the task. Much like Manowar, Lost Horizon probably dreams of, well, 'awakening the world' or 'fighting the world' and enlightening people. They're also like Manowar because of their album covers, which feature the members of the band. Nuff said about that.

Out of the ashes of the band, Highlander, emerged two Swedish power metal bands: Hammerfall and Lost Horizon. Hammerfall's debut album, Glory to the Brave, can't hold a match to the debut of Lost Horizon. While Hammerfall's first album was heavily influenced by thrash metal and German speed metal, it becomes apparent very quickly that Lost Horizon is in a league of its own. Lead songwriter, Wojtek Lisicki, makes his album debut by writing a brand of power metal that was, and remains to this day, unmatched by any other band. In power metal and melodic metal circles, it seems that this band and its two albums have become something of a rite of passage for fans, alongside juggernauts like Blind Guardian, Helloween, and Stratovarius.

So what sets this band apart from other bands? In a word: atmosphere. In many words: Daniel Heiman's inhumane vocal range, Christian Nyqvist's unique and fresh drumming, Lisicki's breathtaking keyboard melodies, and some of the best damn riffs.

Tracks like Sworn in the Metal Wind, Heart of Storm, and World Through My Fateless Eyes showcase Daniel Heiman's mastery of his vocals, while other songs like Denial of Fate and The Kingdom of My Will personify the power metal spirit in their structure, composition, solos, and unique and original riffing.

While the album may not satisfy anyone's craving for neoclassical solos, except for the final track possibly, Lisicki makes up for it with his intelligent compositions. Songs are tailor-made for the band, rather than thrown together to appease the fans. Care and deliberate attention was paid to the juxtaposition between all the instruments and the vocals. When Heiman isn't belting out some of the most jaw-dropping screams or soaring notes you've ever heard, the guitars are heard riffing, with a steady gallop provided by the drums and bass, not unlike Iron Maiden, as well as the drums pounding away aggressively. Some of the more memorable riffs appear in World Through My Fateless Eyes and the chorus to Sworn in the Metal Wind, and they almost seem to be working harmoniously to compliment and complement Heiman's vocals. Nothing is thrown in without a rhyme or a reason, and this captivates the listener to all of the areas of the magnificent mix.

All in all, this is one power metal's shining relics. An album that has stood the test of time. I don't think it's any stretch to say that Heiman is the most talented and gifted singer in all of metal, and I don't think it's a stretch to say that Lisicki's writing may be some of the most intriguing and captivating of the whole genre.

This is an album that has to be heard to be believed. Outside of its single weak track, Perfect Warrior, and its unnecessary outro, this album is a non-stop hectic bombardment of some of the best power metal in history. There's a reason this band is practically worshiped in the power metal scene, and it's because of its melodies, atmosphere, vocals, and songwriting.

Whether or not the fire burns again, at least we can look back on this magnificent album and know that, at least for a moment, the stars aligned perfectly and Lost Horizon made their debut and left an impact that's still felt today.

How would one join paradigms of musical creativity with the spiritual freedom into a single universe and then turn it into the sonic, powerful transcending experience. It's exactly what has main songwriter, founder and lead guitarist, Wojtek Lisicki done with rest of the members of this (oc)cult heavy metal band from Sweden. In this almighty debut Lost Horizon made such an impact that only few bands could hit the scene in the post-grunge era and almost single-handedly revive the heavy metal genre by raising the creative bar for the levels higher. In matter of fact from the objective stance, Lost Horizon is the only modern (post-2000) metal band that has to this date, produced and contributed to the general genre as such, with original and intellectually unique approach to the style, lyrical and instrumental progressivity, atmosphere, great cooperative production and never before emphasized messages of power of individuality against collectivity, obedience and slavery in wide, unpredictable, non-cheesy sense and meaning.

The record itself was reproduced several times since 90's, some of the songs were completely rewritten from their 90's counterparts, structurally and instrumentally final LP is filled with more melodically richer effort on the keyboards, drumming precision and finally vocal harmonies and power-screams of the vocalist, Daniel Heiman that made this record complete. Daniel is still hailed from the vast number of journalists and singers as technically, the best singer and metal screamer in the world of heavy metal. He became the standard that many will strive to conquer. Recently, Stu Block of Iced Earth hailed Daniel as a best power-screamer and one of his own personal favorite vocalists (along with Jorn Lande, Russell Alen, Dickinson etc.) emphasizing his effortless singing style, as an exact reason why he would spend any amount of ca$h for his lessons.

