Imaginations from the Other Side

When it comes to history of metal, there is a certain tendency to paint the early to mid 90s as a sort of a dark age. And while it is true that, in regards to commercial success, metal took a whole other level of beating due to the advent of grunge, upon closer inspection one soon realises that the period from early to mid 90s hosts some of metal's greatest achievements, particularly in subgenres like death metal (Morbid Angel, Death), black metal (Darkthrone, Mayhem, Immortal) and especially power metal in form of Gamma Ray and Blind Guardian, and the latter would in 1995 release what I consider the greatest metal album of the 90s.

Stylistically, this album takes the the best of the 80s thrash metal which is brutality and aggression, and the best parts of Judas Priest and Iron Maiden which is melodic guitar playing and operatic vocal style and meshes them together into an unbridled rampage of anger, despair and even some melancholy. Songs like "I'm Alive" and "Another Holy War" just pummel the listener's ears with relentlessly brutal riffing, thunderous drumming and vocals that are mind-numbingly high while still maintaining a little bit of thrash metal's roughness. On the other side, we also have softer songs which display more melodic and despairful tone, primarily in form of two power pseudo-ballads "Mordred's Song" and "Bright Eyes". However, what pretty much surprised me on subsequent relistens is how well the album flows together. Raw, brutal tracks give way to softer tracks, avoiding the danger of album sounding samey, while still maintaining the sound that is unique to the album.

Production wise, all the instruments can be heard without intruding on one another, even if bass does get a bit lost in the mix. Guitars and vocals both shine high without overtaking each other, but I would like to clarify I am listening to the more modern vinyl re-release which changes some things from the original and 2007 master. It sounds cleaner and less raw and murky, and while I prefer the cleaner production, it's understandable some people would be disappointed that some of the rawness in production is gone.

Performance wise, this is Blind Guardian collectively at their best. Andre Olbrich just pulverises every single riff on the album while still introducing more complex and melodic playing in the album's slower moments and pre-choruses, and somehow it all sounds precise and concentrated at the same time. This is Hansi's second best performance in Blind Guardian's history. Not only does he manage to pull off ear-piercing screams and high pitched vocals, at the same time he blends in the grit and roughness that wouldn't be out of place on a thrash metal album, so what you get is very often the sound of a man screaming in anger and desperation. Thomen is a mean drum machine here. Drumming is extremely fast and extremely aggressive while utilising the double kick to its fullest potential, creating the sensation of a being in a middle of the hurricane. Marcus Siepen is probably the least talked about on this album and is probably its unsung hero. As a rhytm guitarist, he is basically a human metronome, keeping the entire band together and turning the entire album from chaos to a laser precise artillery bombardment. Really, only thing I would complain about is the bass. It's nothing bad and it's competently done, but it's not extremely creative and, like I said before, it kind of gets lost in the mixing, but it doesn't detract from the full experience at all, so it gets a pass.

The impact of the album cannot be overstated either. While "Nightfall" is tradtionally held as Blind Guardian's most influential album, what IFTOS started was a wave of power metal that most modern bands like Powerwolf, Sabaton, Edguy, Nightwish and others are very much surfing to this very day.

Overall, this is an excellent album that combines best of thrash and power into a concentrated assault and as such I would recommend it to people asking for both the raw, aggressive assault and a more melodic approach to metal.

After Blind Guardian's fourth album was their first to really be special, their fifth album "Imaginations from the Other Side" (which I will shorten to just "Imaginations") builds on, expands, and improves on it. This is also the last Guardian album where Hansi played bass. Following this, they'd never name an official bassist into the band, but have some 'session' bassists play on the following records. Where I stated that "Somewhere Far Beyond" was a transition album from speed to power metal leaning more on the speed metal side, this one is the reverse. "Imaginations" is definitely more so a power album in my opinion, but they still definitely hadn't fully discarded their speed metal foundations on this one yet.

"Born in a Mourning Hall" is a place the album shines on in terms of both styles. Another note I should make about "Imaginations" is that Hansi might have his most intense vocals going across the record. He sounds like he's destroying his throat on this record sometimes, but his sacrifice works and gives a really pissed off flare to a lot of the songs. "Born in a Mourning Hall" is one of them. The beats and rhythm guitar work are definitely closer to their speed metal work, but the lead work is soaring power metal brilliance. Hansi's verse vocals are gruff, but his chorus vocals are strong and catchy. Thomen also throws in some really tasty rhythm parts of his own on his ride cymbal. The band really walks a tightrope spectacularly on this song.

The closer "And the Story Ends" walks a similar tightrope, but I think has even more power to it. The song marches on with some brilliant chanting, and Hansi's main vocals and backing chants are juggled perfectly all throughout the song. Much in the same way, the band throws in some acoustic guitar parts underneath some of the heavier parts here and there to give it a lot more depth and emotion. The track has an epic feeling without needing to go overboard trying to drive the point home. "Bright Eyes" is a fan favorite on "Imaginations," and also one of my personal favorite Blind Guardian tracks as well. Everything Guardian is famous for ebbs and flows majestically through "Bright Eyes." Gruff vocals, powerful chanting, blazing higher notes, and all of the signature riffs and skilled drumming. The chorus hits SO hard. It might not be the absolute catchiest chorus the band ever made, but the intensity is awe-inspiring. Hansi's pure intense power on the chorus took me aback the first time I heard the song, and it still holds up. "Bright Eyes" is all about the passion and power hidden behind everything else.

"A Past and Future Secret" seems to almost be a follow up to "The Bard's Song," and while it might not quite be as legendary or magical, it's still an amazingly captivating song. Blind Guardian has a handful of these tracks over their career. It really feels like story time to me. Tracks like "A Past and Future Secret" show why there is literally no better band in existence at painting pictures in an audience's mind. The song almost makes me feel like, if enough people sing it at the same time, we could pull that fantasy realm they're singing about out of the air and bring it to reality. It's beautiful, majestic, catchy...and most importantly...it lets you use your own imagination. "Mordred's Song" is another very fantastic track that paints a picture and builds upon itself so well. After yet another incredible acoustic intro, Hansi begins his story. The acoustic guitar work is almost more important on "Mordred's Song" than the electric guitars, even though this is still definitely a metal song. Guardian's patented multi-layered vocals are on prime display on this song. You couldn't ask for more of an elegant waltz in a track than what "Mordred's Song" delivers. It never gets the least bit stale or repetitive from start to finish. There's always something unique and cool going on to catch your attention.

On the entire album, "Another Holy War" is the only track that never really clicked with me. It just never gets off the ground, in my opinion. The riffs are really weak all across the song, and the way the whole runtime flows is really pretty formulaic to me. It doesn't really go anywhere interesting, and nothing about it is at all outstanding. There's no cool moments, and even the chorus is really, really weak for Blind Guardian standards at this time in their career. If this song was part of an earlier album, it might have been a cool addition, but at this point in the band's career, this one is just a lackluster and uninspired filler track. I personally also think the title track drags its feet a little too much, but that's a small complaint. In general, the title track is a great song that sets the table extremely well with a powerful chorus, but it could have trimmed some of the fat off and made more of an impact.

