Anette Olzon's activity is busy now because, on the same day, her duet album 'Army of Dreamers' with 'Russen Allen' and the first studio recording of Japanese keyboardist 'Yuhki''s new project 'Ultima Grace' with this first eponymous album in which she sings on all the titles are releasing. After a first listen, the first impression is to have alternated classic symphonic metal with melodies of international variety and explosive metal, sprinkled here and there with neo-classical metal. 'Yuhki' being a keyboard player, the whole thing is supported by ubiquitous keyboards, with overdriven guitars being relegated to the background.
And yet, the symphonic introduction accompanied by the singing of Anette Olzon' and choirs in no way augurs well for the sequel which starts with a catchy 'Getting on with Life' and with a memorable first chorus, then , 'Cry for the Rain' continues in a symphonic metal that strangely reminds me of the Finns from 'Amberian Dawn' and their melodies close to 'ABBA'. Follows the fast 'Powers of North and East' which gives a layer of it with a wild rhythm section, then, 'Beguile by Night' continues in melodic lines which flirts with variety music bringing us back to the 70s, but of course slightly more muscular. Small moment of respite with the first ballad 'Ripples' which unfolds a syrupy melody with imposing orchestral arrangements, then, 'Rise' returns to more classic symphonic metal, the melodic lines still bringing us back again to the Finns of Amberian Dawn', the guitar solo in the second part having a neo-classical side and the sounds of the keyboard solo bringing us back to the 80s. We continue in the same atmosphere with the catchy 'Night Hunt' which unrolls a new memorable melody for those nostalgic for the eighties and, without transition, then tumbles an energetic and fast 'Double Caution', the rhythm section being once again at the party and the guitar and keyboard solos recalling the 'Purpulian' wanderings of the 70s, the central instrumental part being particularly remarkable. We arrive at the main course of the album with the 11 minutes of 'Lost' which alone sums up the whole with all the ingredients heard previously, the orchestral and vocal arrangements bringing in the second part of the title a majestic and the melody very kitsch but so effective adding again to this feeling of grandiose. And to drive the point home, the final ballad takes us on a new syrupy melody with new imposing orchestral arrangements, the finale being modeled on a symphony of classical music.
In summary, the Japanese of Ultima Grace', well supported by a 'Anette Olzon' in great shape, offers us a very accomplished first offering and this first eponymous album should please all fans of Amberian Dawn' and, more broadly, to all lovers of imposing symphonic metal with catchy melodic lines bringing us back to the 80s... | |
