Kamelot - "The Fourth Legacy" Showcase Album for February 2000

Jaw dropping, stunning, instant masterpiece. These are all heavy words to sling around to describe a single album, but they all seem to fit when discussing Kamelot's latest outing, "The Fourth Legacy". Its really amazing how far this band has come in just a few short years, from their humble beginnings with their first two decent Crimson Glory-esque releases, and the lackluster first effort with ex-Conception vocalist Khan. "Siege Perlious" was lacking in so many ways, they had nailed the medieval sound to perfection, but somewhere along the way forgot that its songwriting that makes an album and great performances and not just a particular 'sound' so to speak. Not only that, but Khan had just came off of an album of a lifetime with Conception's "Flow", his voice had never sounded better on that record, and then he turned around and recorded "Siege Perlious" and sounded quite bored doing it. The vocals were as flat as the songs. But all the wrongs have been righted on their latest release.

There are so many different elements at play here, its almost impossible to pick them all out and give them their due time in the spotlight. Kamelot has managed to record something so unique, but seems extremely familiar at the same time. It makes "The Fourth Legacy" an easy joy to get enveloped in. Medieval melodies that seem to be recorded right out of Camelot, and Middle Eastern Arabic sounds that will whisk the listener right out into the desert, intertwine together. Throw in some progressive time changes, pounding German-style power metal, a sprinkling of neo-classical beauty, and coat it over with a thick wash of the moody Conception sound. While this may begin to seem like a mishmash that could lead to disaster, it has been expertly gathered and artfully arranged in ways that have to be heard to be believed. The majestic medieval flair comes into play the most, adding a certain bombast lift to soar the songs to grand heights, but most will be surprised at the extent the Arabic influences have been implemented.

The key members of bringing this album alive must be mentioned of course, such as Roy S. Khan, ex-Conception singer and Kamelot's current frontman. This being his second outing with the group, he has returned in fine form, and proves that he truly deserves the title of vocal god that has been bestowed upon him. Smooth like the finest of silk, and adding so much dimension to every song with his emotional inflections. Thomas Youngblood's axeslinging acts as the supporting columns to hold this epic journey together with his cutting riffs, often dripping with a neo-classical flavour that helps capture the magic of the overall sound in general. While the solos are used sparingly, to enhance the song and not to overrun them, there are plenty of riffs darting around and creating a tapestry for the rest of the instruments to play upon in the background.

Right away you will see, hear and feel the differences between using synthesizers to mimic instruments and the real thing. To enhance the feel of the album, they brought in flutists, a string section, some female backing vocalists, and an Arabian musician to lend inspiration and give a few tracks an authentic sound. The producers handled some of the other instruments, such as Miro providing the keys and Sascha Paeth adding in additional guitar. These are the reasons the album maintains such an honest, epic feel, and with the slick production, enriches the album so much more. Sascha Paeth is known for producing bands and artists such as Angra, Rhapsody, Heaven's Gate and Luca Turilli.

"The Fourth Legacy", while not intended to be a concept album, has loosely turned out as one. Each song deals with an individual story, taken from tales of history and fiction dealing with subjects like Alexander the Great and Uther Pendragon, and often walking the paths of religion and faith, and not necessarily together. An individual puts her faith in God to song in hopes of it helping to keep her sailorman safe, while in another track, a man puts his faith in his deceased love one to watch over him and give him a reason to carry on. Each song is tailored to bring out the varied richness of these settings using musical influences from the particular time and region.

