Review: Demons & Wizards, "III"

Overview

Fans have waited 15 years for the third album from Demons & Wizards, the side project of Blind Guardian vocalist Hansi Kursch and Iced Earth guitarist Jon Schaffer. Was it worth the wait? That probably depends on how much you like the music their respective bands have pumped out in recent years.

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Album opener "Diabolic" sets a high bar for the rest of the record. It's a dark, classic D&W-sounding piece, with a chorus lyric and melody designed to bring to mind their 2000 self-titled debut, in particular the song "Heaven Denies." Kursch's voice retains its power, though the melodies he's singing sometimes leave much to be desired. There's an interesting hard rock influence that comes in, particularly on "Invincible" and the AC/DC- and WASP-inspired "Midas Disease." I think they should have explored that sound just a little more.

15 Years, 15 Records: 2004, Iced Earth makes history ... sort of

In the wake of Sept. 11, Iced Earth singer Matt Barlow decided that he wanted to do something for his country and joined the Department of Homeland Security. Jon Schaffer regrouped by picking up former Judas Priest singer Tim Owens, and the pairing turned out to be a potent combination on The Glorious Burden.

It’s a concept record of sorts, featuring songs based on historical events and figures. It’s a topic that Schaffer is passionate about, and it shows in the music. While the first disc of the two-disc set is outstanding, it’s the second disc that really shines. “Gettysburg (1863)” is a 32-minute epic in three parts, telling the story of the Battle of Gettysburg from the American Civil War. It’s bombastic, symphonic and quite possibly the best work of Schaffer’s career.

15 Years, 15 Records: 2000, Alice Cooper gets 'Brutal'

The thrashing opening riff of Alice Cooper’s Brutal Planet announces immediately that this record is going to be a little different. The record, which is essentially a morality play, is darker and bleaker with less of Cooper’s trademark black humor, though it does creep in on songs like “It’s the Little Things.”

It’s a heavier record musically, easily Alice’s most metallic, and the themes that he tackles in the songs are heavier as well. It was part of a trio of heavier records, ending with 2001’s Dragontown, after which he returned to his garage rock roots.

Review: Demons and Wizards, "Touched by the Crimson King"

Imagine it's the mid-1980s and a new album has just hit the shelves featuring Glenn Tipton and K.K. Downing on guitar and Bruce Dickinson on vocals. So, neither Iced Earth nor Blind Guardian have had the incredible success or influence of Judas Priest or Iron Maiden, but for modern power metal fans the teaming of guitarist Jon Schaffer and vocalist Hansi Kursch is akin to that mythical pairing. It’s the best guitar riffs in the genre meeting the best vocals in the genre.

The two became friends as road dogs. Throughout the 1990s, the two bands toured Europe relentlessly, often together. Finally in the late 1990s, when Schaffer visited Kursch in Germany, the two sat down and jammed together. The result of that jam session was their first song, "My Last Sunrise," and eventually the 1999 self-titled debut from Demons and Wizards. It was a blazing album that rivaled the best work of their regular bands, but because of the schedules of Iced Earth and Blind Guardian, Demons and Wizards didn’t get to tour much beyond some European festivals. That’s also the reason it took six years for the two to get together and record another album – and again it doesn’t appear they’ll get to do more than a few shows in support of it.

"Touched by the Crimson King" opens with a nice operatic approach on the title track, which reminds me a bit of Carl Orff’s "Carmina Burana" or Jerry Goldsmith’s "Ave Satani." The rest of the song isn’t very different from what listeners heard on the band’s first album. It ranges from supercharged power metal runs to chugging traditional metal bits to haunting interludes to the operatic choruses. There are plenty of big, dramatic flourishes throughout the album, but they never cross over into the melodramatic as a lot of power metal bands do.

Schaffer and Kursch break from other power metal bands in other ways, as well. For one thing, there’s a great deal of variety on this album. "Terror Train" is a full-on power metal burner, with impossibly fast riffs from Schaffer, while "Beneath These Waves" is a mid-tempo tune that relies on some infectious melodic bits. The downside of that strategy comes on the melancholy "Down Where I Am." Lyrically, it’s a very dark song that requires a great deal of emotion, and I just never seem to get the full sadness from the vocals that should be there. It’s the only real misstep on the album, though. The other slow songs, "Seize the Day" and "Wicked Witch" both work incredibly well.

No Kursch album would be complete without literary references, and "Touched by the Crimson King" is peppered with them, beginning with the William Blake reference in the title. There’s also a nod to Stephen King’s Dark Tower series ("The Gunslinger"), "The Wizard of Oz" ("Wicked Witch") and Oscar Wilde’s "The Picture of Dorian Gray" ("Dorian"). Of the literary songs, the best is "Dorian," which has an irresistible traditional riff and an epic feel. The most interesting, on the other hand, is probably "Wicked Witch," which offers a sympathetic take on the character that’s one of the ultimate big bads in both literature and film.

