Firewind - The Premonition

[Chris the Mad Scientist @ WSOU]

Gus G. and Firewind have made an excellent mark on the power metal scene in the past few years. The Greek quintet has taken the styles of Manowar, Hammerfall, and Blind Guardian, and blended them into their own distinct brand of original, melodic, progressive power metal, without a lot of the over-the-top gimmicks that a lot of power metal bands engage in. Returning in 2008 with The Premonition, their fifth studio album, Firewind are finally getting the credit they deserve.

Opening with “Into the Fire,” the album begins acoustically before breaking into an intense, slow guitar section, much akin to Metallica opening Master of Puppets with “Battery.” “Into the Fire” continues with a mini-solo before Apollo Papathanasio busts out his incredibly powerful singing. The song actually follows the same kind of structure as “Battery,” with a short keyboard solo before going into the second verse. Gus’ backing vocals provide excellent harmony on the refrains, something many power metal bands lack today. The solo on this song is more about speed than technicality, but it is well-played, and provides a speed contrast for the short instrumental break before the last refrain. Much like “Battery,” “Into the Fire” is an excellent opening to the album and serves as a taste of what’s to come.

“Head Up High” is definitely one of Firewind’s best songs to date, with an incredibly catchy lead riff and well-structured verses and refrains. Mark Cross’ drumming is at the forefront at the beginning of the song, driving things forward, accompanied nicely by Babis Katsionis’ keyboards. Gus actually takes over the melody line of the refrain, with Papathanasio taking the much higher harmony line, which is an interesting change from the norm. Then Gus breaks into an incredibly technical solo backed again by Katsionis’ keyboards, before the final refrain culminates with one last vocal push from Papathanasio. The song is energetic and full of life, keeping the album moving and powerful.

“Mercenary Man,” the album’s first single, is slower and more melodic than the previous songs, with keyboards driving the verses forward. The refrain is accentuated by Petros Christodoylidis’s strong bass line and Katsionis’ rhythm guitar line. The song picks up a lot of energy with the keyboard/guitar duet leading into the final refrain. Overall the song is something new and enjoyable from Firewind. “Angels Forgive Me” starts with a keyboard solo, establishing the main riff nicely and setting the tempo for this mid-speed song. The drumming is more accented on this song than before, and the keyboards don’t blend as much, instead providing contrast to the overall sound. The song also ends in a fade-out, which is not often used in power metal and further shows the band’s stylistic individuality.

“Remembered” utilizes distorted vocals at certain points in the song, another new concept for the band. Drumming is again the driving force on this song, with Cross’ double bass in fine form throughout the verses. The keyboards take over on the refrains, with a strong rhythm guitar line backing them up. A short, soft instrumental section leads into a fast, technical solo from Gus, one of the better solos on the album. The key change on the final refrain provides the final accent on the end of the song, livening the mood and feeling of the song. “My Loneliness” contrasts sharply with this, opening acoustically and generally moving a lot slower than the rest of the album thus far. The lead riff is slow, punctuated by the bass line and keyboard sections. The song is very different from anything previously played by the band.

“Circle of Life” continues this progressive atmosphere, opening with a mystical keyboard solo and maintaining the slower tempo. There are slight tempo changes between the verses, pre-chorus, and chorus, keeping things engaging. Papathanasio’s singing is soulful and emotional, showing his range and prowess as a vocalist. “The Silent Code” opens deceptively and quietly, before Gus begins a strong, melodic lead riff leading into the verses. The drumming returns on the refrains, accenting the lead riff and Gus’ squeals nicely. The instrumental section features a great guitar duet with Gus and Katsionis, flowing nicely into the solo and back into another duet. This shows the full range of the band’s skills – they have the ability to play traditional power metal, progressive melodic metal, and also a blend of both styles.

The next song is a cover of Michael Sembello’s “Maniac,” which at first seems laughable. However, the song translates very well into power metal, as it turns out. Unsurprisingly, keyboards are the dominant instrument on this song, providing the melody line and giving the song slight techno vibes. Regardless, the vocals are very well performed, and the guitar solo Gus adds truly makes the song individual and different from the original. The end of the song adds more originality, with a mini-solo from Gus and a drum breakdown from Cross. It’s a fun addition to the album, providing something unexpected and entertaining at the same time. The album ends with “Life Foreclosed,” which opens softly with soulful singing from Papathanasio on top of a soft guitar and bass line, before breaking out into full singing and instrumentation midway through the first verse. This dynamic continues on the next verse, going back to the soft singing and instrumental parts and then breaking out again midway through. The song is on the slower side, but the dynamics make it beautiful. Gus’ solo is impossibly technical and intricate for such a slow song, making it that much more enjoyable. It’s an excellent way to close the album, showcasing all sides of the band’s style.

I believe that The Premonition could be Firewind’s breakout album. With full-on power metal hits like “Head Up High,” progressive melodic pieces like “Circle of Life,” and well-blended songs featuring both styles like “Mercenary Man,” almost all metal fans will find something they like about this album. Greece is officially ready to leave its stamp on the world of metal.

Album Score: 9 out of 10