Blind Guardian
At The Edge Of Time

Undoubtedly one of the major bands in the metal scene and among the most influential in the power genre, the German Blind Guardian, who over time have earned the nickname "bards," have expertly combined speed metal and symphonic orchestrations, creating over the years that unmistakable blend that found its greatest expression in the two masterpieces "Imaginations from the Other Side" and "Nightfall in Middle Earth." Then came two criticized albums, which left the band's purists feeling betrayed. "A Night at the Opera" was deemed too pompous and lacking in metal, while "A Twist in the Myth" was labeled as a rehashed album of what the band had done in the past. In recent years, the quartet from Krefeld has been accused of lacking ideas, songwriting that is now outdated, and music that is no longer innovative. A bit of everything and more. After the customary four years, Hansi Kursch was convinced it was necessary to clear things up and reaffirm that Blind Guardian is the most important band in the genre.

With fear, anticipation, and tension, I approached the new work from the Teutonic band, "At the Edge of Time," preceded a few weeks ago by the singles "A Voice in the Dark" and "War of the Thrones" in a different version from the one on the CD. Blind Guardian's ninth studio album sounds as it should: in part it reconnects with the good work done in the past (see "Tales from the Twilight World" and "Nightfall in Middle Earth") and in part it experiments with elements that were only hinted at previously.

Let's start by saying that "At the Edge of Time" fascinates with its completeness: it is certainly not the band's masterpiece, but perhaps never before have we found within the album various influences not present in previous records. Homogeneity and diversity at the same time, thanks to the great ability of the four members to create that parallel universe "where all worlds exist simultaneously" (Hansi Kursch).

This is why the new work ranks above "A Twist in the Myth" and on par with an album like "A Night at the Opera," which, despite the criticism it received, remains a little masterpiece still to be discovered. Discovering instead the tracks contained in the album, one is immediately pleasantly surprised by the initial mini-suite "Sacred Worlds" crafted on massive orchestrations, sudden power outbursts, and equally sudden decelerations. Kursch's voice remains unmistakable and helps make everything more appealing to the listener, even though the vocal power is not what it was fifteen years ago. After this rather paced track, the first true power metal song in every sense arrives: "Tanelorn (Into the Void)" takes us back to the glory of "Somewhere Far Beyond."

The album thus continues between an "experimental" song and a more speed/power one. The third track, "Road of No Release", opens with a sweet piano melody on which various instruments and Hansi's voice solemnly rest, helping give birth to one of the best songs of the entire album. "Ride into Obsession" follows the previously described alternation, presenting itself as the most aggressive and immediate of the record, showing us how despite everything, the band's power has remained unchanged. Special mention for the ballad "Curse My Name" with a medieval rhythm, embellished by excellent work from drummer Frederik Ehmke this time on the flute and the folk inserts of André Olbrich's acoustic guitar. This is precisely the album's strong point: the union of sounds so dear to the group, here arranged to create "fresh" and pleasant songs from the first listen. Also noteworthy is the second ballad "War of the Thrones" more heartfelt than the first and enhanced by a chorus to be sung at the top of your lungs in front of a nice mug of beer. Similarly, "A Voice in the Dark" satisfies the listener if only for the surge of power it brings with it. The album closes with another mini-suite entitled "Wheel of Time" another concentration of melody and aggression, with a wonderful central part in an "Egyptian" style.

Blind Guardian re-emerges on the music market with a release worthy of their name, giving birth to an album that will surely make an impact and, in the opinion of the writer, will also be capable of attracting new fans to the court of the bards of Krefeld. At the Edge of Time revives the band after the half misstep of "A Twist in the Myth" and returns to us a band capable of transporting us to a different world from the one we live in. A fantastic paradise where magic, dreams, and nightmares merge together to create something esoteric yet alluring...

1. "Sacred Worlds" (9:19)
2. "Tanelorn" (5:58)
3. "Road Of No Release" (6:30)
4. "Ride Into Obsession" (4:47)
5. "Curse My Name" (5:49)
6. "Valkyries" (6:34)
7. "Control The Divine" (5:25)
8. "War Of The Thrones" (4:55)
9. "A Voice In The Dark" (5:41)
10. "Wheel Of Time" (8:56)