Reingold - Universe

Variety is the spice of life and bassist and ivory tickler Jonas Reingold's brainchild thrives on it. Many moods and emotions are given their due time as they swirl through a nice assortment of tunes inspired by many different metal sub-genres. One of the first steps of appreciating "Universe" (a fitting title since each song is in a completely different 'universe' all of its own), is understanding its uniqueness in terms of sheer musical diversity. There are AOR ballads, bluesy sentiments of love, crunching anthems of frustration, inspirational epics, Yngwie styled frilly neo-classical edged scorchers and basic pumping rockers. You would think the resulting product would be a confusing mixture of halfhearted attempts at taking a stab at many fractions of the metal market, but somehow an air of confidence and wisdom of melodic melodies has been threaded through each song, linking them together soundly. Not even once does the listener feel the need to question why a particular track has been placed on the album, even though at times they seem widely unrelated. However in the scheme of things it fits, and that is all that truly matters. Jonas Reingold is the keys/bass player and producer for the band Midnight Sun, as well as played bass on the well recieved Swedish jazz/fusion guitar giant Anatholi Bulkin's "Initiation" release. "Universe" is Reingold's debut under his own band name. He has written all the music and the majority of the lyrics, so its mostly his musical preferences that shine on the album. But never count out the undeniable influence and personal stamp that Goran Edman puts on every release he lends his talents to. Edman deserves extra praise (more than usual even) for adjusting with ease to the shifting subject matter and adds an extra touch of class to even the most stylized tune. His voice sounds positively glorious (as it always does), mystical, lush, sincere and inviting. Guitarist Marcus Jacobsson handles the axe, both acoustic and electric. The list of 'guest musicians' is quite staggering, including the two men behind the actual guitar solos: Chris Palm and Peter Espinoza, as well as those who contributed additional drums and percussion, Hempo Hillden and Theo among others who added strings, extra keys or lent their voice to fortify the backing vocals, which play a vital part in most of the songs found here.

1. "Universe Part I" - The album opener, nothing more than a bit of a story that attempts in tying the album together with a tidbit of bass to end the track.
2. "Glorified" - Neo-classical keys and lightning fast pacing sum up this assaulting tune. The jaw dropping basswork in the middle is a definite attention getter and transcends into a fretburning guitar solo which exchanges for a second solo with a bit of a different tone. Strangely enough, this opener is by far the weakest of the tracks on the album.
3. "Overloaded" - is a slow climbing epic, enhanced by the golden pipes of Goran Edman, who's voice builds in intensity to deliver the chorus in a gigantic fashion, supported by an assault of background vocals that sound like they are being lead into battle by Goran as well. The effect is breathtaking, especially with the spritzes of electric notes spraying about along with ambient piano pieces. Just as it seems they are working to an earshattering climax, the track fades off in the distance. With all this sound stuffed into one song, it feels almost 'overloaded' but the overall presentation is amazing.
4. "Highroler" - Galloping furiously with strong hints of Yngwie peeking through the neo-classical curtains. Confidentally flashy and a splash of arrogance.
5. "Eye for an Eye" - Keeps up the same flavor that "Highroler" had, a tad more frantic in the pounding drums and guitar bubbling up through the cracks in the floor of sound. The song spasms into thundering middle eastern territory a'la "Gates of Babylon" and its brethen before continuing on its rocking path.
6. "No More I Love You" - This is why Goran Edman has remained a favorite of mine for quite some time now. The first time he sings the chorus, sparsely backed with instrumentation, his voice is the lone focal point, he gives each word a special, delicate nuance, forming it in breathless perfection and complete soul-driven emotion. A little impish slant on the word 'wanna' never ceases to bring a smile to my lips, its just so incredibly cute. Its humble folky acoustic driven beginnings veer off into another direction as the songs solemnly steps up into ballad mode adding some spicey lapping electric, that ascends into a gorgeously crafted solo. Little piercing lead breaks send the song into its second stage with church-like choir expanding the background as the song finishes up with curiously stiff and military drums. Edman's performance makes this a particularly treasured piece in my Goran collection.
7. "Killer on the Loose" - This song would be comfortable on any 1980s metal album. Synthesizers lull beneath the layers, a bright and shiny chorus is an upbeat delight. Can easily detect bits of Rainbow, Y&T, modern day Danger Danger (think "Grind") and hard edged guitar like Leatherwolf.
8. "Carolina" - Rhythm guitar lurks along as strings cascade, surrounding. The central point of the song encompasses loud and proud lead vocals, guitar stringing along right behind which winds into the explosive pinnacle.
9."Northern Lights" - the reason I bought this album in the first place. A delightfully whimsical tune, outlining the tale of the good forest faerie, Isla. Pure magic, as light and delicate as Isla's gossamer wings, it flitters along at a lovely pace, a kiss of Renaissance in its fluttery medieval influenced melodies. Unique chorus consisting of subdued gang vocals with Goran's crystal lead adding a smattering of punctuation throughout. Strings are scattered about like sprinkles of faerie dust. A more modern version of Blackmore's Night, with a hint at Stuart Smith's "Shadows of a Tyburn Tree" shining within.
10. "Sacrifice and Suffering" - Distorted, twisted vocals and thick chunky guitars interchange with more strings, chugging rhythm riffs and crystal vocals. The lyrical story is the suffering for one's art, in this case, music. Its heavy backend, darkened feel, and guitar that whinnies like a frightened horse, illustrates desperation laced with a shadow of fear. "The words of truth are always paradoxical." This brooding, goth smeared tune comes as a shock after the fancy flight flair of "Northern Lights".
11. "Can I Take You To Heaven" - A sweet groove laden song, contradicting itself with a splash of European AOR and an extreme blues twist. Wailing electric with the wah pedal to the metal and thumping bass exchange for slower spots allowing sweet reflection. Thick vocal harmonies repeat the line "I'll always be there" while Edman takes the lead showcase delivering each line after the chorus of voices repeat it again.
12. "Universe Part II" - Picks up where "Universe Part I" left off, with the same bass run and a voice that speaks one little line and that ends it.