LP itself starts with an atmospheric introduction to make the listener more accustomed to the message and the ideal of the band. We have 8 tracks between the intro and the outro, 1 epic and 1 transitional ambient song "Song of Air". You can follow the tracks through concepts of freedom of the individual (referred to you as a warrior or your own, awakened self), firstly his slavery to the fate and the outside occurrences, obedience, ignorance and then his gradual way of awakening in his own world, world where freedom and the power of his will and enlightenment, rule over all the "strings" previously imposed. Guitar work is unmatched almost virtuoso-like, melodic, proportional to the emotional set of the band. Bass guitar is handled by the virtuoso, Martin Furängen whose own playing virtuosity and speed is demonstrated in the introduction of "World Through My Fateless Eyes", "Welcome Back" etc. The guy can tap and "finger" that neck.

Drumming is handled by Christian Nyqvist whose precision and rich, groovy sound and rhythm changes are Lost Horizon worthy, no doubt about it. Finally, the highlight of the record represents the man whose singing made & still maintains the cult-like image of the band to this day, while still exponentially rising thanks to the exposure on the wide public-audience following sites, like Youtube.

It would not be fair to proclaim Daniel Heiman as the main reason for the LH' success, since without the music and structurally great songwriting his pipes would be loose and unused without the proper catalyst from the rest of LH. Almost every single (the) song on the album is destruction of another legend-like standard, from Halford to any other singer you can recall. His screaming is consistent, effortless, technical and melodically accurate. Diction and articulation are both clear and full without strains in the highest ranges. Daniel Heiman is just one unique high-definition standard of a vocalist, that anyone who can recall the guy's name associates him as such.

Finally, lyrically the band emphasizes as I've already mentioned anti-(a)theistical/nichilistic-like ideas of war against any slavery under materialism and impotence of the individual to break his own or other - external boundaries, all delusions of fallacy known as fate. This is the TRUE heavy metal band because they intellectually very well charge and spread the real life values and messages through the boundless energy of their own heavy metal music, with all the intention to transform the listener into thinking, self-aware, conscious, spiritually free mindful being, making him/her excluded from the rest of the "yeah, the music is good" crowd.

This is not the record for the simple-minded "Metallica - cool - yeaaah" cells and mindless walking dead "metalheads". This band has taken the burden of using the power of their creativity, energy and intellectual wisdom to transpire and enlighten hopefully, firstly targeted audience, those who at the end of their days would say, "I lived this life for something more" than just being an ordinary mortal - follower.

Heavy metal music should be listened by thinkers and wise ones, those who represent the uncompromisable, authentic individualistic force to righteously stand with few of them against cattle-following many, when the truth and occurrences require at least one voice standing up and shouting for the objective - the rightful. If this band represents the realm of everything said, I'm bearing that flag for eternity - fearless, limitless and unstoppable as should every other true listener and moral being.

So here I am, much like any other metalhead readying himself to write a review: Sitting at my computer at 5AM, drinking, listening to the album I am about to review.

And it's never felt so fucking right.

Where to begin with this one? Well, I'll start it by focusing the direct attention of this review straight to the entire reason this band deserves to exist at all: The vocalist. Daniel Heiman is, by far, the greatest and most talented Power Metal singer to ever walk the earth. Period. Little attention or spotlight has ever met the faces of this obscure Power Metal group, for reasons unknown, but it should not be so!

The greatness of this band will never, EVER be matched, if not by musicianship, then by vocal ability. There are no words to describe how truly fucking insane this singer is. His soars are unlike anything I have ever heard in my life. I've never even heard female opera singers reach the notes he reaches. However, unlike most Power Metal singers who strive to sing in super-high register, he has a fantastic low-mid-range vocal ability, and his tone is exceptionally well-formed. Each high note displays no sign of strain or breakage, and is powerful as hell. He has a full, lightly diveted vibrato that awashes an even fuller timbre. He is professional, right? Wrong.

He admits he has never even had a singing lesson...

FUCK.

Talent.

As for the drums, there's a lot to be said. They're a lot more aggressive and speedy than in their following album, and are the underlying factor for this album holding a lot more traditionalism to their Power Metal roots, and that DEFINITELY is demonstrated throughout the whole album, even in the ballads. But on the whole for this area of the band, the percussion is hard, fast, angry and well-fucking-executed.

Much respect.

