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Galloglass > Legends from Now and Nevermore > Reviews
Galloglass - Legends from Now and Nevermore

Legendary, both now and forever. - 95%

hells_unicorn, March 29th, 2011

Among the more tragic stories of radical potential in power metal being swallowed up by the onslaught of metalcore infatuations is Galloglass, a band that had all the right moves, yet only lasted for a 2 album stint on Limb Music before fading into inactivity. This is the sort of band that takes a tried and true formula, and adds some interesting twists here and there, almost like a 90% pure fast ball that somehow manages to morph into a slider at just the right moment. The right blending of happy-go-lucky Helloween riffing with occasional references to somewhat heavier ended German power metal bands is put together with a mixture of chamber orchestral music, folksy melodies and subtle death metal additives. They aren’t outright technical per say, but there is a definite air of professionalism that rivals a number of their contemporaries, one that is a bit more intricate than a typical German band.

“Legends From Now And Nevermore” is among the more unique albums to be offered up in the 2000s, probably being most comparable to that of Human Fortress’ “Defenders Of The Crown”, but with a slightly darker character. While the latter was clearly driven by a similar fixation with medieval society and heroism, Galloglass’ debut is marked by a greater affinity with the evil side of the struggles unfolding in each musical poem, sometimes venturing into the realms of black wizards and murderous dragons. The stylistic trappings here are a bit closer to the speed/thrash tendencies of the mid-80s German scene, coming off as maybe a middle ground between “Walls Of Jericho” and “Gates Of Purgatory” from time to time, but still definitely well within the same realm of melodic violins and chamber vocal ensembles that could almost be likened to a scaled back Rhapsody Of Fire.

Song for song, the rule of the day here is consistent speed and fury, varying perhaps only in a slightly less RPM register that still defies being mid-tempo. Tuneful anthems like “Dragon’s Revenge”, “Ancient Times” and “Remember The Fire” would be standard fare except for a slightly fancier riff set and a unique mixture of voices that gives the already massive chorus sections the extra boost needed to compete with the new landscapes set by the likes of Dragonforce and Power Quest. By the same token, while similar assaults of raging rapidity are mixed with wild thrash riffing on “The Last Stand” and a few death barks on “Eye To Eye”, the band also makes time to show their versatility with a lighter approach to doing things. “The Quest” is among the more brilliant folksy ballads to come out of a power metal band that is not Blind Guardian, loaded with woodland flute brilliance and crooning vocal serenity. It’s hard to believe that the same Carsten Frank who emulates both Halford and Corpsegrinder on a few other songs is able to scale back his rage for such a light song, but he pulls it off masterfully, begging the question of why he has been wasting his talents on a number of mediocre modern groove projects.

The word classic gets thrown around a fair amount, but this is one of those instances where it is not only warranted, but obligatory. Between the busy guitar work, versatile vocal characters and pulverizing rhythm section there is something far more important going on, and that is good songwriting. This is the sort of album where it’s easy to remember every single song, not just for the sing-along choruses, but for the entire mixture of musical influences, which is fairly unique even when put against contemporaries Human Fortress and Elvenking. Fortunately this outfit lacks the embarrassing outputs of both, but at the same time the lack of further releases is disappointing for the lack of any stellar releases by either of the others since 2005. Any fan of power metal, but particularly the sort of sound splicing with orchestral and folk music that was popularized by Blind Guardian, this is a must have.

Power Metal bliss, really. - 89%

Empyreal, January 25th, 2010

This band is so fucking cool. I mean, how many Power Metal bands can start an album off with a song like “Dragon’s Revenge,” which has a chorus featuring the line ”They were ripped APAAAART!” sung in the most happy, cheerful fashion you can imagine? That’s why I love this kind of Power Metal; it’s just so campy and joyously over the top. The melodies are top notch, the choruses are great, and even the riffs kick ass. There’s just no bullshit in this; it is as earnest and unassuming as a music record gets. No pretension, no gimmicks, just pure, ballsy, melodious fantasy-metal the way it was meant to be played. Just look at that cover; would you expect anything else?

Galloglass is sort of like HammerFall or old Nocturnal Rites and also kind of like early Human Fortress and Elvenking, with the folksy, chamber-like influences of the latter, but also the pure nostalgic melody and riff-work of the former. Vocalist Carsten Frank, soon to become a sexual predator singing on Human Fortress’ Eternal Empire, sings admirably, with a lot of pomp and triumph to his richly melodic voice. The guitarists pump out lead-iron melodies fit for the rich neighborhoods but played here for all to enjoy, and the riffs are speedy and fueled from behind by propulsive double-bass drumming, although this is not in any way intrusive. Really, this is just exceptionally well written Power Metal, no more, no less, and that’s what I love about it.

Songs are all in the four to five minute range, ranging from mid-paced stompers to the speedier cuts that the band seems to prefer. Even generic songs like “Ancient Times” are made supremely enjoyable through the band’s charisma and personality, as well as the subtle folksiness implemented. Opener “Dragons Revenge” stakes claim to a mighty amount of territory for the band, and further barn-burners like “Crusade of the Damned” and the excellently catchy title track do not let up. “Remember the Fire” is a moody half-ballad with a boiling chorus and a lot of slower, but still heavy, melodies. “Eye to Eye” is a swashbuckling affair with swirling melodies and a strangely Priest-like air about the whole thing, and the feel of this song is just really cool. “A Wintertale” is the song most people talk about, and it might be the best one here, but if so, not by a lot. It’s a midpaced, folksy romp n’ stomp with a huge hook and a lot of charm to it. Very cool song.

Some songs aren’t quite as good, like “The Conjuring,” which I can just never remember, and the subdued ballad “The Quest,” but these still aren’t bad songs, they just aren’t as good as the really fucking awesome tracks that make up the first half of the album. And besides, the band makes up for it by ending strong on “The Last Stand,” anyway, so all mistakes are forgiven. Legends from Now and Nevermore is a really enjoyable and highly energetic album by Galloglass, and criminally overlooked, at that. It’s just such a thoroughly fun, cheerful affair. There’s nothing mean spirited or dark about it, even when what they’re singing about is, and sometimes that’s just what I need. Highly recommended.

Originally written for http://www.metalcrypt.com

A Decent Effort - 85%

Znarglaxe, November 6th, 2003

I am a fan of power metal. And i have been for a while. I was surprised when i picked this up, because before i had, i was stuck in the mode of Manticora/Afterworld style power metal. Bland vocals, fast BLAND guitars and for the most part all around mediocrity. But when i got ahold of this gem, i was genuinely surprised. This album has very nice harmonized guitars and some nice fucking squeals and shred type solos as well as a good feel coming out of the rhythm section.

The vocals are not all such totally high pitched tripe with forced Vibrato either. And they are not Balls in the vice style either.

Altogether, i would say that anyone who is a fan of metal would probably like some aspects of this album, since it is not too fantasy-ish, not happy by any means, and it has some damn good parts to it that are embraced throughout "metaldom".