Stratovarius
Elysium

It can happen. Even to the best. Even to those who have, in fact, revived this genre from the comatose state it was in at the beginning of the '90s, connecting new generations of metalheads with little gems like ''Episode'' and ''Visions''. It can happen to lose oneself halfway between the meanders of a trivial stylistic predictability and the superhuman degenerations of your Deus Ex Machina, wavering between predictable and verbose works, between symphonic aspirations and absolutely incomprehensible female vocals, inevitably sinking day by day towards oblivion and dissolution, just like that, without a blow, without even having the time to properly say goodbye to their fans.

This could have been the trajectory of Stratovarius in the new millennium, and yet, a year and a half after the modest and flat ''Polaris'', which had the sole merit of steering the band towards a clean phase of its career after the self-titled 2005 disaster (who still remembers a certain Miss K.?), here comes the market release of "Elysium", the thirteenth work of the Finnish Power metallers, which can be considered in every respect the first significant metal release in the newborn 2011. While former leader Timo Tolkki is continually entering and leaving hospitals due to chronic depression that increasingly undermines his desire to remain in this world (to be malicious, one could add that the Revolution Renaissance episode wouldn't suggest otherwise!), the veterans Kotipelto, Johansson, and Michael rolled up their sleeves trying to rescue from the mud one of the most significant names in the classical European scene.

A new breeze seems to be blowing in the Strato house, as indicated by the renewed desire to amaze the public and themselves and experiment with unusual solutions, to definitively turn the page compared to the past; not a leap that makes you tear your hair out, to be clear, but, in addition to putting fresh ideas on the table, it also seems evident the perspective of giving the hoped-for space a bit to everyone, old glories and new recruits, as straightforwardly deduced from the opener (and single) ''Darkest Hours'', a piece that has already been thrown to the fans for a few weeks, where the leading role is taken by fitting melodic lines and the always beneficial keyboard work of Jens Johansson. The latest additions, Lauri Porra on bass and the talented Matias Kupiainen on guitar, have become today an indispensable part of the project (the second even composed the bulk of the tracks), Timo's voice appears comfortable again, not having to, as in the past, reach notes that seemed astronomical even for a soprano, the work behind the skins by Jorg (hang in there!!) is precise and never trivial. What emerges are 56 very diverse minutes that span a vast array of moods, effectively testing modern musical weapons like in the imposing solemnity of ''Infernal Maze'' which unfolds aggressively and then explodes in a mouth-watering solo central part, or in the proud mid-tempo with a strong industrial flavor of ''Lifetime In A Moment''; or, again, in the superb chorus of ''Under Flaming Skies'' where Kotipelto's expressive qualities and Michael's double bass drum stand out.

It's a pity (and I emphasize pity) for the presence of songs that do not completely cut the umbilical cord with the past, as if trying to gather as much consensus as possible (this, for me, is the major flaw of today's Stratovarius) and I refer to the dull and in some ways banal ''Fairness Justified'' (saving only Matias's solo) and, even more, to the overworn ''Event Horizon'' which seems like a b-side left to rot in a drawer for years and dusted off for the occasion (read filler). Mentioning the nice (and nothing more) ballad ''Move The Mountain'' (ahhh... how I miss the times of ''Forever'') and the straightforward ''The Game Never Ends'', we can conclude this overview of the tracks confirming that the pieces that recall already beaten paths represent the real ballast of this platter, as further demonstrated by the magnificent, daring, and endless (18 minutes) closing title-track, as articulated and succulent as only '70s prog-rock suites knew how to be, which compulsorily requires numerous listens to be fully understood and appreciated.

It is not in my nature, but for once I want to play accountant: eight pieces (the suite is a gem apart), three of which are really successful, as many average, the two remaining anonymous and negligible, a necessarily well-done production, and a splendid artwork like and perhaps more than ''Polaris'' (only that there it was one of the very few decent things) make ''Elysium'' a decent job, the most interesting album in 11 years (since ''Infinite'' to be clear). But what comforts more than anything else, as understood above, is the scent of new shoots flourishing in the icy Finnish land perceived in the air and that bodes well for the continuation of this third incarnation of Stratovarius.

Sure, progressing at this pace, a new ''Visions'' will perhaps see the light in 2030, but omens, dear colleagues, are made to be overturned.