One of the most unfortunate things about this record is that Hansi was never able to pull most of the songs from it off live faithfully. He always makes great adjustments to make them work, but if he tried to sing these songs live night in and night out the same way he performed them in the studio, he'd destroy his voice for sure. "Imaginations" ends up being the true swan song for anything remotely related to how they started, and I think that puts itself in a pretty bad spot, unfortunately. A lot of fans of their old style say this is where the wheels fell off, and a lot of fans of their more modern material don't think there's enough of that in this album to make it shine. I, however, think that this album was extremely ambitious, and does an excellent job at satisfying a large chunk of its intended audience. While this isn't quite my favorite Guardian album, it's either my second or third depending on my mood. For some, this album is a goodbye. For some, it is a hello. For me, it's just marvelous.

We have to agree that Blind Guardian surely deserved this clearing of the way that Fortuna did for them in the late-80’s/early-90’s by either giving some bands the (un)timely resignation letter (Warrant, Iron Angel), or delaying some acts’ evolution by regularly snatching their frontmen (Scanner), or coercing others into taking ill-calculated, nearly career-ruining decisions (Helloween) thus leaving the power/speed metal crown exposed for the Guardians’ taking.

It’s not that the band really needed such a noble gesture from anyone/anything; their rowdy, speed/thrashy beginnings as Lucifer’s Heritage were already vociferous and inspired enough to grant them admission to the overground, and when the band managed to handsomely translate those on the first two Guardian instalments, it became quite obvious that a new formidable force was coming this way, one that would sit equally comfortably with both the power/speed and the thrash metal practitioners.

In other words, the possibilities for the Tolkien worshippers were quite a few at the dawn of the 90’s, and although there were some who mourned, and not only in a hall, the abandonment of the more aggressive thrashy strokes on “Tales from the Twilight World”, many more were those who acknowledged the creation of a masterpiece, the band’s first creative peak. Third time seemed like the charm in the guys’ camp, and although the fears of a detrimental change of course (remember the Helloween saga right after the “Keepers”) were quite tangible in the air, also considering the groovier/angrier environment at the time, they were largely left ungrounded once the epic bombaster “Somewhere Far Beyond” came out; yes baby, no retreat, no surrender was the stance epitomized by Hansi Kursch and Co. during these inhospitable transitional times, and one that paid off nicely with big critical and commercial returns.

I thought my heart was indelibly left with the mentioned “Tales from the Twilight World” regarding Blind Guardian’s discography, an opus I love to bits… said love affair didn’t last very long, though, as the album reviewed here appeared some five years later. It’s amazing to hear how a band can sound compelling and plain irresistible by sticking to an established formula; if you listen to this opus here and the two before it, you will find quite a few similarities, like these three showings were intended as parts of an unofficial trilogy… and yet this is one of the few cases when familiarity is quickly replaced by sheer euphoria, this grand saga effortlessly sweeping all Iron Saviours’, Primal Fears’ and Brainstorms’ endeavours until that point, even rendering the Helloween return to form to a mere interesting footnote.

Familiarity which giddily anticipates the staple encompassing “epic meets speed metal” opener that is the title-track, a sweeping roller-coaster which leaves no stone unturned from the classic power/speed metal fiesta, summing up said movement in all its hyper-active grandeur, a feat also achieved handsomely by “I'm Alive”, the guys audaciously covering their brethren Helloween… kidding of course, this is a rowdy speed/thrasher which guiltily winks at the band’s first two before the guys melt everyone’s heart and soul with the 4-min of pure music magic that is the ballad “A Past and Future Secret”; yes, no more secrets for the Guardians in this department with even their peers Scorpions standing humbled before this simplistic, yet ultimately effective grandiosity.

That last format doesn’t get repeated later here, and the guys march on settling for a spell-binding “slow epic/fast ripping” track alternation which bears some of the finest fruit ever from both sides, the infectious melodies on “Born in a Mourning Hall” carving some of the most memorable burrows on an uncompromising speed metal canvas; with “Blind Eyes” perniciously blinding... sorry, binding the two aspects in the midst of said alternation for a thrilling diverse roller-coaster, the battle inevitably won once the glorious speed metal hymn “Another Holy War” has ended, but not before it has thrown a magical, truly mesmerizing melodic epitaph as the ultimate wound healer.

And the story ends, after the semi-balladic composition of that title has faded away, the guys perching on the very top of Metal Mount Olympus in the midst of the angry/groovy/industrial decade, looking around victorious and blissfully arrogant, seemingly content with the conquest just accomplished, leaving strong contenders from the same year like their compatriots Scanner (“Mental Reservation”), Paradise Lost (“Draconian Times”) and The Gathering (“Mandylion”) way behind. It was so refreshing to hear the good old speed/power metal brought to its culmination after the months, and possibly even years spent wrapped in noisy industrial miasmas from the works of Die Krupps, Ministry, Skrew, Malhavoc, Fear Factory, etc. which were my main listening occupation for a really lengthy period. Honestly, I was by no means expecting the Guardians to peak again, and so soon after the first one, which made me all the more ecstatic to hear what they had cooked here, shooting this more or less timely conclusion to all the power/speed metal meanderings, both the earlier 80’s-based and the later, early-90’s wave.

Night didn’t quite descend in the band’s camp afterwards the more introspective, but still pretty absorbing “Nightfall in Middle-Earth” providing another tasteful collection of rousing epic anthems the guys releasing their ambitious, increasingly more complex progressive excursions on regular intervals, keeping their core audience happy, also recruiting new fans for their cause. I have to admit that I haven’t been following devotedly their more recent output… a possible reason for it being the fact that my imagination is still on the other side, still looking for past and future secrets, arcane scripts, mourning halls, and never-ending stories... a conservative, narrow-minded dogmatist, what do you want? Give him a bunch of rowdy speedy epicers, surround him by a few six-packers, and leave him revelling in his drunken, old school metallic ignorance.

If you've read some of my reviews, one thing about metal culture these days that particularly irks me is that practically every band these days has its own fucking sub-genre. From symphonic metal to blackened grindcore to viking metal (ha) to melodic death metal (hahaha). The general excuse for this ridiculous over classification of the genre is "Well it doesn't quite sound like Black Sabbath, so we should call it a different kind of metal." Van Morrison quite sound like Bob Dylan, they were still both folk singer-songwriter! Lemmy, while he was still amongst us, also remarked "...so-called heavy metal, whatever you want to call it, I call it rock & roll. Because it is the logical successor to original rock & roll."

It is this logic I draw from when I say so-called power metal, I call it plain old classic metal/heavy metal/traditional metal. Imaginations From The Other Side is a watershed moment in metal. Sure metal had branched off in all sorts of directions by 1995, but here, Blind Guardian had managed to take all the Priests, Maidens and even some of the thrash classics of the world and weave them into one strange and ethereal, but no less seminal slab of metal. After the vocalist beheading catastrophe of all the old guard of 1991-94, it is Imaginations From The Other Side that comes forth to lead the new generation into a new era of Crazy Trains, Run To The Hills and You've Got Another Thing Comins for a new era of frustrated high school guys and dolls, roving bikers and bar room brawlers.

