Hello loyal readers and welcome! It is that time of the year again where we look back on what came before and look ahead to what we may expect. In 2022 we slowly left the pandemic behind us and finally ventured outside again and into concert halls, which means our list of favourite gigs can finally make a return. Of course, there was more than enough time throughout the year to check out new releases and share our thoughts about those as well, and as eclectic a blog as we try to be, there is bound to be something below that you like as well. Maybe you’ve missed something along the road, maybe there’s something you’ve been meaning to check out but haven’t come around to yet? Time then to check out our lists, let’s go.
Sometimes I get the feeling that Tobias Sammet just doesn’t care much for Edguy anymore. Whilst the last few albums were okay at best, he seems to save his best material for Avantasia these days. And again, Edguy’s last album pales to 2016’s Ghostlights.Continue reading →
Happy belated non-denominational winter holiday of your choice, everyone! We’re back with another tombola filled with musical endeavours of our choosing. Round and round it goes, where it stops, no-one knows. Except we do, and here are what we thought were the best albums of 2015. Enjoy.
These days, Tobias Sammet is probably better known worldwide for his Avantasia metal and/or opera’s than his main band Edguy, but that doesn’t mean the band does not release albums on a tidy schedule. And whilst the albums since Hellfire Club (2004) have been a bit hit and miss, eschewing the rollicking power metal of yore for a more hard rocking approach, there’s always a certain amount of quality and fun on offer. Space Police: Defenders of the Crown is no different in that aspect. Continue reading →
Avantasia’s The Metal Opera, released all the way back in the dark age (2001), is still one of my favourite modern power metal albums. Edguy frontman Tobias Sammet managed to capture just about anything that makes Teutonic power metal into such a joy (the rolling double bass drums, the epic choruses, the choirs, the optimism), got a few if not all of my favourite vocalists of the time and released an absolutely smashing record. Deciding that enough wasn’t enough, der Tobi released a follow-up the next year, an album much in the same vein, featuring largely the same cast. After that, everything changed. Continue reading →