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The Metal Pit:
Im sure that 90% of the reviews for the latest opus from Kamelot are going to focus on comparing new singer Tommy Karevik with the bands former iconic vocalist Roy Khan (who left the band in 2010). After several listens to Silverthorn, I can assure longtime Kamelot fans of two things. 1.) Silverthorn is the best Kamelot album since The Black Halo. It has a brightersound with less gloom than Poetry and Ghost Opera and 2.) Tommy Karevik is a more than worthy successor to Khan. Of course being a fan of Kareviks work with Swedish prog masters Seventh Wonder, I am more than familiar with Tommys style and vocal delivery. In fact, not only does Tommy meet my expectations on Silverthorn, he surpasses them. There are definite similarities between Tommy and Khan, most notably in their lower register deliveries. However, Karevik has a much stronger upper range in my opinion. Tommy doesnt just fill the empty space left by Khan. He makes the role of Kamelot frontman his own and shines doing it.
After the short piano infused symphonic intro of Manus Dei, Kamelot shows they are firing on all cylinders with the soaring and uplifting Sacrimony (Angel of Afterlife). This song was the perfect choice for the first single/video. Tommy definitely channels the Ghost(Opera??) of Khan with the first verse, but takes command during the anthemic chorus also featuring the talents of Amaranthe singer Elize Ryd with melodic vocals and Alissa White-Gluz of The Agonist providing the death growls. Ashes to Ashes has a more progressive metal feel to it with some impressive drum patterns from Casey Grillo and a very memorable chorus and Thomas Youngblood and Oliver Palotai engage in a intense guitar/keyboard solo battle. The next couple of songs bring out Kareviks unique Seventh Wonder vocal style that I love so much. The progressive symphonic majesty of Torn has an intense verse and soaring and uplifting chorus. Then, in this reviewers estimation, the crown jewel of Silverthorn, the melancholy piano ballad Song for Jolee gives me chills each time I listen to it. A masterpiece of a song that brings memories of Kareviks emotional Tears of a Father on Seventh Wonders Mercy Falls album. If you had one shred of doubt about whether Tommy karevik was the right choice for Kamelot, this song is guaranteed to erase all doubt!
Veritas has a March of Mephisto power metal feel to it with Tommy singing with intensity and a symphonic vocal chant during the chorus to give it a gothic metal feel. Elize returns to add her sweet melodies to the middle section of the song. The gothic metal of My Confession shows Tommys multi-faceted style, going from lower register to mid range and showing more versatility than his predecessor has on the last few Kamelot releases. The title track is a cinematic wonder with a driving drumbeat from Grillo, great metallic riffs from Youngblood and great vocals from Karevik. Falling Like Farenheit will get your head bobbing in rhythm as the song locks into a mid-tempo groove and another passionate vocal performance. Seeing a pattern here? The power metal with a gothic flair returns on Solitaire a fast paced and headbanging tune. The most progressive song on the album is the almost 9 minute Prodigal Son beginning with its mournful acoustic guitar intro and a few fantastically sweeping melodic solos from Youngblood, transforming into a symphonic mid tempo groove. The song changes tempos and moods telling a story all on its own. The crescendo of the song features a great harmony vocal from Karevik and company and ends with a furious drum rhythm. The album closes with the angelic vocals of Elize Ryd and a vocal chorus ending the album on an uplifting note. With Silverthorn, Kamelot has created a masterpiece that will not only silence the Khan fanboys but it will also propel them to the next level in the world of metal. Well done gentlemen, very well done!
Rating: 9.5