Edguy


Savage Poetry
(AFM - 1995)
Everything about this release points to a bright future for these aspiring young power metal aficionados. They write good traditional riffs, dynamic compositions, strong melodic choruses, epic guitar solos, and the playing is quite competent. The praise ends here however because their immaturity obviously held them back and turned this potential into an unripe and somewhat weak debut, if only because we all know as soon as we hear it that they can do better given some time. For example, the vocalist knows what he wants his voice to sound like, and tries to belt out power and conviction best he can with a youthful voice, but is defeated by immature undeveloped vocal cords, a slight lack of confidence, and a weak production. If the music were original I would be recommending this album seeing that the composition is tight and very enjoyable, but if you don't have originality then you had better have some brilliance in other areas, and Edguy hasn't reached that point yet. Thankfully, Edguy made the decision much easier by re-recording this great material 5 years later with their newfound power and maturity (reviewed below).
Kingdom of Madness
(AFM - 1997)
Two years later, Edguy have progressed in the composition department, showing off some interesting, albeit unoriginal, melodic elements in their music. The production is wider but still lacks the crispness or richness of a well established band, and the guitar player has smoothed out his shredding skills. However this is still not close to the high standards set by so many power metal clones and is even a step down from the debut. I expect either originality, or a near perfection and culmination of 15 years of the genre. Also, for some reason, they seemed to have lost some freshness and energy here. There is also a cheesy ballad and an 18 minute song that is a weak overblown exercise in futility and horrid vocals. In summary, this is a mediocre power metal album with some good songs, but with so many clones doing a much better job, I'd definitely look elsewhere.
Vain Glory Opera
(AFM - 1998)
So how do you boost a power metal band's weak career? Bring in an overblown production with lots of reverb, a couple of 'celebrities' from other popular bands (Tolkki from Stratovarius and Kurch from Blind Guardian), a choir, and safer, tight and simple compositions. Unfortunately the production was slightly overdone, giving the music a grand feel that also drowns it at times, and I find myself missing the more dynamic songs off the debut. Eventually one realizes that this is standard power metal with a sprinkling of cheese and an unhealthy dose of bombastic themes and sound, and although it is still somewhat enjoyable as far as this style of music goes, it makes you long for the less forgettable material from the debut. Slightly more speed metal and musical development and less rhetoric is what this album needs. The keyboards are much more noticable than before and the typical choir choruses sung by all the band members are here in droves. An acceptable album if you like this sort of melodic 'metal anthem' thing and aren't expecting anything new, exciting, or complex. Otherwise, look elsewhere.
Theater of Salvation
(AFM - 1999)
Hearing that this is supposed to be their best album so far, I basically knew what it would sound like before I even heard it. The fact that nothing in this album surprised me is not a good sign, but I'll rejoice with Edguy in their achievement of highly polished power metal for now. And this is what this album is: pretty good melodic power metal, its only flaws being unoriginality, some anthemic cheese, and a couple of terrible ballads. The vocalist did a rare thing for vocalists to do, namely to progress along with the rest of the band and improve his abilities. He has now achieved power, confidence, range and control and is a solid part of the music. The songs vary from melodic speed metal with a twin guitar attack, to slower metal anthems, with dynamics and tight composition, all enhanced by a crisp, full production. The guitar work is also superb, and when the compositions chug at a faster speed the music is very good, but the anthemic and similar-sounding choruses threaten to spill over into cheesiness often, and the ballads are so bad as to require skipping. In short, this comes recommended only if you can't get enough of this stuff, but Tobias Sammet would write similar but slightly better tracks for the supergroup Avantasia, and it lacks the less cheesy neo-classical and neo-medieval leanings of bands like Rhapsody and Blind Guardian. Edguy really needs to grow out of other bands' shadows such as Helloween and Stratovarius in the next album and start writing something distinguishable and more interesting.