Unfortunately the bass is a little over-powering in this album, and is one of the reasons for the fall in my rating of this album. It's been far too overmixed, and this brings the general presence of the low-range tone in the mix to an uncomfortable level, if played on a decent stereo/through decent headphones. However, in a fucked up sort of way, it allows us to hear each crucial note in the counter-melodies played to accompany the guitars, which can actually be quite beneficial, as bass players are DESPERATELY trying to reclaim their role as being "the foundation of the band" (Shut up Murderface), and will no doubt cater to their needs of improving writing calibre. I guess there are pros and cons to everything.

The guitars and keyboards in this album are FOREVER conflicting with each other. Which is never good. My personal preference is to have keyboards situated as the element of AMBIENCE in this genre, and should only ever be largely audible when the keyboardist is playing either a solo or counter-melody for a guitar solo. Anything other than these two musical positons will just cause aural conflict. Unfortunately, the keyboards are constantly washing away all the potential power of the guitar riffage, and almost appears to be having a battle of WHO'S GUNNA BE THE LOUDEST??...And the keyboards generally win, but in the annoying way. So in my opinion, this album could have been greatly improved if they had made the keyboards shut the fuck up for a second so the guitars can do what they have to do. But this was not to be, and we are stuck with this version, but I guess the vocals can always compensate.

The intro and outro should have never been put on this record. They've clearly been placed on the album for time-filler, as the album is, evidently, quite brief...Nevertheless, putting several combined minutes of useless samples at the beginning and end of a record does not lengthen it or make it more epic, it actually takes away a lot of the impact.

But, on the whole, although the album does have a lot of flaws and short-comings, the general atmosphere, musicianship, compositional integrity and EPIC fucking singing efforts, have all proven to make this album being worthy of being put on the Top 10 Power Metal Albums of All Time.

-Rhapsorizon.

Power metal...when was the last time you heard a band performing power metal that didn't sound completely derived from something else? Meet Lost Horizon...

To put it bluntly, this is an original band making a damn bold statement in a genre that is tough to be unique in. Probably the biggest thing you'll notice, is the sheer intensity that a band like this brings. Everyone in this band is an underrated talent that has come together to form what should have been a metal juggernaut (until Daniel's ill-concieved decision to leave the band). The drummer is metronome tight, and he doesn't play a single fill on this disc that appears anywhere else on the disc. And those fills...are top-notch. This drummer should be held in high regard right next to the Mike Terranas and Asgeir Mickelsens of the world. Speaking of untapped talents, how about that guitarist?!? His riffs give you no opportunity whatsoever for your attention to wane, and his solos are little mini-compositions in the middle of the tunes. Now throw in a singer with one of the best sets of pipes - not to mention an uncanny knack for emotion and versatility - and you truly have something here. Add icing to this layer cake in the form of an amazingly top-notch and never-overbearing production, and this album should be a classic!!!

To conclude, this album is damn amazing! the only critique that I can give is that the interludes need to be ditched and we need to see 10-12 songs per CD...not 7 or 8 surrounded by filler crap disguised by their track numbers.

Oh, and the Highlander lyrical references speak to the nerd in me...

Although it is important to note that Wojtek Lisicki does not like the concept of religion, the nature of this album is pretty much open to biblical analogy, at least in terms of it's scope. There are two themes at work in this band that are immediately obvious before the album is 1/3 of the way over, and they are excellence and individuality, one being observed in the music and the other in the lyrics.

Before I delve into the particulars about the content of the album, I think it is neccesary for me to make a defense of the band's image and overall concept. Essentially the image that Lost Horizon portrays is that of a group of Viking warriors, complete with war paints and in the case of frontman Dan Heiman, a druid's cloak to emphasize his role as the band's spiritual leader (though Wojtek writes the lion's share of the songs). All of this is heavily symbolic of the concept of the band, which is the idea of a fully honest and unapologetic love of individual liberty. I dare say that it is highly likely that Horizon's detractors are probably carrying some latent collectivist baggage in their personal philosophies, despite whatever denials they try to mask it with.

In keeping with the band's concept, each stage/character name is geared towards the purpose of bringing out their function in this larger than life experiment in metal storytelling. The names are highly intellectual, and obviously come off as corny to casual observers of sci-fi flicks such as Star Trek who heard something similar on an episode in weeks past. However, this is done for purely intellectual reasons, and consequently I wouldn't be surprised if Wojtek and his bandmates laugh themselves silly if they ever read some of the rather pathetic attempts to poke fun at what is clearly an image put forth for entertainment purposes. A word of advice to those of you whom insist on labeling this album as "Awaken the Cheese", shut up and listen, you may just learn something.

