Tag Archives: Avantasia

New Avantasia? Don’t mind if I do…



In news calculated to bring joy to the hearts of all Power Metal fans on this Tuesday afternoon, Edguy and Avantasia frontman Tobias Sammet has announced that his side project will be releasing a new record in 2013.

Yes, yes and – if you will – YES!

Whilst you wait for a chance to hear Tobias’ new stuff, why not check out a video of the band’s performance at the 2011 Wacken festival, with bonus Amanda Somerville on backing vocals for the proverbial win?


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Delain/Trillium/Halcyon Way at Corporation, Sheffield, 13/05/2012 – gig review

I love going to gigs but I don’t love the rather perverse reaction that I have to them – I can only describe it as being akin to having the kind of nerves you would have if you were actually on stage.  For the couple of hours before I go to see a show, there’s a distinct sense of my stomach doing loop-de-loops, my heart racing and all kinds of reactions which are back-to-front and just plain daft.  It would be great if I could just fold my arms, ignore the band and check my text messages as a few punters seem to enjoy doing, but I’m not of that mindset.

All of which preamble leads me to talk about going to see Delain, Trillium and  Halcyon Way at the Corporation in Sheffield on Sunday night.  A good time, you’ll be pleased to hear, was had by most.


The Corporation is a small venue but it’s got atmosphere to spare and you get up close and personal with not only the bands but a wide variety of fascinating personalities.

Hence the comment about people and their mobiles – a trio of rock fans standing near me last night, who had presumably paid £13 or £14 to attend the show, did their very best to ignore the bands all night and were sharing regular texts, photos and FaceTweets.  If they’re that keen to have the bands not spoil their night, I’d be happy to go round to their flats and stand in front of them whilst they just play the CD, knock back pints of rubbish lager and occasionally stand on my checkerboard Vans.

The first band on last night were Georgia progressive metallists, Halcyon Way, who had the dubious honour of being odd men out in some respects.  Their sound – punchy, technical, intense and lyrically rather more bleak than the other bands on the bill – didn’t seem to go over brilliantly at first but their reception improved through their half-hour set.  I think that it’s a case of the audience not being familiar with the band rather than the band not being up to much – their Last.FM page lists reference points like Dream  Theatre and Slayer, which is somewhere near to how I’d describe them.  I was getting old school thrash alongside progressive solos and anthemic, fist in the air choruses.

Amanda Somerville, from Trillium. They’re quite ace.

Occupying the unenviable position of being the band before the headliners, Trillium might have been an unknown quantity to some in the crowd but I was more familiar with Amanda Somerville’s metal project as she’s worked with Fluffrick approved bands like  EpicaKamelot and my beloved Avantasia (their tune, “The Story Ain’t Over” is one of my very favourite songs).

I’ve heard some of the Trillium album and it didn’t really win me over too much but the live performance of the songs was a revelation – so much so that I’ll be picking up the record and giving it my full attention, as Somerville’s the kind of vocalist who really should be a massive star.  Simply put, she owns the stage and commands your attention for every second of Trillium’s set – she’s a proper, honest to goodness rock star whose work should be in your collection if you love European flavoured rock and metal, albeit with a distinctive soulful edge which sets her apart from the symphonic bands who think that having a female vocalist is akin to doing fifty percent of the work.

My favourite song from Trillium proper was “Purge” although my favourite song of the set was “Set Afire” from the Kiske/Somerville collaboration – though the band was properly on fire by the time that “Bow to the Ego”, “Path of Least Resistance” and “Coward” rounded out the set with Somerville’s R&B/Soul influences taking flight and ending their show on a roof-obliterating high note.

The only name which does Amanda Somerville justice is ‘Valkyrie’.  I like to think that any passing Vikings who happened upon Trillium’s set on Sunday night would have seen a kindred spirit.

After some more setting-up, gusts of experimental dry ice and the venue filling up a little more with an intriguing varied selection of punters – Hey, bloke who looks like he shops at the (hypothetical) Jeremy Clarkson collection at M&S!  Hi, dude in well-weathered Sisters of Mercy shirt! – Delain‘s intro tape started and the lights took their sweet time about dropping down.

Image of Delain’s Charlotte Wessels via some internet ninja action.

This tour has been all about introducing the band’s third album to fans after a protracted, business-related delay in getting it released and with the internet being the delivery system that is, a great many fans were word-perfect with songs which don’t properly hit streets until early June, a fact acknowledged by Charlotte between songs as she noted that we could hear the new songs first on YouTube or at the gig tonight.