If the album has one problem, it’s an issue shared by most power metal albums – the production is a bit thin. It’s not surprising in a genre that’s so focused on vocals and guitar. I can’t help but think how incredibly powerful this album would be if some of those super-fast double-bass lines were actually thumping you in the chest or if the punctuating drums on the title track or "Dorian" really thundered like they should. It’s not that the production is bad, just that it could have been more.

If you’re familiar with Blind Guardian and Iced Earth, the talent level on the album is exactly what you’d expect. Schaffer’s riffs are as fast, tight and precise as they come. I’ll admit that Kursch’s voice will probably be an acquired taste for some due to his thick German accent, but in terms of range and versatility, you won’t find a much better singer in the power metal genre. Both are in fine form here.

Kursch and Schaffer close the album solidly with a cover of Led Zeppelin’s "Immigrant Song." I’ve been waiting for a power metal band to take this song and really kick serious ass with it for a long time. It’s such a perfect song for the genre, from the riff to the lyrical content. Quite a few have tried, but Demons and Wizards are the first to finally nail it. Ultimately, I don’t think "Touched by the Crimson King" is quite as good as the 1999 album, which was a bit more fast-paced and had more of a medieval feel, but it’s still an outstanding offering. I only hope we don’t have to wait six more years for another one.

Get "Touched by the Crimson King."

Interview: Hansi Kursch of Blind Guardian

In the 14 years since the release of their debut album, Germany's Blind Guardian has accomplished a lot. They've released six albums and risen to the top of the power metal crowd. They've conquered audiences all over the world, playing to sold out houses in Europe and Japan. But in all that time, they've never played a show in the United States.

That changed this month, when the band of J.R.R. Tolkien devotees launched a month-long assault on the States.

Singer and bassist Hansi Kursch says the band is glad to finally be able to play for its American fans.

"It's like a dream come true - a very fresh dream," he says in a phone interview from his native Germany. "About five years back, I did not even think about it, but ever since Century Media released our previous album, `Nightfall in Middle-Earth,' I'm really blown away. We've set up quite an impressive U.S. tour. It's a big deal for us."

Kursch says he realizes that the crowds here in the U.S. will be smaller than those they've played to in Europe, but the band is prepared for that.

"It's a challenge, but we are used to it," he says. "Some years back - let's say 10 or 12 years back - we had the same size crowds over here in Europe, so we are prepared. It's still something special."

The band is expecting good turnout for their first shows in the U.S., and Kursch says ticket presales are going well. He says Blind Guardian has a solid fan base in the States. Some are so devoted they'll even make the trip overseas to see the band.

"We've played several festivals over here in Europe, and you would be surprised at how many people from the States come over just to see us," he says.

For American fans who haven't seen the band live, Kursch says to expect some surprises. Many of Blind Guardian's songs are complex compositions that are difficult to perform live. For example, the 14-minute epic "And Then There Was Silence," from their latest album "A Night at the Opera," took four months and 128 tracks to record. But Kursch says fans will be surprised by what the band can do.

"Some of them are difficult, but we can minimize that in terms of focusing on the more important pieces in the song," he says. "On the album they appear impossible to play in a live situation, but skilled musicians can play them."

Blind Guardian may be best known for their connections with Tolkien. Their 1999 release "Nightfall in Middle-Earth" was a concept album based on Tolkien's tales, and they've written a number of individual songs based on his works. Kursch says it's something that evolved naturally.

"I got hooked on (Tolkien) as a kid and never really got it out of mind," he says. "When we started songwriting in Blind Guardian, we immediately figured out that we were all infected by that story, so parts of the music really went that direction in almost a natural way. When I started working on the lyrics, I had the impression that the music really demanded that type of lyric."

Kursch says a large number of people have discovered Blind Guardian through the Tolkien themes, but just as many metal fans have said they discovered Tolkien through Blind Guardian's music.

With the penchant for Tolkien-themed songs comes a segment of the band's fan base that wants them to write nothing but songs based on the "Lord of the Rings" writers' works. Kursch says that doesn't bother him, though.

"Not at all - I like to work on Tolkien topics, but I as well like to work on independent topics," he says. "I've been criticized for both, but I don't mind because I usually do what I think is best for the songs."

Before the U.S. leg of the tour began, Kursch also spent a few days with his friend Jon Schaffer of Iced Earth to work on a second album with their side project Demons & Wizards, which he hopes will be released some time next year.

But Kursch is really just ready to get out and play for the American crowds. He says after the long production schedule for their last album and extensive touring in Europe, the band is looking forward to the new experience and an injection of fresh enthusiasm.

"We're really longing to come to the U.S. and get some fresh energy - we're like vampires," he jokes. "It will be a blast."