When Ritchie Blackmore announces he's "getting the band back together again," and that band is Rainbow, information technology is impossible not to take notice. When the human being in black as well taps into the talents of a younger Chilean metallic singer, it is every bit difficult to ignore. While relative newcomer Ronnie Romero does an impressive job filling the prehistoric mammoth-sized shoes of Dio, Bonnet, and Turner, what is more interesting withal is Romero's original full-fourth dimension gig: Spanish metal band Lords of Black.

Although larger-than-life vocalist Ronnie Romero is undoubtedly the gem of the Lords of Blackness crown, there is quite a chip going on with this band as a whole. Afterwards all, there is no "I" in "Band," at least if said band wishes to stay together for any amount of fourth dimension. Backed up past Tony Hernando on guitar, Andy C. on drums, and Dani Criado on bass, the band is tight and impressive enough to warrant a "where the hell did these guys come from?"

Typically, in music journalism, it is arguably bad form for an interviewer or author to acknowledge ignorance of a topic. Nevertheless, information technology is worth mention that this reviewer had not heard Lords of Blackness until the new 2018 album Icons of the New Days. The significance in this is that rather than coming at this album as whatsoever kind of established enthusiast of the artist, the album was heard fresh with no preconceived notions. Here's the thing. Information technology rocked.

Sonic Perspectives enjoys a variety of savvy readers and social media followers, enjoying everything from classic 70s prog to modern Swedish "djent" metal. Noteworthy nigh Lords of Black is that they accept something to offering for a multifariousness of listeners. While every song is thankfully unique, the overall audio of the band is a swirling atmosphere of Wylde-era Ozzy, Central Fear, Firewind, and no small amount of 1990s Malmsteen. It is a fairly solid bet that if a listener is a fan of any or all of this, they are guaranteed at least some quality headbanging from Icons.

The album wastes little time in unloading on the listener with heavy, hooky riffs and grade "A" melodic vocals. The masters of Spaniard metal deliver earth-grade musicianship from commencement to end. While in that location is no single superstar demonstration of instrumental power, the unabridged product is solid and consistent. The guitars usually live in a sweet spot somewhere between Red Dragon Cartel and Heavy Devvy dialed to eleven on the proceeds knob. The drumming is ever large, clean, and the right amount of busy for any given moment. Andy C. delivers some seriously fun stereo drum fills at the cease of the track "King's Reborn," and it is impossible not to compare them to Portnoy'south hyperactive wrap-up of the Scenes from a Memory album. The drummer also provides a surprising corporeality of interesting keyboard work on the tape, mostly with a contemporary feel, perhaps budgeted the sound one might discover with Jonah Weingarten or Bob Katsionis; the playing is not quite equally "on burn down," but it is respectable and complements the music well. The bass does exactly what a bass guitar should practice: it underlines the music and supports a relentlessly pounding low end. The guitar delivers outstanding crushing rhythm work, and respectable mail-Malmsteen neoclassical chops during the leads. The nearly shining example could exist found as the song "Wait No Prayers for the Dying" built to a crescendo of killer left-manus sweeps.

"Icons of the New Days" Album Artwork

Speaking of Malmsteen, it is really impossible to heed to Romero and not imagine him equally the Yngwie singer that should have been. Actually, the fact that he was poached by Blackmore only serves to demonstrate this signal. Even aside from the obvious Joe Lynn Turner crossover, Romero embodies the Yngwie vocal sound delivered past Michael Vescera and Mats Leven in the 1990s, particularly the sort of sound heard on "Facing the Animal." This is by no ways a bad thing. Although this was debatably by the pinnacle of the YJM era, at that place were some amazing vocal parts in those albums, and Romero's work on Icon would take fit right in similar USB "Plug' due north' Play."

The album was enjoyed in a studio on Mackie powered monitors with a fairly flat EQ. Although the record did non reinvent music as nosotros know information technology, the mix is nice, chunky, and well-balanced. The guitars are full, with a noteworthy amount of mids that add to the snarl and harmonic presence. Listen to the intro to "The Way I'll Retrieve" for i such example. Elsewhere, the nylon and steel acoustic guitars sound clean and warm, equally does the pianoforte. The vocals are mixed just correct; anything else would have been a travesty with such a vocalizer. As a whole, the ear-pleasing production is a high point of this very solid metal release, in one case which would find its fashion into the collections of many heavy metallic lovers before the year ends.

Released Past: Frontiers Records SLR
Release Date: May 11th, 2018
Genre: Heavy Metallic

Band Members:

  • Ronnie Romero / Vocals
  • Tony Hernando / Guitars
  • Andy C / Drums
  • Dani Criado / Bass

"Icons Of The New Days" Tracklisting:

  1. World Gone Mad
  2. Icons Of The New Days
  3. Not In A Place Like This
  4. When A Hero Takes A Autumn
  5. Forevermore
  6. The Way I'll Remember
  7. Fallin'
  8. King's Reborn
  9. Long Way To Go
  10. The Edge Of Darkness
  11. Wait No Prayers For The Dying
  12. All I Accept Left

Bonus Disc (deluxe edition only):

  1. Innuendo (Queen cover)
  2. Simply (Anthrax embrace)
  3. Tears Of The Dragon (Bruce Dickinson cover)
  4. Border Of The Bract (Journey cover)
  5. The Maker And The Storm (Bonus Rail)
  6. When Zip Was Wrong (Bonus Runway)

eight.0 Smashing

Do yous like Savatage? Do you like Primal Fearfulness? Hell, do y'all like whatever metallic that originated sometime since 1990? You will probably relish this album. Unless yous are hell-aptitude on winning some sort of Highlander Prize for beingness the most Brütal metallic guy alive, this album has cracking riffs, melodies, and vocals for well-nigh anyone into well-rounded metal. While not the almost original work ever produced, it is nonetheless a treat for listening, and certainly something unlike if y'all have worn out your copies of Painkiller and Mindcrime, and just want something fresh and dependable. Go for it.

  • Songwriting viii

  • Musicianship eight

  • Originality 7

  • Production 9