Stratovarius
Elements Pt.1

Honestly, I didn't think my musical journey would cross paths with Stratovarius, great exponents of Power Metal made in Finland. There are two reasons:
1. I passed the Rhapsody phase a while ago, and I've always been more inclined to harder sounds, even though I've learned to appreciate Heavy and Prog.
2. Recently, I've been listening more to bands like Rush, King Crimson, and Yes.

To truly judge an album, you should know other works by the band, and unfortunately, I have to admit that I've only listened to this one from Stratovarius. The comparison with Sonata Arctica, which has been going on for several years, doesn't exist: with this album, Stratovarius delves into Progressive Metal, blending fast and characteristic pieces with others that are structurally more complex with symphonic inserts.

The variety of the tracks is impressive: the single "Eagleheart", the album’s lowest point, loses originality in what it gains in catchiness. It's the kind of song that gets stuck in your head and won’t leave. Beautiful, is a simplistic adjective to describe the refined twelve minutes during which the intricacies of "Elements" unfold; epic choirs, masterful orchestrations, guitar and keyboard allowed to trace winding paths with surprising harmony, a drum that holds back, and Kotipelto's voice capable of enchanting. The drum really shines in energetic tracks like "Find Your Own Voice" and "Learning To Fly", the former embellished with guitar and keyboard virtuosity, and the latter boasting a stupendous refrain. The track "Fantasia", inspired by the movie "The NeverEnding Story," is splendid as well: a massive composition that accompanies us for nearly ten minutes, the most progressive piece of the album. "Soul Of A Vagabond" is the definitive demonstration of the album's quality; it might be one of the less brilliant tracks, yet it remains a song that nearly touches masterpiece status. We can’t forget "Papillon", with a female voice delivering delicate notes, later replaced by Kotipelto, who proves to be an excellent singer even in the lower parts. His high notes return in the chorus. The instrumental "Stratofortress", on the other hand, sets aside the singer for just three minutes and twenty-one seconds, making way for the frenetic speed contest between guitar and keyboard, which this time treads neo-classical territories dear to Malmsteen. The ballad couldn’t be missing, "A Drop In The Ocean" is the sweet and worthy conclusion of the album.

In this album, Timo Tolkki showcases his extraordinary talent as a composer and guitarist. Solos at the right moment, choice of very varied and never predictable solutions, a problem that often afflicts the oversaturated Power Metal. About Timo Kotipelto, one can never say enough. His style is much like James LaBrie (Dream Theater) in the slower songs, yet he still maintains a personal imprint. The incredibly fast Jens Johansson doesn’t deserve lesser praise, his keyboard acrobatics are phenomenal, and the earthquake Jorg Michael, who certainly seems more at ease in the Power tracks, while in the slower ones, perhaps doesn't give his best; however, this doesn't mar his performance.

An excellent Power Metal album, seasoned with just a touch of symphonic music that never hurts.

Masterpiece.