Review by Xephyr for Avantasia - Moonglow (2019)
Tobias Sammet and his gang of all-star heavy metal friends are back and better than ever with another installment of the Symphonic Power Metal project Avantasia. What started out as a classical and overblown metal opera production has forged its own identity with its impressive but somewhat generic Power Metal base, drawn out and epic songwriting, colossal amounts of orchestration and symphonic elements, and use of multiple prestigious metal vocalists. This new style created an abrupt divide in their discography as well as their fan base, with The Metal Opera Pt. I & II left behind as relics of their previous sound. With the release of The Scarecrow, The Wicked Symphony, and Angel of Babylon forming The Wicked Trilogy Avantasia have been steadily maintaining their aforementioned style for the past ten years, with ups and downs in terms of success. I'm a huge fan of the new style much more than their old one, but with the release of Ghostlights it felt like they were beginning to run out of steam with no real alternative, since the project at this point is cemented to inevitably contain the same ideas fans have come to expect. I was apprehensive but excited coming into Moonglow and it turned out to be the increase in quality that Avantasia has desperately needed.
Moonglow is the most complete package Avantasia has ever released and while it treads on mostly familiar ground it is performed in superior fashion in every way. Although the similarities to The Wicked Trilogy and Ghostlights are there, Moonglow is much more theatrical and varied, barely using any blatant Avantasia or Power Metal clichés that have dragged down their albums in the past. Each song is memorable in its own unique way and sometimes are straight up better versions of past songs. Some tracks, namely "The Piper at the Gates of Dawn", "Requiem for a Dream", and "Starlight", do employ the overused and generic Power Metal riff that's impossible to get away from, but these tracks have so many other interesting aspects that the dull guitar work sometimes aids in providing a solid backing to these other parts. The impressive composition work that Sammet has done in this album for tracks like "The Piper at the Gates of Dawn" and "The Raven Child" use these sometimes generic rhythms to build to meaningful climaxes, creating some of the most powerful moments Avantasia has to offer. Even the "filler" tracks have exciting and unique elements like the infectious synth rhythm in "Starlight" and the string-forward and hook-laden chorus of "Lavender". Either through maturity with the project or through pure chance, Moonglow is able to take everything that was successful about Avantasia and perfect it. The continuity of the project also shines through with Moonglow continuing many themes and topics from The Wicked Trilogy as well as using many of the same characters. Although the story may not be entirely coherent, I still think it adds just enough flair to the lyrics to go along with the larger than life Avantasia production.
Much of the Avantasia experience, at least for me, is enjoying some of the best vocalists in metal performing together under one roof. Although the lineup has gone through some changes from Ghostlights, Moonglow is still absolutely star-studded with Geoff Tate (Queensrÿche), Ronnie Atkins (Pretty Maids), Mille Petrozza (Kreator), Michael Kiske (Helloween), Bob Cately (Magnum), Candice Night (Blackmore's Night), Eric Martin, Jorn Lande, and my personal favorite, Hansi Kürsch (Blind Guardian). Each vocalist is used very well and the tracks that feature multiple of them such as "Book of Shallows" and "The Raven Child" have some of the strongest vocal performances in Avantasia's history. Candice Night's duet with Sammet in "Moonglow" provides some necessary diversity and becomes extremely catchy even though it's one of the weaker tracks on the album. Even though most of these guest vocalists sing in similar styles, it's still very difficult to use all of them effectively without songs feeling bloated or pandering and Sammet has finally found the sweet spot with controlling the talent that he brings into the studio. Hansi's performance on "The Raven Child" is one I won't soon forget and is made more special in that he is only used in a few select parts throughout the album, making his appearances very effective.
The worst part about Moonglow is that it was so, so close to being a flawless Avantasia release. If the bonus track "Heart" is included (personally for it is), the fact that the second to last track is a cover of Michael Sembello's "Maniac" is jarring and overall confusing. Sammet had said in an interview that choosing to close Moonglow with "Maniac" was out of pure love for the song, but I don't think he should have let that cloud his judgement. Although it would have easily been the weakest track on the album, "Heart" serves as a better closer following "Requiem for a Dream" than the "Maniac" cover does. Besides, if there was going to be a bonus track from the beginning, "Maniac" would have fit that bill perfectly as an awesome extra track for the other editions of the album. But alas, even though "Maniac" is a perfectly fine cover by itself, I can't agree with the decision to have it be the finale of an otherwise tremendous album.