Plain & simply, this is metal songwriting. Something that alot of critics get wrong as that this was not the same old gunk, dressed up in new clothes. There is plenty of original guitar work here that hadn't quite been seen in the classics of decades before Imaginations. While it is true that this is where Blind Guardian start to pile on the overdubs for the sake of making a sound (in some cases to their own detriment), a simple isolation of these guitar lines reveal a staggering amount of ingenuity. Of course, one way to cheat this system is by simply listening to the live versions of these songs on future live albums. The title track alone reveals what is quite possibly the greatest guitar lick of the decade hiding under its 20,000 seat arena packing chorus. This is what "digging deeper to find something under the surface" means kids. Not to mention the song's additional secondary licks under the later pre-choruses give the song a sense of percussive atonality without trying to make the guitar sound like a DJ sound effect.

Other highlights of the album include I'm Alive, which manages to pull off the impossible task of being blindingly fast while integrating clean guitar and almost ballad-esque elements to the speed metal formula. Another Holy War is catchier than Easter rabbit herpes on a castle knocker, as are Script for My Requiem and Bright Eyes, with the latter taking a more midpaced, but no less effective approach. Then of course, And The Story Ends wraps the whole thing up in spectacular, yet anthemic fashion. It's ironic that a German power metal band is a much better example of finding authentic, creative success when expanding one's artistic canvas than all the Orions and Nothing Else Matters of the world ever could. Of course it's not quite a Blind Guardian album without Hansi's bard-esque sense of flair and melody, and navigating the superhighway on a gear other than Majesty allows these sensibilities to flourish. Some might remark these touches make Blind Guardian a bit too much like show tunes. Well, Levon Helm said that show tunes are just as much a component of rock & roll as bluegrass and blues.

Imaginations From The Other Side isn't quite as meat and potatoes as a Land of the Free, a Sacrifice or a Burnt Offerings, but it is ultimately the most rewarding metal album of the year, and easily a shining beacon of the genre in the stubbornly mis-documented 90s decade. It is a quintessential war declaration from the true earthly masters of the genre, the Europeans. A bugle call of bands that will let the genre fall to victim of wallet chains and manufactured frustrations over their cold dead bodies. Buy this sucker post haste.

It's a strange thing; Imaginations from the Other Side is considered by some to be the greatest album of Blind Guardian's career. In at least a couple of places I've checked, it stands as their highest-rated accomplishment; yet, it seems to get overlooked whenever there's an earnest, casual discussion of the band. Depending on their own relative backgrounds, people are quick to excitement over the intelligent bombast of Nightfall in Middle-Earth, or the punch of their speed metal origins, and some most over the blend of eras they forged with Tales from the Twilight World and Somewhere Far Beyond. By contrast, Imaginations from the Other Side falls in that liminal region between the bold transition of their third and fourth albums, and the ambitious heights they would hit on the sixth and seventh. Though it would be unfair to label Imaginations as a reimagining of Somewhere Far Beyond, the fact remains that the major revelations that came on either side of it have given the album a sense of 'middle child syndrome'. It's a shame, really-- though it's a few spots away from being my favourite Blind Guardian album, it's easily the most consistent album of their career.

I'd hate to give the impression that I mean to undermine Imaginations from the Other Side's own unique developments to this incredible band's sound. Though much of the heavy-duty evolution was over by their fifth album, Blind Guardian saw fit to highlight their progressive leanings on this one. Somewhere Far Beyond was forward-thinking for its genre, but had very little to it that would place it amidst the progressive metal pantheon. I do think Imaginations from the Other Side is the band's most strictly 'prog metal' output; although they would get wackier on the next two albums (A Night at the Opera in particular), Blind Guardian's increasingly orchestral arrangements actually saw fit to distance them from being associated with the likes of traditional progressive metal. Hansi Kürsch has expressed the influences drawn from bands like Fates Warning and Savatage, and I'd argue that Imaginations from the Other Side is the album where those influences are most apparent.

If anything most characterizes Imaginations relative to their other albums, it's the tone and inspiration behind it. If there's anything Blind Guardian fans and detractors alike can agree upon, it's the band's fervent dedication to their fantastical source material. Every alchemical combination of elves, dwarves, and dime-a-dozen chosen ones has been explored ad nauseam in power metal, and it was decidedly uncharacteristic for a band like Blind Guardian to have set aside the escapism to write about the pain and ruin we might like to be escaping from in the first place. These songs are still veiled in fantastical and historical imagery, but only thinly so; unlike Somewhere Far Beyond or Nightfall in Middle-Earth or any bleeding album by Rhapsody, the fantasy is not an end in itself. Fear of death, self-conscious anxiety and the uphill struggle of real life are all powerfully expressed in the lyrics, amplified further still by a particularly aggressive vocal performance from Hansi. Suffice to say, lyrics like "Bright Eyes" ("...blinded by fear of life...") leave little room for interpretation as a call to noble quests and eternal glory. Even so, anyone who would otherwise miss the fantasy element in the music are covered; Blind Guardian's focus on the Crusades and the Legend of King Arthur are not a world away from their usual lyrical fare, but it's enough of a shift to make it freshly distinct from their other exploits.

Imaginations from the Other Side may not come across as a career-defining epic, but most of the songs collected herein are excellent. Although the brooding, mid-paced title track is arguably the most iconic song here, the greatest standouts are "Mordred's Song" and "Bright Eyes". I'm not sure either of these songs could have fit on any of the albums before or after; this was the point in Blind Guardian's discography when they were progressive without yet becoming overwhelmed with orchestration, and the two highlights reflect that powerfully. Although "Bright Eyes" is an original tune, I've always had the weird impression that it was a cover of a pop song; it feels too vulnerable and bitter to have been written strictly as a power metal song, but it does go to show Blind Guardian have a lot more versatility and range than their haters give them credit for.

The album delivers a satisfying blend of high-octane tracks with more lavish pieces. Only the underwhelming speed-fuelled "Another Holy War" falls below the high standard I have for classic-era Blind Guardian, and even then, I only notice it because of how consistently impressive the rest of the album tends to be. If we look at the band's discography sequentially, Imaginations from the Other Side might appear less thrilling than it really is; the argument could be made that the album entailed an essential consolidation of their progressive threads, but it's nigh-undeniable that they have taken far bolder leaps in their career. Regardless, with a grasp of style, songwriting and execution as brilliant as they had by the point of Imaginations, I would happily digest another dozen albums of this sort with little or no evolution to distinguish them. Of course, by Nightfall in Middle-Earth, they had dismissed any notion of stagnation, taking some of the most promising ideas here to even greater heights.

Imaginations from the Other Side is somewhat of a unique piece in Blind Guardian's catalog. Musically it is a natural progression from all of the albums released before it though thematically and lyrically it is a rather different (and more substantial) beast all together. The typical storytelling fashion that Blind Guardian has employed throughout most of their career (before and after Imaginations from the Other Side) is put to the wayside in favor of something much more real and metaphorical. Mordred, King Arthur's unfortunate offspring, is not so much introduced to us as a character but as an emotional state; Merlin, Arthur's faithful seer and muse, is not so much a grandiose wizard as he is a prophet of doom reflecting upon the many inevitable fallacies of mankind. On this album Blind Guardian broke through the mirror from the other side into our own contemporary world and documented their woes ever so potently and accordingly.

