Yngwie Malmsteen
Fire And Ice

Released in 1992 following the much-maligned "Eclipse," at the worst possible moment for the Swedish guitar hero, right in the golden age of grunge, which would put an end to the glorious era of 1980s hard rock.

The flamboyant axeman, however, does not lose heart and offers his fans the real successor to the pivotal "Odyssey" (1988) with a work structured in 14 tracks with shifting atmospheres, built on what would become the cornerstones of new-classic power metal in the years to come.

The production is very well-crafted, though slightly retro, a result of the Miami (Criteria Studios)-Stockholm (Polar) collaboration, with musicians from Sweden including Svante Henrysson on bass, Bo Werner behind the drums, the talented Mats Olausson on the ivory keys, and the already well-known Göran Edman, famous for previous collaborations.

It is precisely the singer who proves to be a "groundbreaking" novelty in Malmsteen's sound, as he possesses vocal qualities diametrically opposed to the previous (and unsurpassable) his majesty Joe Lynn Turner.

In fact, Edman's voice does not scratch in the manner of the American singer but proves to be very harmonious, clean, and closely aligned with the more purely neoclassical and, therefore, melodic hard rock.

"Perpetual", an entirely instrumental piece, opens the work, giving us a taste of the guitarist's talent, through scales loaded with classicism and heavy, apocalyptic keys. An opening with deceptive melancholy as the following "Dragonfly" is pure Northern European hard rock with the somewhat repetitive but winning verse-chorus formula, enriched by acrobatic, highly technical solos that do not forget the melodic feel that made famous pieces like "Crystal Ball" or "Now Is The Time".

"Teaser" is streetwise, carefree (also in its lyricism) and highlights the lively vocal lines of Edman, while one of the compositional peaks of the album arrives with the steadfast "How Many Miles To Babylon". Introduced by a flute with medieval litanies, it offers us a stunning bridge between the powerful riffing combined with the very melodic and vaguely mystical voice-keyboard pairing. String sections reminiscent of stormy settings duet with Yngwie's insane soloing for a truly successful emotional ensemble.

In the remaining pieces of the so-called "first part," the nostalgic atmospheres of "C'Est La Vie" stand out, plaintive in Göran's twilight singing, living on an orientalist sitar followed by a slow and mammoth guitar work that allows blazing solos to flow.

"Leviathan" (also instrumental) brings us back to the themes of its twin, "Perpetual", where Olausson's symphonies accompany the sonic delusions of the six-string and a really intriguing bluesy break at the end.

Thus, we reach the compositional peak of the album, the anthemic, melodic, unstoppable "Fire And Ice". Once again, spine-chilling opening scales, a verse supported by bright riffing combined with the theatricality of the singing, a very catchy chorus, and yet again, Malmsteen ignites the sonic battle between blues-rock textures and the unmistakable baroque style.

Also noteworthy are the moving ballad "I'm My Own Enemy", gently acoustic with a refined chorus, and the tormented "Final Curtain", among walls of guitars with more pronounced distortions and a suffering, solitary singing.

Ultimately, an important chapter in the guitarist's discography, undoubtedly the most hypnotized by the influences derived from classical music so dear to the old Yngwie. Destined for those who love Rainbow's hard rock and for nostalgics of late-1980s Scandinavian metal. The others will, in all likelihood, hate it bitterly.