Pulling Back The Veil On Kamelot Brings Massive Rewards.

Let's carry on to a little something different. Tonight we visit the power metal hemisphere. Accompanying us is a band out of Tampa that formed when George the Elder was our prez, specifically 1991. "Veil of Elysium" unabashedly nails what's lasting about the genre. This stuff's overblown and doesn't care whether you approve of it or not. The combined weight comes at you like a hurricane's eye. We're made to fasten our seat belts. To do otherwise would be courting certain disaster. For power metal to live up to its ample hype you need a vocalist who's not afraid to wallow about in its hyperbole. Tommy Karevik fills the bill nicely. Thomas Youngblood gives the metal masses everything they could ever hope for at the bridge, namely a searing guitar solo which doesn't hold back on the camp value. So what does Tommy have to tell us. Would you be in any way surprised that Death figures into this scenario. For gosh sakes you're talking about the heavy metal community's ace in the hole. I'm afraid I'm not much use in explaining what a rose of obsidian is but it sounds cool on a lyric sheet. "Death comes to all. In a heartbeat only silence." Nothing you and I haven't heard dissected a billion times before but give Kamelot one point in its favor. Its symphonic convergence method to madness gives you mileage to spare. But now onward we go with the haunting words. "One day I know we will meet again in the shade of a life to die for." That's either highly bleak or gilded with the faintest optimism. One selling point the Reaper has going for him is dwelling in the hearts of the soon to be deceased happens to be the hopefulness coming from the idea they'll be reunited with long gone loved ones in Heaven. The fear of Death is universal so anything to soften the blow gets my vote. The concept itself usually goes part and parcel with heavy drama and Kamelot brings the thunder. The speed angle makes you think doom is imminent. The boys hammer away like they're Olympic gymnasts trying to nail a dismount so the final word on their prowess as musicians will be favorable. You've gotta have potent drumming to fuel such an unrelenting fire. Enter Casey Grillo. He goes about his business a man possessed (Satanic reference anyone? The pitchfork toting scuzz surely has his own wing in heavy metal's pantheon of character reference. I salute power metal for being '80s metal over the top without tits and ass lyrical obsession. There's not exactly an impeccably designed road map for its marquee names to follow. You essentially grab onto the reigns praying this bronco won't kick you off, leaving you irreparably scarred. On the video side who can argue with a rocket ride back to olden days. Sean Tibbetts rumbles in defiance thanks to a bass that'll happily shove you out of the way to get the golden doubloon reward awaiting in the distance. On the other end of the audio assault Oliver Patolai inserts his keyboards into the thorn filled fairy tale. From that inclusion the legend only grows deeper, wider, less likely to be ignored. I have to present Kamelot with a split decision victory. It's to their advantage that their musical take no prisoners spark outweighs the latest musings on what's waiting (or not) on the other side of life. You'll be making devil horns and bouncing your in need of trim metal mops too vigorously to wonder if you should be worn down by well mined topics like this. "Veil of Elysium" drops the lyrical ball by only serving us reheated leftovers. That's not a damning indictment harsh enough to throw out baby and bath water though. They are well schooled power metal powerhouses. I refer you back to Thomas and the vicious guitar tear he goes on. That and a bottle of Jagermeister ought to quell the beast within.