I purposefully brought up the album's theme at the beginning of this review because I think it is relevant to the album's overall content, musical and otherwise. The emotions contained on Imaginations from the Other Side are dark, grim and foreboding. There is little hope here and there is little light. In some ways Blind Guardian went for the antithesis of power metal thematically here as the genre is typically associated with the lighthearted "unicorns and rainbows" ilk that, to this listener, leaves much to be desired (to say the least). Imaginations from the Other Side is a journey filled with human depth and longing, very much in tune with the pains of living in a modern world whilst being in possession of an "old soul" if you will (a demographic that is applicable to many metal listeners, I'm sure). The musical expression contained here perfectly captures the aforementioned.

Imaginations from the Other Side, whilst being a power metal album, is thankfully not stingy on the metallic elements. This is a heavy and intense release that does not shy away from the roots of what makes metal, well, metal. Blind Guardian have since forsaken this approach in favor of something much more extravagant and flashy but, in the throes of 1995, this was thankfully yet to be the case. The progressive tendencies of the band certainly took form on Imaginations from the Other Side but they were yet to dominate the sound; the same could be said of the symphonic and folk touches. Essentially Imaginations from the Other Side is Blind Guardian's most balanced and evenly tempered album musically as it takes all of the elements that make Blind Guardian who they are and distributes them evenly with the highest degree of success.

The title-track opens up the album with such a profound bang of perfection and grace that it could almost be intimidating upon first listen; indeed, the song is just that good. Imaginations from the Other Side has since gone down as an utmost classic and is, to my knowledge, still played live to this day. Lyrically the song deals with the loss of imaginative thoughts and feelings in the wake of a cruel, cold and calculated world that allows no room for such indulgences which, of course, lays the foundation for a plethora of negative feelings and, really, the entire album follows suit. Each and every song explores one emotion or another in a very broad, open-to-interpretation sort of way that gives the listener the room he or she needs to inject his or her own experiences into the visceral listening experience itself. Born in a Mourning Hall tackles the bridge between modernity and suicide whilst Bright Eyes deals with isolation on numerous levels. Is The Script for My Requiem an abstract retelling of Percival's arduous quest for the grail? Is it a tale of a man losing his faith and reflecting upon the time he has lost in pursuit of such a fallacious quest? Perhaps even an emotive interpretation of Bergman's The Seventh Seal? It's all up to the listener, of course, and such is the beauty of this album - it's presentation is just as much up to you as it is itself.

While it's true that the theme of Imaginations from the Other Side is consistent throughout the album's duration there is something to be said of the musical diversity contained therein. You have straight-forward numbers like Another Holy War and I'm Alive interwoven with more progressive tunes like the massive title piece and The Script for My Requiem. Mordred's Song, Bright Eyes and even And the Story Ends all showcase the band's moody, dark, mid-paced side most elegantly whilst A Past and Future Secret is easily the best acoustic piece they've ever recorded. The album as a whole plays out very much like a journey from one shore to another on a continent of despair and is best experienced from beginning to end.

Blind Guardian has never released anything quite on par with Imaginations from the Other Side; in fact, I'd go so far as to say they haven't released anything even close to it. Superficially the albums that came immediately before and after it share some audible similarities but "something" is missing and that something is ambiguous and remains undefined until you, the listener, give it your own individual meaning. Imaginations from the Other Side is one of the cornerstones of 90s' metal and comes recommended most highly to all metal listeners and not just those who consume a steady diet of power metal. This is an album full of power, substance, depth and emotion that represents a magical period in time that shall never be replicated or duplicated again. Whether you're feeling lost amidst snow-swathed city streets or bitterly alone in your room reflecting upon all that you cannot possess you shall find a most welcomed and loyal friend in Imaginations from the Other Side and perhaps this is exactly what the band meant with the last lyric of the album as they crawled back into the mirror … it's all up to you to decide, dear listener. Imaginations from the Other Side is a quintessential masterpiece that deserves a spot in any serious metal connoisseur's collection.

Every time I play this album I'm in a euphoric mood for about 20 minutes. The ‘oh this is my favourite Blind Guardian album’ always rushes through my brain but each and everytime the same things happens which makes me realise the first 4 actually are. And with reason.

The Blind Guardian showing itself on ‘Imaginations from the Other Side’ is a band in between eras. You can’t compare ‘Battalions of Fear’ to ‘A Night at the Opera’ even if you wanted to. Only Hansi Kürsch’s vocals are always recognisable. The band went from a fast semi-thrashy power metal band to an excessive progressive power-rock opera combo slowly over a period of 14 years. ‘Imaginations from the Other Side’ is the album which is balanced perfectly between the two. So I can imagine for some this is the quintessential Blind Guardian album. Showing everything the band has been about during their career.

Unfortunately the 5 utterly brilliant songs on this album are ‘compensated’ by blatant pretentious fillers. As said the first 20 minutes of this album are simply killer. Everything I’ve come to love about BG is there. Epicness and subtlety on the title track, a superb chorus on ‘Script for My Requiem’, powerful metal on ‘I'm Alive’ and the beautiful neofolk ballad ‘Past and Future Secret’.

After that the album pretty much slips and slides through lesser songs which consist of a cacophony of semi-melodic guitars, randomly put backing vocals and excessive breaks. Each and every one of these songs having just enough markers to stay identifiable but never reaching the efficiency of the first 4 tracks. It isn’t until the mighty ‘Another Holy War’, which is one of the best songs Blind Guardian have ever written in their entire career, that the album really comes to live again. Before finishing of with a piece of cheese (‘And the Story Ends ’) which in way is a cleverly crafted song without excessive soundscape filling but the melodies are more suiting for a broadway musical than a power metal album.

No, in all honesty, if this had been an 27:19 minute EP with ‘Imaginations from the Other Side, ‘I'm Alive’, ‘A Past and Future Secret’, ‘The Script for My Requiem’ and ‘Another Holy War’ on it, this would have been by far the best Blind Guardian release, ever!

Imaginations from the Other Side was Blind Guardian's biggest departure at the time from their original speed metal roots; the synths and big choruses were gaining prominence, as was an increasing shift towards power metal. Somewhere Far Beyond was a dark, aggressive speed/power masterpiece; many have viewed the band's departure from that sound a mistake that ruined their sound. While Imaginations certainly demonstrates the beginning of that departure, it isn't lacking for quality; it shows for the first time that Blind Guardian are able to change direction and still put out top-notch music. While the songs may seem simpler than many of the compositions on Somewhere, they're obviously very carefully composed, and the apparent simplicity just shows the catchiness of the tracks; once you dissect them there's a lot more to them.