Happily, the new stuff is ace.  You might have heard recent single “Get the Devil Out Of Me” wherever good music is heard:

Delain – Get The Devil Out Of Me

It’s a good indicator of where this third album is going – tighter, focussed lyrics and with tons of symphonic melody, huge metal riffs and Ms Wessels’ distinctive voice somehow meeting brilliantly in the middle and making perfect musical sense.  I hate to use them as an example of a rock/metal band that you could introduce to non-metal fans who think that the genre’s just noise but the fact is that Delain manage to be accessible to both the rock-phobic and the die-hard headbanger alike.

We had a satisfying mix of stuff from the first album – “The Gathering”, one of my favourite Delain tunes, was the last song of the night, so I left the venue smiling – “April Rain” and June’s “We Are The Others”.  I was particularly taken with new, Facebook/social media-inspired “Generation Me” (did the trio of phone-addicted kids in front of me have an ironic twinge at any point during that song, I wonder) and the older “Virtue and Vice”, whose male harsh vocal bridge was gleefully undercut by Charlotte bouncing up and down and grinning like a metal diva exercise instructor at the same time.

It’s the little things, you know.

I loved Delain, let’s be honest – like Trillium, they’re a band who gain so much from the live experience that you owe it to yourself to see them if they come to your town.  I would venture that fans of hyper-glum Black Metal might beg to differ but Delain were one of the best bands that I’ve seen in a long while.  Admittedly, they are totally up my street being Dutch, unapologetically tuneful and ever so slightly nerdy (I’ve been listening to Delain on a loop as I read Markus Heitz’s “The Dwarves” – full disclosure), but don’t let my cheerleading put you off.

Melody, metal and foot-long grins on every one’s face – that’s the Delain experience for you.

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AVANTASIA – The Wicked Symphony & Angel of Babylon: Deluxe Edition

Hey, Mr Scarecrow, how goes it?

More Avantasia-based musings by Metal Misfit, over at Metal Excess, for your perusal – $60 US online for the “Wicked Symphony” and “Angel of Babylon” dual-pack?  Yikes – I’ll never complain about Amazon UK prices again.

Good reading, and no mistake.

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Cultural Activities, for the week beginning 08/08/2011

In which many European rockers get conceptual up in this joint.

Another week, another programme of splendid cultural activities to behold.

Kicking off, we have Avantasia’s first album, “The Metal Opera” – a barmy, preposterous and utterly fantastic collection of power metal/hard rock tunes based around the tale of an accused witch (Within Temptation’s Sharon Den Adel voices this role) and her brother’s (Edguy singer and Avantasia leading light Tobias Sammet) fight to save her from the tyranny of the medieval church.

Despite that, we’re talking eminently hummable tunes, Sammet’s gift for story-telling in his lyrics and all manner of retro goodness. Think ‘early Queen in a ruck with Iron Maiden and Justin Hawkins’ German cousin on vocals’ and you get a sense of the delirious joy that Avantasia’s first album offers.

Have a listen to “Reach Out For The Light” and see what you think:

Ben Affleck knocks another one out of the park...

Ben Affleck’s second film as a director cleaves a bit closer to the star vehicle ideal than his first, the excellent “Gone Baby Gone”, but shares a Boston setting, emphasis on character and a gift for staging percussive, tense set-pieces. It’s a case where I prefer the director’s cut to the theatrical version, even if that longer version does feature a Buckcherry song (no offence, fellas – it fits the scene perfectly).

I’m definitely looking forward to seeing Affleck’s next directorial effort, “Argo”, and I’m fairly excited to see what he could do with the proposed American remake of Harlan Coben’s novel, “Tell No One”, itself memorably adapted by French actor/director Guillame Canet.

Also on my cinematic, ‘to view’ list – John Landis’ 2010 re-telling of “Burke and Hare”, Edinburgh’s most enterprising 19th century purveyors of cadavers to the discerning and morally bankrupt.

I have a man-crush on Simon Pegg. No harm in admitting that on the Internets, surely?

It had, shall we say, ‘varied’ reviews online, but as I tend to view the Metacritic-type review aggregation sites as being an utter waste of time, that doesn’t really bother me. Pegg is ace, Serkis is a man-god and Isla Fisher is cuteness personified (So much so as to make Amy Adams look like Glenn Danzig, frankly).

Finally, for this week – as Mrs Fluffrick is on a major Harry Potter kick at the minute, she has directed that we will be watching “Harry Potter and The Half-Blood Price” tonight, as soon as I switch off this very computer.

Wish me luck – it’s known in my house as “The One That Fluffrick Fell Asleep Watching”.

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