MOB RULES - TEMPLE OF TWO SUNS

"Temple Of Two Suns" is the second release by German melodic power metal exponents Mob Rules. This album is another concept piece based on the end of the world which began on their debut "Savage Land". The theme of the saga is again the "Ruler Of The Wasteland", who leads the few survivors of a nuclear war into a mysterious valley. At the center of the valley stands the old ruins of an Aztec temple. Its from here the self styled ruler runs his new empire. The people make all important decisions at the foot of the temple and gather there to protect the infant seeds of their work against a horde of wild marauders. The "Temple Of Two Suns" is not only the political focal point of the state, but also the center of sacred rituals and celebrations. This release sees the band build on their debut sound by being more varied and stylistically interesting. "Temple Of Two Suns" is atmospherically deep yet at the same time manages to provide enough space for the tracks to stand out individually by varying the speed and aggression. The band line up consists of Klaus Dirks [v], Matthias Mineur [g], Oliver Fuhlhage [g], Thorsten Plorin [b] and Arved Mannott [d]. All are highly competent musicians and obviously work well together going by the tracks on display. Sound wise the band play top notch Power Metal reminiscent at times of 'Mindcrime' era Queensrÿche, Savatage and Fifth Angel whilst also treading similar water to classic Iron Maiden and Helloween. As well as these sounds scattered throughout are bolstered up medieval style pieces which end up sounding like Blackmore's Night with balls - great stuff. Rest assured this is a quality melodic power metal opus. The album artwork is the work of Eric Philippe, best known for his work on the Rhapsody albums and is as stunning as always.

1. THE TEMPLE OF FANFARE [2.24]
Starting out with a low key medieval style guitar part the track quickly goes up a few gears with a majestic horn fanfare over a metallic guitar background before Klaus Dirks distinctive vocals kick in. The sound is lush and powerful with good separation at all levels. 'The Temple Of Fanfare' should be seen as an opening piece that leads into...

2. PILOT OF EARTH [2.49]
The track opens with a good bass line which is then built upon by the guitars. The track is pretty furious but still has bags of melody especially on the superb chorus. The track treads a similar path to that of classic Helloween while the solo sections sees a more harmonized approach come into play that adds a further dimension to the track and recalls to these ears classic DeGarmo / Wilton interplay. The track ends with a repeat of the chorus and its an all too brief track over with.

3. OUTER SPACE [3.42]
Another up-tempo number that is pretty aggressive - kind of like Stratovarius laced with Judas Priest. The chorus is bold with back up vocals that make it sound big - "The signs came from outer space and lit up the sky ". Generally its another strong track except for a heavily effected guitar sound over the second verse which to me distracts a little from the lyrics. The solo section again shows how good Mineur and Fuhlhage are at interacting with each other. Apart from the mentioned guitar effect this is one of my favourites on the album thanks in part to the great chorus.

4. CELEBRATION DAY (SUN SERENADE OPUS 1) [6.01]
'Celebration Day' is one of the epics on the album. Reminiscent of Savatage in part thanks to the piano motif for the verse and also down to number of different parts present. However, you will not mistake this track for anyone else thanks to Klaus Dirks distinctive vocals which really soar here. The track is mid-paced and sounds all the classier for it. The track then takes a more traditional approach for the solo sections that see a good melodic solo over a backing that wouldn't be out of place on a Helloween or Axel Rudi Pell epic. A superb track.

5. FLAG OF LIFE (SUN SERENADE OPUS 2) [4.25]
Starting out with a folky violin / fiddle part that is then doubled by the crunch guitars before turning into a more traditional gallop for the verse. The solo again sees a harmony approach being used to good effect and shows the band know a good melody. This times the sound in more akin to classic Iron Maiden. After another verse the bouncy folk motif comes back in and sounds quite excellent.

6. UNKNOWN MAN [6.01]
Another experimental track which is like Savatage, the opening riff is in the same sort of territory as the 'Tage track 'Scraggy's Tomb' [Edge Of Thorns]. Any such connotations disperse for another majestic chorus that has some good backing vocals mixed in courtesy of Thomas Rettke [Heavens Gate]. The track just grows and grows and heavy orchestration throws an almost neo-classical slant to the middle sections before resorting to the metallic crunch displayed earlier. The solo section sees an Eastern sound enter the fray over which a exotic guitar solo is added. The chorus sees the track run out and its another highlight of the album.

7. HOLD ON [3.15]
'Hold On' is a sensitive ballad based on just piano and vocals. The track is a duet between Klaus and Susanne Möhle [Heavens Gate, Hyper Child], Klaus tackles the verses extremely well while Möhle's voice is used for harmonies on the chorus. A track that does a good job of preparing you for the sonic attack that is to come.

8. EVOLUTION'S FALLING [5.18]
An almost commercial sounding riff kicks of the track and Klaus's vocals add to this sounding a bit like Don Dokken. The pre-chorus and chorus then make the track sound one of the most accessible on the album - "When the law comes down to Earth, O Evolution's calling - falling. When the sacred force bites back, O Evolution's calling - falling now". The mid-section sees a piano part enter and this could be on any Symphony X album. The guitar solo starts off in twin harmony before one stems out for glory. The addictive chorus again takes over and if you're not singing this when long after the albums stopped then you have no ear for a good hook.

9. INSIDE THE FIRE [5.01]
A Queensrÿche inflected sound is particularly present here with an opening riff that could of been a left over from 'Operation: Mindcrime' in approach and guitar tone. However, this is not a bad thing as it would seem that not even Queensrÿche could write a track like this anymore so someone may as well take over the reigns, and 'Inside The Fire' shows that Mob Rules are more than capable of this - praise indeed! Again the track sees quite a few different slants and this helps add depth and a captivating element to the track.

10. EYES OF ALL YOUNG [3.54]
Another powerhouse fast-paced Metal track with the Teutonic metal crunch again heavily to the fore. A futuristic sounding keyboard pattern is splashed over the relentless riffing adding a dose of magic to the proceedings. The solo section is got underway by the keyboards before an almost Malmsteen style guitar solo battles for supremacy. A good track but one of the weaker on display.

11. HOLD ON (REPRISE) [5.02]
Taking off from where 'Hold On' finished, 'Reprise' sees the rest of the band enter the equation and the distorted guitar back up makes the track sound very majestic. With the new make-up the track takes on an almost power ballad status that seems to combine AOR with Epic Metal creating an original and superb sound. The track also goes to prove that Mob Rules know what to do with a good melody or progression and its a stunning way to end the album.