Let's start with the production. It's very thick, and the rhythm guitar sounds heavy as fuck; however, the lead guitar suffers a bit, as do the vocals; the lead guitar feels drowned by the thick guitars, and the vocals are too far in front, making the songs feel emptier than they should, without the up-close presence of the fantastic leads. It does detract from the album; that being said, the production's not awful, and the album is still quite enjoyable.

Now, as I said earlier, the songwriting on the album, despite going in a different direction than Blind Guardian is used to, is absolutely superb. The tile track is a huge, epic, midpaced number, the production working perfectly to create the feeling of vast, ancient majesty, while still being quite bombastic at times. It runs for over seven minutes but never once feels as though it's dragging on. I think it's definitely one of the best tracks here.

Next is "I'm Alive", a track of dark, melancholy speed metal. The riffs and vocals are absolutely merciless, almost evoking a thrash-y atmosphere at times. In fact, this wouldn't be out of place at all in a power/thrash album like something by Paradox, although it focuses a bit more heavily on the power and speed elements. The acoustic segments give the song a really gloomy feel, perfectly complementing the harsh, savage riffs of the electric guitar. Additionally, the guitar harmonizing in the solo is one of the best examples of the band's knack for great, catchy harmonies; this is one of their best solos of all time, and the power-y riffs under the sections after the solo are absolutely great. This is another excellent song, if perhaps not quite reaching the level of the title track.

Following is Blind Guardian's mandatory ballad, which here is "A Past and Future Secret", which really showcases Hansi in a completely different way. Despite the fact that the rest of his vocals on the album are about as raspy as clean singing can be, his cleaner "ballad" vocals are better than they were on any of the other albums. This probably shows that Hansi's singing lessons have been going well, and it's definitely enjoyable for the listener. While the vocals on "The Bard's Song - In the Forest" (from Somewhere) sound a bit rough, these are completely flawless. The placid, quiet medieval majesty of the song works wonderfully with his vocals, as well as the synths the band has been implementing throughout portions of the album. It sounds just as vast as the opener, if not quite as ancient and epic, and doesn't fail to disappoint. Although it's not my favorite song on the album, it does what it does well.

Next is the fast, angry, dark "Script for my Requiem"; again the synths are here with some prominence; however, aside from them, this largely speed metal song wouldn't be out of place on the previous album. Unlike "I'm Alive" this is more of a brooding, unhappy number - Hansi's vocals here sound dissatisfied and almost indignant about the subject matter (the early Christian crusades), and although the riffs get a little boring at times, it still manages to rock out. While not as good as the first two tracks, this song is still pretty decent.

After that is "Mordred's Song", which starts with a dark, haunting acoustic interlude, but from the lyrics you can begin to sense a pattern in the album; it got dark and unhappy on the second song, and it seems to be staying that way (apart from the ballad). It's interesting that what many praise as Blind Guardian's best power metal album is such an unconventional one, but then, despite their success in the PM scene, Blind Guardian is far from a conventional band, and it shows here. This song is even darker and moodier than the previous one, and the riffing creates a cursed, almost regal feeling at times (of course, that could just be my perception of it). Although it seems angry in some places, it is more somber and depressed than anything else; again, very strange for power metal. However, the music handles it solidly, switching to acoustic sections several times, and once again the tone does its job.

Following is "Born in a Mourning Hall", a strange power metal number that changes mood often; it is probably the least consistent song on the album, but it is far from garbage. It starts out with a simple, heavy, almost upbeat verse, before falling into the angry brooding the album has been so skillfully employing. The chorus is slow and melancholic, and probably the worst part of the song; it just doesn't do much of anything. It's followed by a series of unpredictable tempo and mood changes, from standard power metal to thrashy speed metal to ethereal acoustic interludes; however, most of it is good, and the harmonizing as usual is spot on. Particularly well-done is the atmospheric section where Hansi sings "Oh, I know this can't go on, but the ghost called fear inside...lames my tongue, my nerves, my mind...eternal fall down". Despite the weirdness of this song, it is probably the catchiest thing on here; while the melodies are a bit simpler than on most of the other songs, it's still quite solid.

The next one is "Bright Eyes", as moody as "Mordred's Song" and as angry as "Script for My Requiem". The production here is even better than on the rest of the album. The big, atmospheric intro with glossy guitars and wind blowing, then the background vocals chanting "fool, just another fool, just another fool..." is absolutely fantastic. Hansi's angst-y howls, especially in the almost desperate chorus, are excellent. This brand of dark, angry power metal really shines through in this song, when you're not too distracted by Hansi's performance to notice what the guitars are doing. One of the best songs on the album, up there with the first two.

"Another Holy War" is probably the most upbeat song here; it is harsh but hardly angry or moody, at least musically; the lyrics once again represent someone dissatisfied with the Christian crusades. The song is extremely catchy, but unlike "Born in a Mourning Hall", if you listen a little more closely, the melodies and harmonies are extremely complex, demonstrating a careful composition to make it catchy, rather than mere simplicity. The guitar harmonies are an absolute treat throughout the entire song, probably the best on the album along with the solo of "I'm Alive", and the almost weary-sounding vocals in the chorus are perfect. Yet another winner for the album.

Finally, we have "And the Story Ends", which musically is similar to the vast majesty of the title track, although this evokes a strange, mystical, starlit night more than an endless, ancient hall, as the title track better compares to. Like almost all of this album, this track is amazing. It is slow and monumental, making the listener feel as if something vastly important and strange is taking place all about them. I'd have a hard time saying this is the best song on here, but it's certainly a contestant. Something about this song just feels completely magical, and it never loses that otherworldly feel. In fact, the riffs make me think of something like Fates Warning more than the bombastic or melancholic power/speed of the rest of the album. This is the oddball out, but it's maybe the best thing here. It makes me wonder what Blind Guardian would sound like if they released an album of white collar USPM.

Overall, this album is pretty damn good; it has a few tracks that aren't quite as strong, such as "Script for My Requiem" and "Born in a Mourning Hall", but most of the songs are very strong, with bombastic leads, crushing riffs, and ridiculously awesome vocals. If you're a fan of Blind Guardian or power metal in general, this album is a must-listen.

Blind Guardian is an interesting band for me. For years I ignored them, having heard some samples of Nightfall in Middle Earth, and thinking that they were crap. Luckily, I wasn't completely right. Blind Guardian were once a great thrash-influenced speed/power metal band. While they have been no strangers to vocal layering and epic, catchy choruses, this album is where they really started to hit their stride. Of course, by hit their stride, I am not saying that they figured out how to use them well - simply that they use them constantly. It seems that BG have forgotten how to write a song that doesn't have cheesy, overproduced vocals, synth and acoustic guitar. Oh, the riffs are still there, but much less prominent than they had been in the previous few albums.

So lets review this song by song. The title track starts off in a very promising way. The riffing is good, and it seems that this album is going to go in a similar direction as Somewhere Far Beyond. As the song progresses, there are some clear changes, however. The verses become overly melodic - no longer pounding in your ears, and Hansi decides to lay down his dragon-like roar in favor of softer melodic vocals. This is not a problem in itself, although combined with the slowed down chorus, it becomes annoying. The chorus is very catchy, and, though there is no thrash riff playing under it, the guitar melodies definitely create a good atmosphere. Probably the best song on this album, and a great track even by early Blind Guardian standards.

