Royal Hunt
Paradox

THE REVIEW

"Paradox" is magic in a torrential rain of uncontrollable emotions. The fourth chapter in the discography of the symphonic metallers from Copenhagen represents the perfectly successful blend of pomp rock and classical music, enhanced by atmospheres imbued with truly engaging mysticism.

Long compositions, constantly evolving musical landscapes, lyrics like wrenching nostalgic poems where the grandiose keyboards of leader André Andersen and the diamond voice of the prodigious D. C. Cooper, American singer in his second album with the Hunters, dominate.

A short and tearful intro introduces us to the first act, the sumptuous "River Of Pain", a piece that lives between enchanting ivory keys desperately clinging to solid walls of guitar, upon which majestic, powerful, and irredeemably dramatic vocals rise. In its seven-minute duration, the Danes outdo themselves, passing through pyrotechnic solos, female voices, and heart-stopping drum beats for a beginning that announces astonishing compositional ambitions.

"Tearing Down The World" spasmodically accelerates the pace, in a whirlwind of gritty riffs and acoustic-symphonic breaks of classic-AOR lineage, while the following "Message To God" raises, if possible, the emotional level of the platter. Opened by sadly dejected pianos, it unleashes into the rhythmic lines of a pulsating bass that culminates in energetic verses ready to duet with a chorus of exquisite class, all skillfully adorned by Andersen's dreamlike keys.  

Sweetened by the splendors of the rock-ballad "Long Way Home", hypnotized by the baroque ghost typical of certain Queen, we are dragged into the progressive monolith of "Time Will Tell", a track where the band lets flow all the peculiarities that have made them unique over the years. Deep and harmonic vocals couple with endless rhythmic rides and accompanying riffs for sober and elegant symphonic soliloquies. The sensual guests Maria McTurk and Lise Hansen do the rest, enriching the choruses with ethereal weeping notes.

In "Silent Scream" the pattern does not change with Cooper perpetually in the spotlight, perfect in balancing cathartic peaks and seductive harmonies crossing the boundaries of pop while Jakob Kjaer's six-string incessantly paints solos of considerable emotional charge.

The substantial production on which the band relies reaches its peak in the sumptuous and solemn "It's Over", an incredible episode, steeped in refined sections reminiscent of the classical inextricably linked to the explosive hard-rock verve, solid and gritty as never before.

The conclusion is entrusted to slow acoustic notes supported by the grace of omnipresent masterful keys, bringing to an end the gallery of stormy harmonies that has raged for over fifty minutes of dazzling talent.

A concept album with pessimistic and melancholic lyricism, "Paradox" will surprise you, leaving you stunned by the quintet's ability to reach straight to the heart, despite using highly complex sound architectures. A long journey between tears irrigating cheeks suffering the rigors of cold and silent winters, where the sensitivity of sweet harmonies of golden talent illuminates the vast expanses of a glacial and irresistibly fascinating tundra.