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In 2003 I received my first let down courtesy of Edguy in the lackluster “Hellfire Club”, which suffered from a rather bad overall production and some comic elements gone awry. Where this album sees improvement is primarily in the production, although a lot of the songs in the second half of the album do suffer from some rather bad guitar sounds.
The best song on here a toss up between “Sacrifice” and “The Asylum”, both of which are the longest songs on here with the most varied changes and musical elements. The former has a rather nifty piano intro that almost sounds like it could be taken from an Evanescence song (I don’t consider this a negative, others might), but ends up rocking like classic Edguy. The latter sounds a bit like a compressed version of “The Piper Never Dies” but without the Organ part and a better vocal performance.
Other songs that have a good amount of power to them include the high speed cookers “Return to the Tribe” and the title track, both of which have some great lead guitar work, especially the former which has some insane talk box work that rivals Mick Mars’ innovative soloing on Motley Crue’s “Kick Start my Heart”. “Wasted Time” and “The Matrix” are more standard mid-tempo tracks with some highly catchy choruses and some introspective lyrics. “Out of Vogue” is a rather interesting critique on the way metal bands catch a lot of shit when the become famous, and questions whether or not the people doing this actually have a logical reason aside from hating success (which in itself is highly illogical). This track has probably the best guitar riffing in it, but falls a tiny bit short in the soloing department. The single off this album “Superheroes” is pretty much your standard Edguy single, it puts the emphasis on the chorus, but succeeds in being more musically interesting than “King of Fools”.
We have some tracks on here that are musically decent, but suffer in the lyrical department. “Catch of the Century” seems to take a similar route as “Out of Vogue” lyrically, but takes it way too far with that rambling ending where Tobias gets a little bit too in your face about how much he doesn’t give a shit about what you think of his success. It doesn’t quite get as ridiculous as Limp Bizkit got on their debut album, but it comes close. “Save Me” is pretty much a fluffy ballad, but unlike “Land of the Miracle” it doesn’t have anything amazing going on in the vocal department. It could qualify as a better version of “Forever” off the last album, but with the same boring structure.
The remaining 2 songs on here are pretty much uninspired. There are too many nonsensical lyrics, dry rock riffs and out-of-place sound effects to make these songs great. If there is one positive about these 2 songs is that they are short enough to not really be missed. Furthermore, unless you have the release with the bonus track, you don’t have to utilize the skip button, just hit stop at the end of Superheroes. Alas, if Edguy has simply settled for 10 songs and cut the last 2, I would have scored this album higher.
This album is an improvement from the last one, but it still lacks the prestige of their older material. I can recommend it to fans of Edguy who were able to tolerate the changes on the last album, as well as to fans of traditional 80s rock/metal. This album has more in common with the more glam oriented metal outfits of the 80s than with the Helloween brand of speed metal that you heard on “Savage Poetry” and “Theatre of Salvation”.