We have some musical genius at work here, not only in terms of songwriting, but in overall musicianship. Martin Furängen's basswork is comparable to the likes of Joey Demaio and Steve Harris, whose refusal to simply play support roles in the music of their various bands helped pave the way for the bass to become an essential lead instrument in the metal format. Excellent examples of Martin's virtuosity can be observed on his walking lines in "Welcome Back", as well as his high speed finger style on "Sworn in the Metal Wind".

Christian Nyqvist's drum work is right up there with speed pounders like Clive Burr and Dan Zimmerman, making one hell of a racket on such tracks as "Heart of Storm" and "World through my fateless eyes". Wojtek's guitar sound is a bit on the crunchy side, and loaded with digital delay, however his lead work is a bit more auspicious. Stand out lead lines are to be found in "Sworn in the Metal Wind", "Welcome Back" and "The Kingdom of my will".

But the star of this 4 man show is clearly Dan Heiman, who's high thunderous vocals bring out the Highlander spirit that dominates this album. Some of the notes he hits on various tracks are enough to make Rob Halford wince. Although his voice is much higher, the spirit of Dan's voice is not all that different from that of Freddy Mercury, who had an equally strong sense of passion and drama that made his voice the dominate instrument of Queen's ensemble. The most amazing vocal performance on here clearly goes to "Kingdom of my will", although "Perfect Warrior" and "Sworn in the Metal Wind" give it a run for it's money.

The lyrics of this release are classic, unadulterated, Ayn Rand style egoism. I stress the Ayn Rand variety rather than the Nietzschean variety for one very obvious reason, the music is heavily geared towards the Aristotelian ideal of displaying the "ought" associated with the arts, rather than mindless passion and witless ramblings. This is further elaborated in the lyrics, which condemn all forms of irrational conformity that continue to plaque mankind. Most people scoff at the idea of finding something meaningful in the arts because of a closet form of cynicism that thinks such things are both useless and hopeless, not knowing that this cynicism is essentially the self-fulfilling prophecy that makes this the case. Although I am a Thomistic Catholic, I've always had a love for the concept of Liberty as espoused by the Enlightenment philosophers of Europe who were heavily influenced by the pagan geniuses of Ancient Greece, who in turn influenced Ayn Rand, and probably also Wojtek.

In conclusion, this is essential metal listening for all fans of traditional and power metal. These guys are one of the most musically and intellectually significant bands to hit the metal scene since the rebirth of traditional metal in the mid to late 90s. It has not yet left my CD player, and I highly recommend it to all.

This is a landmark. A real milestone in music. But, the problem is that most people will never hear it, realize it, or care. Which is a terrible shame, because this is one of the most incredible power metal, metal, or musical albums to come along in a very long time.

Opening the album with the nearly mandatory ambient intro, the Quickening sets a slightly futuristic tone, which is apt considering the names these guys have chosen for themselves. (Try Cosmic Antagonist, Preternatural Transmogrifyer). Though the lyrics can be quite cheesy in their humanism at times, and the photographs certainly are, this should not be allowed to take away from the album itself.

Simply put- it's a masterpiece. All gimmicks and corny lyrics aside, this album smokes from start to finish. Well, there are a few dull interludes (leaving only 7 real songs on the album), but it doesn't matter. There are no weak songs. There are no ok songs. Hell, there are no good songs. The worst song on here is great, or at least has great moments. I try not to overpraise or be a fanboy for albums, but this one's making it hard.

The production really helps enhance the power of this album. Each instrument is audible, with a thick but clear sound. And of course, production don't mean (much more than) jack if the band can't play, but these guys put those fears to rest within the first 15 seconds of Heart of Storm. Pounding gallops from the drums, thrashy riffs, Maiden-esque bass loops, hell, Maiden-esque a lot of things. But spiffed up and sped up for modern tastes, with racing solos and some great tricks from guitarist and song-writer Lisicki.

All this instrumentation is well and good, but the best part of this album is yet to be gotten to. Daniel Heilman. What a voice. I've heard him referred to as a Scandinavian Geoff Tate, and I'm inclined to agree. His style is different- far less conversational, much more intense- but his range and emotion is incredible. With a voice like that, its easy to go overboard, and on the next album, A Flame To The Ground Beneath, there are times where he does. But here, I can't find a note or a vocal line that doesn't make me wish I could do that.