The next song, I'm Alive, keeps the atmosphere much like the opener. It is a heavy track, and while it doesn't follow the "never let up" mentality of songs like Journey Through the Dark, it is still a good song. Up until this point, the album is incredible. The next song, A Past and Future Secret, is a ballad. Not much to say about it, it is pretty average. There's nothing wrong with the melody, but it doesn't seem to have the passion that ballads by, for example, Virgin Steele do. The orchestration helps, but this song definitely cuts the atmosphere of the album. It builds up just fine, but it still takes the listener away from the onslaught of the first couple of songs.

Script for My Requiem is where the album starts to drop in quality. This song is like a demonstration of Blind Guardian's transition. It starts with a good riff, then slows to a trot, then a chug, and then the guitars become completely unimportant. It's like they're not even there. The chorus is good, sure, but it feels like there should be something more to a metal song than a good chorus. Mordred's Song is terrible. The riffs are both mediocre and generic. There is nothing noteworthy in this song. By this point in the album, I wasn't even impressed by the vocals. If you make it sound like there is a choir singing EVERY SINGLE CHORUS, it gets old very quickly. There is prominent use of synth on this song, another bad sign. Over all, Mordred's song describes the decay of Blind Guardian. While Script for my Requiem at least had some riffing to remind the listener why Blind Guardian used to be great, this song lacks riffs altogether.

Born in a Mourning Hall starts with a promising riff, and a pretty decent guitar melody afterwards. However, as soon as the singing starts, all the guitars do is either play chords along with the vocals, or chug in a very unimpressive and non-melodic way. The leads are okay, but would be made better with some harmonies. This song is not quite as torturous to listen to as the previous one, and the psychedelic breaks halfway through at least make it slightly interesting. Bright Eyes is once again unimpressive. The melodies are okay, but the song is utterly forgettable, even after a few listens. It is definitely the most heartfelt song on this album, but that's not really saying much. It seems that Blind Guardian are better at making emotion-swaying songs when they write speed metal than when they slow down.

Another Holy War is a pretty good track, brings back the heaviness of the first couple of songs. I'm sure I'd enjoy it a lot more if it wasn't preceded by such a bad sequence of songs. Definitely worth listening to a number of times, there's not too much I can say is wrong with this song. And the Story Ends is a fitting ending to the album. It's midpaced, unoriginal, and the only thing going for it is it's chorus. It has a really good lead around 4 minutes in, but it's still not a song I'd listen to unless I were listening to the whole album.

If you're a fan of newer Blind Guardian, then I'm sure you will like this album. However, if you listen to metal because you love heavy, fast music with riffs, then you'll be disappointed. Imaginations is not fast enough to be speed metal, and, while the epic-ness works in the first few tracks, the gimmick gets old. The album is still going to get a good rating from me, because it is not nearly as bad as power metal can be. While it has elements of all the things I don't like about modern power metal (lack of originality, too much focus on vocals, not enough riffs, not heavy enough...) it also has quite a bit of all of the things I love about power/speed metal, and for that, I will say that this album is worth a listen. Just don't expect it to kick as much ass as Somewhere Far Beyond or Follow the Blind.

Though the progression to Imaginations from the Other Side from the previous albums seems only natural, the band's 5th album would also mark a shift in sound and recording. This is the first album where the guitars would transform from their brazen German speed and power into a more processed tone, and where the band's multi-pronged vocal chorus attack would become the rule rather than the exception. This is the Blind Guardian you will become accustomed to for the next 15 years, for better or worse. But regardless of the arguments to be made for/against such details, Imaginations from the Other Side is one hell of an album, their most consistent up to this point, cementing their status as a top ranking German band and helping forever change the game for traditional power metal as it was forced to mutate and co-habit the 90s with its more extreme stepchildren in the belly of the Digital Age.

The title track leads from the center of the battlefield, its rapidly picked melodies and thundering, steady percussion escalating to a fist pumping rhythm at 1:10 that gathers up chug like a stone gathering moss, before the soothing, tranquil chimes and vocals of the pre-chorus, the majestic, sailing guitar melody, and then the chorus climax, which cruises over the stream of subtle, writhing melodies set below in the mix. The charging, melodic bridge late in the song gives an impression of classic Maiden, and though it's the longest track on this album (over 7 minutes), I was never once less than immersed in its intricacies. This was the new, modern Blind Guardian, folks, and I was hooked. "I'm Alive" opens with a brief battery, then a segue of scintillating acoustics, and the trampling resumes with Thomen Stauch taking names and kicking ass. The acoustic break at 1:10 is a perfect example of how the band has mastered a hybrid of Romantic and Medieval aesthetics with gut-wrenching heavy metal power. "A Past and Future Secret" ups the game on all of their previous balladry, a rousing and unforgettable piece with acoustic guitars, orchestration and atmosphere.

"The Script for My Requiem" has an opening reminiscent of the band's 'Guardians of the Blind' charge from previous songs, before it lapses into thick, brooding chords and flurries of bristling speed metal, and the band's Queen influence shines through once more with a huge chorus. Yes, if Freddy Mercury and crew were thrashing up Hobbiton with rubber swords and cloaks, this would be the soundtrack! "Mordred's Song" begins in wondrous acoustics and a great little lead that reminds me of something Andy la Rocque would write for a classic King Diamond album, and then a slow trotting rhythm after the verse which falls back into acoustic bliss. As they have many times before, Blind Guardian show here why they are the masters at the 'bridge' of a metal song, as a series of captivating rhythms and leads loops around to the return of the final verse and chours. "Born in a Mourning Hall" explodes into an anthem of soaring, melodic flair which would have made for a perfect battle theme to the classic color Flash Gordon film. Of note is the ever thundering Thomen Stauch, whose drumwork brings glory to all the man touches, and then the huge vocal chorus hook, with its playful tails.

And though the album had thus far been excellent, it was about to get even better, with the mesmerizing "Bright Eyes". If I had to draft a short list of favorite Blind Guardian tunes, this one would be just shy of "Journey Through the Dark" and "Time Stands Still (at the Iron Hill)". I absolutely adore the 80s pop elements like the repetition of 'watching you', and then of course the chorus is so good that I started crying when I saw them perform it live. What a pussy! On that note, I'm sure a great many women' bits were tingled to this track, as it is unabashedly beautiful as it basques in its own steaming, streaming glories. "Another Holy War" picks up the pace, majestic and searing with some welcome aggression in Hansi's strangled tones. "And the Story Ends" may not be an oft-spoken of track, but it's a strong finish to a superb offering, with huge chords, a mountainous atmosphere conjured through the vocals, and adequate closure to the saga of Blind Guardian's transformation into a new realm of possibility.

