Stratovarius
Infinite

THE REVIEW

"Infinite", yet another nth (or infinite if you prefer) chapter of a story called Stratovarius, which lands in 2000, a year that fully embraces the theme of the album and its title.
Unfortunately for them, many things aren't so infinite, and even their classic-style power metal, if not properly innovated, eventually only ends up hitting you in the balls and makes you nostalgically remember decades that were decidedly more interesting for this genre, or perhaps identical, but 10 years ago it sounded new and we were all enthralled.
The fact remains that our beloved (or hated) Finns, led by the indestructible Malmsteen-like guitarist Timo Tolkki, offer us a work seasoned with the same ingredients, which at the dawn of the new millennium, however, don't have much flavor.

Drums (by that living machine Jörg Michael) strictly double bass on the choruses.
Solos to the limit and simple guitar riffs based on 16 notes (always the same) per measure in 4/4.
Bass (Jari Kainulainen) inevitably follows the guitar riffs.
Keyboards (Jens Johansson) duet and duel with the guitars.
Kotipelto's very high voice does not make you regret technically the other present instruments and direct and catchy melodies.

Bands like these (and there are dozens by now) often literally embarrass metalheads used to thrash/death and whatnot, myself included, but Stratovarius, strong of their glorious past, are still somewhat passable, and you give them a listen when they release an album, but when they're also about to cross the line of decency, it has to be said. Since then, I haven't listened to a new album of theirs as I find it useless to hear the same old things repeated, I prefer to listen to (for the millionth time) the Black Sabbath from 30 years ago.

This album sticks in your head, that's for sure, the melodies are catchy to the point of being whistled and they stick in your mind like any "pop song".
Slightly different lyrics than usual, which I personally don't mind, in the sense that compared to a lot of trash (like brutal/death or grindcore), at least the Strats (even with banality) tackle other themes. It's clear that those looking for something else in metal will be disgusted by songs talking about pollution and how beautiful unspoiled nature is.

Very few real surges in this album, you can count them on one hand, even if you don't have all five...
Among all the power-metal clichés present and the unbearable ballad "Mother Gaia", I point out "Haunting High And Low" and "Glory Of The World" as the "harder" tracks, and the concluding "Celestial Dream" as a melodic piece that creates a nice closing atmosphere.