1.] New Allegiance - If Kamelot was shooting for an attention grabbing, but unusual opening track, they certainly accomplished what they set out for. Grand and bombastic but with a skipping halting rhythm, it makes a perfect intro to the record, and different from the usual short instrumental album openers that have plagued power metal albums over the past few years. Nothing has topped Rhapsody's "Ira Tenax", but this is still very worthy.
2.] The Fourth Legacy - Title track, and a blistering one at that. Kind of a typical drum rhythm used, but it does serve as a showcase for Khan's gorgeously smooth vocals. The neo-classical influences are very prominent on this track, and instead of the typical guitar solo just flung in the midst of it all, Kamelot takes another approach and throws in a surprising little part to lead into it. This impressive extra lifts it from an average power-style song into something special. Nicely executed.
3.] Silent Goddess - Standing as the first of many Conception-ish type tracks, this one shows how wonderful the marriage between the already mentioned band and Kamelot's sound has turned out. Unusual cutting drum rhythms and Khan's vocal lines are without a doubt brought in by Roy and point straight to his time with Conception. Dark and blistering with moody vocal harmonies, dealing with the death in battle.
4.] Desert Reign - First time I heard this, my jaw dropped. Not a hint of metal in sight for this track, yet, it captures the mysterious Arabian feel perfectly. Dynamite atmospheric instrumental. It starts off soft and very Middle Eastern and just totally explodes into Arabic beauty. This is the kind of track that is used to just totally immerse the listener in the experience of the album as a whole, and as that, it is very effective.
5.] Nights of Arabia - Conjuring up glorious visual imagery on title alone, this is full powered progressive/speed/power metal with fanciful Arabic touches and a sing-along chorus to die for. The setting for this sandswept epic tune is based on the tales of the "Arabian Nights" and the death awaiting Queen Sheherazade.
6.] The Shadow of Uther - This track is about...(surprise) Uther Pendragon. Just glancing at the name will give that away, as well as the lyrics. Moving at a fairly clipping pace, with one of the nicest guitar solos slapped in the middle, featuring a strong Irish influence. Pretty much straightforward metal, with a few drumming tricks and a recurring Irish guitar melody, the acting ingredient that pulls it all together. Very interesting is the manner the guitar gives way to authentic Irish instruments playing the same melody til fade.
7.] A Sailorman's Hymn - Gorgeous. Just gorgeous. Comparisions can be easily drawn between this song and a little known track that appeared as a bonus on the Japanese version of "Siege Perilous" called "One Day", while it could be compared to Conception's "Hold On". The gentle lapping melody in this song ("..Hymn") is very similiar to the one found in "One Day". Beautiful strings and piano trading moments in the spotlight and then both flowing out again paint a picture of the lapping waters on the ocean. The final piece that makes this song such a pleasure to listen to is the love story that acts as the connecting center for the musical aspects to combine with. A woman waiting for her sailor to sail the tides back home again, and touches upon her uncertainty and heartbreak of knowing he's out there amongst the giant blue water filled void that is the sea, and she prays that he returns to her again safely.
8.] Alexandria - Sounding like a reworking of a "Siege Perlious" song, this one comes off appropriately heavy. Great vocal performance, strong and smooth, with a few sections that are distorted and stand out starkly as it switches back to his full powered blasting pipes.
9.] The Inquisitor - Raw and hitting in a Conception-esque way. Khan throws in some vocal lines here that are positively demonic in feel. Twisting Middle Eastern influenced axework weave around the strings for a short but sweet solo that smoothy slides right in the midst of the heavy pound surrounding.
10.] Glory - The second and final ballad on "The Fourth Legacy", while "A Sailorman's Hymn" dealt with a personal relationship between two people torn apart by the sea, "Glory" is about a Crusade leader agonizing over the deeds done in the name of his faith. More acoustic lappings and very string driven arrangements.
11.] Until Kingdom Come - Typical chugging blast of metallic bombast, lacking the over-the-top orchestration trappings used on most of this album. Its the meat and bones of metal, with plenty of power to punch it on through. However because of this more stripped approach, I tend to like this track the least, even though its lyrics are some of the best on the album, centering around a man that is struggling with the death of his loved one, and who relies upon the presence of her ghost that pleasantly haunts his dreams as comfort in trying to cope with the tragic loss.
12.] Lunar Sanctum - Probably my favorite tune on the album. The Conception sound has been resurrected and its oozing all over this track. Taking a rather dark sound, with very Conception-ish chorus, backing vocals, drums and the whole nine yards. This song could have fit very comfortably after "Gethsemane" on the "Flow" album, for its in that same tempo and overall feel. A fantastic closer.