The Savage Poetry
(AFM - 2000)
Their demo/debut re-recorded, remixed and even slightly rewritten. This often turns out to be self-indulgent, but in this case I applaud the decision because this happens to be their best material. Combined with the recent musical maturity and sound quality, this turns out to be their best album to date and a very good conventional power metal album in general. The compositions are much more dynamic, unique and relatively complex and they were slightly improved upon for this special release. There is even a complex instrumental stint in the new version of Frozen Candle - hopefully a sign of things to come. Also, this often has a more classic 80's or NWOBHM sound rather than the cheesier anthem-like power metal that has been coming out in droves lately. It's just a pity about the single cheesy ballad Sands of Time. Recommended to power metal fans.
Mandrake
(AFM - 2001)
After the peak of Theater of Salvation, I saw the next step for Edguy as crucial and hoped for some progression. Well, they progressed all right, but in the wrong direction. The hard rock and pop-metal leanings of previous albums start getting slightly more emphasis here. The humoristic touches inspired by Helloween also rear their head more often in the lyrics and in the track Save Us Now. But despite this general trend towards commercialism, the tracks do vary a lot: The first two tracks sound like something off Theater of Salvation, All the Clowns and Painting the Wall are purely and painfully pop-metal, the surprisingly thrashy chorus of 'Nailed to the Wheel' sounds like a power-metal version of Overkill but it also features a cheesy introduction. Pharaoh is the 10 minute epic that starts promisingly as a Symphony X clone and boasts a passage that sounds like a power-metal version of a Yes chorus, but doesn't quite develop properly or live up to its promise, and Wash Away the Poison is a ballad which is slightly less cheesy than previous attempts but still weak. Tobias Sammet is from now on sharing time with his supergroup metal-opera project Avantasia, and his constantly improving vocals suddenly sound like Bruce Dickinson when he wails. Altogether, this is too generic and pop-sounding for my tastes and made me feel like giving up on Edguy.
Burning Down the Opera
(AFM - 2003)
A double live album. The set list typically emphasizes recent releases but features a variety of tracks, the playing and vocals are solidly professional but not exactly extra energetic as expected, and the sound is good. Stand-outs include the wailing crowd-participation game in Headless Game, the pretty good lengthened version of Pharaoh with some extra instrumental interludes and an atmospheric narrative, a passable drum solo, endless weird rambling and talking to the crowd in How Many Miles for several minutes, two Avantasia covers, and a horrible falsetto on Inside. As far as live albums go, this seems like a mediocre instance of one by a mediocre band.
Hellfire Club
(Nuclear Blast - 2004)
The deterioration continues and there really is no point in reviewing this in length since it is more of the same like Mandrake except with even more dull commercialism. Many tracks are not even metal anymore. The variety includes the heavier Mysteria that sounds like a blend of Overkill Iron Maiden and pop-metal, the plodding ten-minute conventional hard-rocker The Piper Never Dies that never justifies its running time, some generic, chugging, anthemic, and forgettable power-metal tracks heavily tinged with hard rock catchy commercialism and pop choruses, a cheesy ballad despite its use of an orchestra (Forever), a horribly pop-sounding rocker Lavatory Love Machine, some humor, and so on.
Rocket Ride
(Nuclear Blast - 2006)
Edugy has definitely gone commercial hard rock, or pop-metal at best. Mostly pop-sounding hard rock with humorous traces of metal. I think they are making fun of metal. Most of the tracks may just as well have been released by Bon Jovi despite the occasional touches of metal guitar riffing, and some are downright embarrassing, which is why I will stop reviewing these albums now...
Tinnitus Sanctus
(Nuclear Blast - 2008)
Yup. Edguy aren't coming back to us. This isn't only commercial hard rock, it is also boring as music and very unoriginal. But then again, even their early metal releases showed unoriginality and traces of pop-metal. Released as a double CD with a second live album called "Live in Los Angeles".



The Last Exit 1996-

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