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Released: 1995, Noise Records
Editors Note: Metal-Rules.com was founded in 1995 as a forward thinking site. Our goal is, and always has been, to support Real Metal. The decision was made that very rarely do we ever go back and review an album from before 1995. Does the world really need another CD review of Master Of Puppets, Powerslave or Screaming For Vengeance? We don’t think so. We have always supported what is happening now.
Starting in January, 2014, as we head towards the 20th Anniversary of Metal-Rules.com, we are looking back and filling in a few gaps in the review database. We want to complete the post-1995 review catalogue of some of the bands that we have supported since 1995, when very few, if any websites were supporting real Metal. It’s fun to go back and revisit some of these albums that we did not review when they were first released. Enjoy!
I was on the Kamelot band-wagon pretty early, as one of the few, true Progressive Power Metal bands from the United States. Discovering this band was a bit of a godsend as there were so few bands doing this style in the mid-90’s. Kamelot was one of the few underground bands with the balls to buck the trends of wanting to be Pantera or Fear Factory, and deliver an album of traditional Metal.
The album was released on Noise Records one of the true bastions of Metal in the 90’s. Most people don’t realize what a debt of gratitude that Metal fans owe Noise Records. Not only for their groundbreaking signings in the 80’s but for keeping the flame alive and signing and releasing albums by new bands in the mid-90’s; bands like Conception, Iron Savior, Skyclad, Stratovarius and of course Kamelot. The CD itself looked good. It introduced the elegant royal purple colour scheme that would be apart of the bands cover art for the first six albums spanning 10 years. The regal design and logo were a hallmark for the band for many years.
Musically, the album continued on the in tradition of Queensryche and Fates Warning, namely, progressive Power Metal. Kamelot injected some symphonic elements very early on adding for a much more lush and layered sound then what many metal bands were doing. Vocalist, Mark Vanderbilt sounded and had a delivery very much like Geoff Tate which was so refreshing to hear since Tate would no longer sing like that in Queensryche and everyone else was busy shouting at the microphone pretending to be angry like Phil Anselmo. Vanderbilt has a smooth voice that is as suited to the acoustic tinged ballad, ‘What About Me’, to the soaring highs of the opening track, ‘Eternity’. He was a commanding vocal presence.
The albums opens with the title track, preceded briefly by a neoclassical symphonic flourish before taking off on an obligatory speedy song, the quintet showing their chops at high speed. The band maintains some good intensity with flowing solos and driving rhythms peaking at a highlight track ‘Red Sands’. Kamelot had a sublime mixture of melody and power, an extremely European sound. Recorded at Morrisound it was probably one of the only non-Death Metal albums produced by Jim Morris that year!
ETERNITY was a standout album in 1995, not only because it was one of the few albums in this style but also an excellent demonstration of the form with energetic, high-class Metal.
2. Black Tower
3. Call of the Sea
4. Proud Nomad
5. Red Sands
6. One of the Hunted
7. Fire Within
9. What About Me
10. Etude Jongleur
11. The Gleeman
Mark Vanderbilt Vocals
Thom Youngblood Guitar
Richard Warner Drums
David Pavlicko Keyboards
Glenn Barry Bass
Thom Youngblood Guitars
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