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I never liked Anima Mundi, not at all. Thus I was quite dubious to get Sign of Truth, which apparently was worse than Amina Mundi. I was then surprised. There was not the fluffy, synth-pop power metal I had heard before, no blown-up keyboard balloon. Here there actually some substance, riffs that stick to your head instead of a constant chorus filled with artificial chords. Perhaps it’s as easy as Sign of Truth was produced by Tobias Sammet, who should be credited for a few amazing power metal albums. Anima Mundi was produced by Jens Bogren. I don’t know how fluffy he’s as a person, but he sure changed the music.
All in all, Sign of Truth is more traditional as opposed to fluffy and flower-esque. The music reminds of bands like Helloween and Edguy. The latter most probably because of Mr. Sammet. The Helloween/speed factor is only to be found on this Dionysus album.
Dionysus’ biggest asset is the fantastic vocal work of Olaf Hayer’s, but this time this isn’t the only redeeming feature. He has competition from the guitarist’s Helloween-inspired riffing and his competent solos. Yes he actually plays something of substance this time, and the bassist does too. His lines are well placed and even recorded through an amplifier this time! Well the drums could’ve been better of course, if there just wasn’t such an amount of double-bass. Even the keyboards are placed more scarcely, and more competently. It’s of course more than Helloween has, but much less than Rhapsody, or even their next album.
This concept, while not totally original works to an extent, reaching its climax in the sovereign Anthem for the Children, revealing the best guitar work I’ve heard from Dionysus and coming in the slower, heavier anthem-package that seems to be what Dionysus does best. The moment of joy is short-lived though, as Anthem for the Children is quickly followed by Holy War. Obviously the cheese in the lyrics has taken the overhand, and invaded the song structure, the melody and triggered the growth of some double-bass bacteria. It is horrible, watered-out and… - well just as one would think that a power metal song called ‘Holy War’ would be. The songs after Holy War are all fillers.