Imaginations from the Other Side is an album worthy of its title in mystique and musical evolution. There was no other band out there barking up quite the same tree, and along with its mindblowing successor Nightfall in Middle-Earth, this album represents to me the apex of this band's storied career. My only gripes with this album are quite inconsequential in the grander scheme of things. Of its 50 minutes of playtime, there are perhaps 4-5 which do not provide the ecstasy and wonder of the remainder. And while I'm not a huge fan of the guitar tone in the chords, which reminds me a lot more of the compressed sound used by Iced Earth or Kamelot than the previous Blind Guardian albums, it doesn't cripple any of the songs, which are so good that the album could have been recorded with banjos and a washboard and still probably ruled.

Highlights: almost everything, but bring a handkerchief for "Bright Eyes".

-autothrall
http://www.fromthedustreturned.com

In my previous review, I stated that Blind Guardian's album Tales from the Twilight World was their last album as a speed metal band. After that, Herr Kursch and company would delve into a different sound for their band. Their new style was a more melodic, power metal style that occasionally dipped into some thrash like territory and for the most part was more progressive. Arguably Blind Guardian is best as doing this kind of music, because it only takes one listen of Imaginations From the Other Side to see Blind Guardian at their prime, and putting out what is the best album of their career.


The biggest thing one will notice about this album is Blind Guardian's continuance to delve into the melodic style that was prevalent on Somewhere Far Beyond. What is good is that they actually got heavier while still being melodic. As strange as this sounds, that is exactly what Blind Guardian did on this album. Songs such as the title track, The Script For My Requiem, Mordred's Song, and Bright Eyes (which is probably the catchiest song on the album) show this to an astounding degree. That's not to say that those who loved Blind Guardian's more speed metal stuff will not be appeased by this album. I'm particular, the songs I'm Alive and Born In A Mourning Hall show that there is still plenty of speed metal influence running through Imaginations From The Other side and that the band is not afraid to go blazing fast when they want to.

The guitar work here is very heavy for Blind Guardian, and over all it's a very guitar oriented album. Andre and Marcus crank out chugging riffs that are heavier then almost all of the material the band has put out before or after this. Quite a few times on the album, these two crank out riffs that are very powerful and very melodic, changing chords plenty of times and use a lot of interesting harmonization with each other.

We also see Andre further developing his sort of "never ending solo" technique that he is so famous for on Imaginations From the Other Side. There are many more flowing underlying lead lines on many of the songs, and while it's still not much compared to what would come afterwards on Blind Guardian's next two albums, you really hear that sort of "never ending solo" technique come out of Andre on this album. He does it very well. This technique makes Imaginations From The other Side a lot more epic then previous Blind Guardian releases. Coupled with Marcus's chugging yet melodic rhythm work, this is completely awesome.

For all of those who like Blind Guardian's more "medieval", "pagan", or "folk" like stuff, there is the typical acoustic ballad on this album that Blind Guardian is famous for putting out on here. That song is A Past And Future Secret. This has to be though the one track on the album that did not really need to be there. A Past And Future Secret is not a bad track, it is just not up to par with some of the other acoustic ballads that the band has done like Lord of The Rings and the concert favorite The Bards Song (In The Forest). But I would really prefer that Blind Guardian just leave these out, because they get downright annoying when they break up the epic metal assault that tends to be in their first few tracks.

More keyboards come out on this album then previous releases, but by no means are the songs on Imaginations From the Other Side keyboard driven. The guitars drive everything, but the keyboards are there. They are mostly used for intros to songs, primarily in the title track, A Past And Future Secret and The Script For My Requiem. Most of the songs though do not have them at all though, and that is good. The keyboards do not really add that much to the music other then a tad of extra atmosphere. Though unlike other albums by other bands where I would normally say this could be left out, I do not think these songs would be that good without that tad of extra atmosphere added by the keyboards in the beginning. It sounds strange, but that is what I think.

Hansi's more developed here as a singer. His portrayal of emotions is much better. When he tries to sound angry, he actually sounds angry. Not Phil Anselmo "I'm out to kick your ass" angry, but a more "I'm determined to accomplish this feat but it's so hard and that makes me angry" kind of angry. When he wants to sound triumphant, he sounds pretty damn triumphant (often these parts come after the anger parts). Also, I can finally say that Hansi's voice actually portrays real sorrow. Now where does he do this better then on Mordred's Song, in which he truly portrays the inner and outer torture that the character he is describing is going through. Truly powerful and emotional if you ask me. His overlaying does not sound like overlaying and sounds like a real, full blooded choir and it's pretty amazing that he was able to pull this off. As always, the medieval minstrel like voice is still there, best seen on A Past And Future Secret. All while retaining the catchy melodies and vocal patterns that helped make Blind Guardian so appealing to begin with.

The lyrics he writes also have a better underlying theme, taking the Edguy approach of blending fantasy with themes like freedom, youth, and individuality. For example, while Mordred's Song is really about the illegitimate son of King Arthur, the story also tells a lot about prejudice, sorrow, and a struggle for acceptance that's really hard to do in a fantastical context like that song. The Script For My Requiem has a lot to do with individuality and life despite being told like it is the story of a medieval knight. Bright Eyes has a lot to do with overcoming fear of divine judgement, and the title track has a message that says youth will always live on in us, and we only have to look to our dreams to find that youth within us. He even shows off some problems with religion in the song Another Holy War, which is really well executed lyrically. Honestly, Hansi pulls off the approach that Edguy or a lot of other bands do, and that amazes me a lot. They went from making lyrics that were almost completely mindless fantasy to telling true parables with real underlying themes that anyone can relate to inside of them. That's a huge step up in quality.

The rhythm work on Imaginations From the Other Side has also improved. Thomen becomes more technical and better reserves himself when required. He's still very fast, and much of his more thrash metal oriented bursting techniques are still prevalent, but he steps up the technicality by quite a bit. Now he actually gets technical enough to rival a drummer like Paul Bostaph. In fact, much of Thomen's drum work on this album reminds me of a more melodic and slightly sped up version of Paul's drumming. That's some serious skill right there. Hansi's bass work has improved. It's not very complex but it's a significant advance from the bass work on the last two albums.

Improved production by famed Danish producer Flemming Rasmussen helps out a lot. The album is much more clear and organic sounding, having a very snappy and punchy tone to it that really increases the heaviness. It's a very refined and sharp version of Rasmussen's signature sound. Very good if you ask me. This helps add a ton of heaviness to the music, and it is an aspect of Imaginations From the Other Side that should not be ignored by any means.

This, not any other Blind Guardian album, is the band's magnum opus. In that case, why is their any reason to ignore Imaginations From the Other Side. This is Blind Guardian at their best, so go out and get it if you want something that stands out and is pulled of greatly. Let your imagination run wild now, I'll see you on the other side.

The imagination is indeed a fascinating thing, be it the fantastic images that are often depicted in the Science Fiction/Fantasy genre of storytelling, or ones a bit closer to the material world that we live in. It is what has caused the creation of the many classic albums that have graced the metal genre since its inception. “Imaginations from the Other Side” is a masterful tribute both to the imagination and the metal genre alike, drawing from a large array of musical and lyrical influences, and compactly structured like most of the albums preceding it.