I'll stop ranting now, and let you listen to this for yourself.

This was the first Power Metal album I ever purchased (I'm quite new to this business) and very possibly the best. From start to finish the songs are more or less of the very highest quality. The musicianship is simply pristine - guitarist Wojtek Lisicki and drummer Christian Nyqvist in particular play some awe-inspiring stuff. The vocals are not of this world. Daniel Heiman (who sadly decided to leave the band recently) has a simply incredible voice, with a falsetto that would frighten Ralf Scheepers or even Rob Halford himself. The guy get such sheer power from his vocal chords when hitting the unbelievable highs and emotional lows. Bass player Martin Furangen's conrtibution is muffled somewhat by the fact that the bass lines for the most part follow the drums, but, having seen the band live, it is evident that everyone on this album weighs in with a phenomenal display from start to finish.

On to the songs:

[I'll point out here I won't be discussing the lyrics - all the songs are about truth, self-empowerment, etc, and I think I would cheapen the lyrics by attempting to strip them down]

Track 1 is "The Quickening", a short instrumental opener with synth effects playing over the sound of rolling thunder. Normally I'm not a great fan of intros, but in this instance it sets the mood perfectly.

Track 2, Heart of Storm is simply perfect as the 'real' opening track, opening with a drum intro before blasting into an incredible slice of power metal. Keyboards (also played by Lisicki) add a depth to the end passages without getting in the way. The way the song crashes to a thunderous halt at the end with Heiman screaming lines from the movie 'Highlander' mean the track could have also served as an excellent album closer (more on perfect album closers later ;) ).

Track 3, Sworn In The Metal Wind. This is probably the best song on the album. The opening showcases Heiman's incredible vocals perfectly. If the listener hadn't noticed by the end of the first track, the point is rammed home forcibly here. With no real chorus, this song is a non-stop rush of energy from beginning to end.

Track 4, The Song of Air. This is a short keyboard interlude. Again, I'm normally not a fan of such things, but the soothing, crystaline chiming of the keys is at once uplifting and relaxing.

Track 5, World Through My Fateless Eyes. Back to regular business here with another speedy track. This song the only one on the album that comes close to being a weak track. Not to say it is a bad song, but with the competition it has to compete with here it is unfortunately the most forgettable. Still has a killer chorus.

Track 6, Perfect Warrior. The only ballad-esque track on the album is one of sweeping, inspirational quality. Heiman's vocals are subdued slightly, but the emotion he rings from the lyrics is a joy to listen to. Great solo by Lisicki.

Track 7, Denial of Fate, and the pace is jacked back up with a serious vengeance. The obvious 'single' on Awakening The World, Denial of Fate is a pure adreneline rush, again with fantasticly utilised keyboards and a chorus to sing over and over again. One of the most uplifing Metal tracks ever recorded in this fan's humble opinion.

Track 8, Welcome Back. Soothing keyboards and bass open this track, and Heiman proves his voice can be used to fantastic effect on the less 'powerful' lines as well. The track eventually kicks in to an absolutely killer chorus with the instruments raging to full effect throughout. The song again comes to a thunderous end, leaving a few seconds breathing room before...

...Track 9, The Kingdom of My Will, an epic in every sense of the word. This nine-minute opus closes the album perfectly, changing speed several times but never coming close to losing the listener's attention . Again (again!) the chorus is superb. The guitar leads and solos are mesmerising and the bass is given a chance to fully shine. Double bass drumming that at times sounds more like a gatling gun pound every ounce of energy out of the faster parts, and Heiman is at the very peak of his powers, shrieking like a banshee at every opportunity. Fantastic.

Track 10, The Redintegration is an outro that is, frankly, almost pointless - Kingdom of My Will is the perfect closing track. Still, for an album of such an amzing quality that even manages to boast a very good intro and keyboard interlude, a dull outro is of little concern.

So there it is, Awakening The World, one of my all-time top Heavy Metal albums. The only factors keeping it from a perfect "100%" is that fact that the album is perhaps a little short (would one more song really have hurt?) and the fact that track 5 doesn't quite scale the highs of the rest of the songs. A must for all fans of Power Metal.

Lost Horizon is a Swedish band that is commonly associated with the face paint that the members wear. There is so much focus on their image, so what about the music? Lost Horizon mix traditional metal of Iron Maiden gallop and of occasional Manowar vocal style of macho delivery with power metal elements.