Some regard it as the last truly great offering by Blind Guardian, as it contains several songs in the signature speed metal style that defined their sound going all the way back of “Battalions of Fear”. “The Script for my Requiem” and “Another Holy War” are the purist incarnations, trading some rapid paced riffs, sing along friendly choruses, plenty of gut wrenching shouts out of Hansi in between melodic lines, and the fast yet metrically precise approach to drumming that Thomas Stauch helped pioneer in the genre back in the 80s. “I’m Alive” contains all these elements too, in addition to occasionally breaking to an acoustic guitar line that reminds somewhat of the title track of “Follow the Blind”, though coming off much stronger.

Other fast songs on here vary a little bit from the earlier works of the 80s. “Born in a Mourning Hall” is a riff monster like the other fast tracks mentioned previously, but is even more melodic and at times hints at the more frequent lead breaks found on “Nightfall on Middle Earth”. The lyrics are a rather witty polemic against the phenomenon of televangelism, carrying a somewhat more sarcastic tone to the weak attack that was Metallica’s “Leper Messiah”, although not quite as ingenious as Sabbath classic “TV Crimes”. The title track carries a lot of similarities to the title track off the previous album “Somewhere Far Beyond”, although simpler in structure and more atmospheric. The vocal interchanges are artful and almost flirt with the density found on Nightfall, and the lead breaks exhibit a character similar to the two voice harmonies prevalent on that release.

Unlike the first two albums, “Imaginations” has a sizable collection of slower songs that bear some resemblance to “Somewhere Far Beyond”, but geared towards the dream-like atmosphere of this opus. “Bright Eyes” is paced almost the same way that the triumphant yet melancholy anthem “Theater of Pain”, but is characteristically darker and even menacing. The keyboard motive that pops in and out of the verses sounds quite similar to a music box playing a twisted lullaby. “Mordred’s Song” mixes acoustic and electric guitars quite well, having a folk character that comes off as a one song condensed descendent of “The Bard’s Song”. The closing anthem “And the Story Ends” has one of the most catchy and beautiful choruses I’ve ever heard, capturing the epic feel that many modern symphonic metal acts shoot for but without need of an orchestra. It’s the simplest of the slow songs in terms of structure and arrangement, relying only on heavy guitars and Hansi’s distinctive voice.

Although this is quite a treasure chest of classic Blind Guardian songs, there is a crown jewel amongst the gold and silver in the epic ballad “A Past and Future Secret”, which is the greatest ballad this band has ever recorded to date. The acoustic themes are perfectly structured, the orchestration masterfully realized, Hansi’s minstrel like voice is constant, and the distant military drum sound paints an atmosphere of impending glory that climaxes into a thunderous march beat. Like a couple other tracks found on here, the lyrics depict the tale of King Arthur, which is a genre related though obvious break with the traditional Tolkein worship that the band is known for. One could sum it up as being a different tale, but the same spirit.

The consensus tends to be that this is the greatest album ever put out by Blind Guardian, and sadly I must break with it again for a singular reason. Although a truly great album with out any musical flaws, stylistically it is closely connected with previous works, most particularly “Somewhere Far Beyond”. It pushes the envelope in many cases, but it doesn’t actually break down any walls and hand the conventional view of power metal its hat the way “Nightfall on Middle Earth” did. It obviously lacks detractors for this reason, but I value an album that takes risks, and although this album takes a few they are small compared to the album that followed. It is essential listening and I recommend it almost as strongly as “Nightfall”, both to older fans of the band who haven’t gotten it yet or newer ones who discovered them because of subsequent albums.

Imaginations from the Other Side and Somewhere Far Beyond could both work as the link between Blind Guardian's early speed metal monsters and late epic pieces. I'd rather say this one though, as it blends these two elements together in an incredible way.
We have big, epic keyboard melodies creating awesome atmospheres, and we have the huge backing vocals for an increased sense of power, and also enhancing the epic feeling.
Also found here are the insane speed metal riffs of any of their previous albums, but in a more modern and polished production, which works perfect along with the epic elements found on here. And the guitar solos have never been better on any BG album- Totally mindblowing!
Like on any Blind Guardian albums, the song constructions are rather complex and instead of sticking to a vers-chorus basis, there are countless of time-and riff changes in every last song. But this album manages to do what A Night at the Opera fails with: It's coherent, stays in focus and completely makes sense. Every single vocal line adds to the song, instead of just being there with the sole purpose of being there and making the song longer.
All these factors together create what is undoubtedly my favourite effort of Blind Guardian as of yet, and a true classic in both the power metal and speed metal genre.

On this album, Blind Guardian wrote some of their greatest material ever. The atmospheric and epic but at the same time insane opener Imaginations from the Other Side is fucking amazing- probably my favourite Blind Guardian song of all time. The second track, I'm Alive, could beat the crap out of most songs from the earlier album. This is Speed Fucking Metal! Insane riffing, seemingly neverending double bass attacks, only stopping for the acoustic parts during the intro and pre-chorus part. We also have the insane The Script for My Requiem, which features that dead cool bridge: "Still I hear the scream of thousands, CRUCIFY! CRUCIFY!" Gold stuff. The ballad Mordred's Song- it may be a ballad, but it sure does have riffs, and some pretty heavy parts too. Divine stuff. Born in a Mourning Hall and Another Holy War are both insane speed metal numbers, while Bright Eyes and closing track And the Story Ends are mildly reminiscent of ballads, although they still have pretty damn heavy moments as well.
This album features merely one weak spot, that being the boring acoustic interlude/ballad A Past and Future Secret, which just does nothing at all for me. But just skip it, and you'll be fine.

To sum it up: Get this. One of the highest points in Blind Guardian's career. The very highest say many, and I agree. To name highlights would be too hard, it's all amazing really.

I'd had Blind Guardian on my list of bands to properly check out for what seemed like an eternity. I chose this release based on recommendation and sampling of the title track, which got me very interested in their music.
The first striking thing about the album itself was the cover art, being very unusual, it is fitting for the fantasy and imagination that goes into the music. One of my favourite cover artworks to date!

The music inside is a 50 minute extravaganza of imaginative and intruiging fantasy, both from Hansi Kursch's well penned lyrics and the distinctive style of the band. The band's brand of intense power metal that almost at times could step in to thrash goes down well in an age where truly original power metal bands seem few and far between. The guitar work from Andre Olbrich and Marcus Siepen is very technical and shines throughout. Every song piles on fantastic riff after fantastic riff and never becomes boring with powerful solos when the time is right. The interweaving of small accoustic sections, in "I'm Alive" and "And The Story Ends" (particularly) is handled well and is of note, providing a contrast to the heavy riffing. The fantasy feel really comes out in "A Past And Future Secret", a medieval accoustic piece. Thomas Stauch provides complex and varied drum patterns throughout with some great double bass work. Hansi Kursch's vocals, however, are perhaps what stand out the most, with his powerful and sincere voice, he is in my opinion one of the best metal vocalists I have come across thus far. The production (by Flemming Rasmussen) gives the album a crisp sound and nothing sounds weak at all.

This album is overflowing with imagination and metal genius from start to finish and is a recommended purchase. I'll definitely be looking out for more albums from these guys.