Manowar influence is especially obvious on “Heart of Storm”, the way the song builds up with solid and tasty riffage, with a good helping of falsetto screams. It is the most aggressive song and is placed first. Well, second after the intro. Placing strong songs in the beginning is what you would expect from a debut, so let’s move on. One thing that bothers me is that what follows feels like a step down in intensity.

“World Through My Fateless Eyes”, feels like a weaker version of the opener with some riffs getting recycled. Then vocal style changes to HammerFall and not much happens apart from standard power metal until “Welcome Back”, which is another highlight due to the return of intensity, a guitar driven catchy headbanger. It is the most original song and the best on the album. Starting off as a ballad, if it stayed a ballad it would rank as one of the top ballads in power metal. It switches a gear with a timely double bass assault, that is not overpowering, and then it is beautiful to listen to the finely tuned monster that the song grows into. Lost Horizon obviously thought out this song well, from the way the vocals and solos blend with the riffs it is all planned out so that you may never need to stop your headbanging. Until next song. It is another step down, this time significantly more painful.

“The Kingdom of My Will” is the closing epic, I suppose, at 9.15 except it is bland in every way except the solos towards the end. This song, as opposed to one preceding it, does not make any sense to me, as soon as it begins to gets your attention and transcends mediocrity, the instruments slow down again for some reason. Every epic power metal closer needs to have blistering parts and slower instrumental parts so that the listener can grasp the contrast and be left in awe at the unfolding story, this one does not, as it just drags in pretty much same mode. The final track is 1.41 of silence; there may be something there except it is not audible.

Lost Horizon is a band that has flashes brilliance and is worth checking out for that reason, instead of listening to the last two tracks just listen to Welcome Back two more times.

Have you ever listened to an album and have it hit you like a ton of bricks falling off a 20 story building? Have you ever listened to an album and actually have it INSPIRE you? This album, above all of the other albums I own has done this to me. No other band plays with more emotion and purpose than Lost Horizon, and this is only their first album.

I cannot express in mere words how good this album sounds...and it's only their first CD! The guitars sound amazing, with harmonies and thrashy riffs throughout. The bass pounds and weaves with the drums to give an incredibly tight rhythm section. And what about the drums you ask? The are so good you will find yourself flipping through the insert booklet to locate his name ( Christian Nyquist, by the way) so you can bring him up when people talk about great drummers. And perhaps the greatest part of this band...The singing! Daniel Heiman is probobly one of the greatest singers to come into metal in years. He has incredibe range and screams out notes with more power than almost anyone I have ever heard. In fact, the entire band plays with an incredible amount of energy and power that i just sat in front of my CD player for the whole legnth of this album, captivated by the greatness of this band.

So, how are the songs? Well, just calling them "Excellent" wouldn't even come close to doing them justice. Yes, they are THAT good.

The Opener "Heart of Storm" quickly starts things off with a headbanging beat and tight riff. The main reason I bring up this song is that I feel that it best shows off what the band is capable of, ESPECIALLY Heiman. The part near the end of the song where he belts out " And now I'm free" still sends chills down my spine. And it's the only part in ANY song by ANY artist or band that has ever done that to me. There is just something that these guys have that so many other bands out there fail to capture, a true feeling of energy and power. You actually feel like they mean every note that they play and sing.

Other notable songs are... well, actually all of them are notable! "Sworn in the Metal Wind" has great uplifting lyrics and a thrashy main riff that will get your heart going. "World through My Fateless eyes" is equally powerful, along with "Welcome Back", a song about being reborn. Perfect Warrior is a slower, more driving song, but just as good as any of the faster tunes on the album. Denial of Fate is another fast one with an INCRDIBLE chorus, which features Heiman's vocals layered into a harmony to make the song even thicker. The final song off the album, "The Kingdom of My Will" brings the album to a stunning close, starting off with something that sounds almost fanfare-like. An Epic song in every sense of the word and you hardly notice the 9+ minutes slip by.

I know this review may seem overly positive but I cannot stress how incredible this album is. When I listen to this album It actually instills a feeling that anything can be accomplished. This is the first album for me that actualy transcends "music" and becomes an almost religious experience.

It's a rare thing when an album can actually take you away from this sometimes mundane world and take you on a journey, and make you feel like a better person when you return, and this album does it. And just think about it... IT'S ONLY THEIR FIRST ALBUM!!

I give this album my highest reccomendation.