Notes from the Shadows

After a string of successful albums in the early 2000's, Astral Doors pretty much tripped, nosedived, imploded and subsequently released a string of pedestrian albums. It really sounded like the band was burnt out or didn't really care or both, but it certainly tarnished the reputation of a once highly regarded band who at one time seemed poised to claim the throne of traditional heavy metal. As with the band's entire repertoire, their seventh full length, Notes From the Shadows, is not going to reinvent the wheel, rather it serves as an enjoyable homage to the likes of Rainbow and Dio. Perhaps the band, once again, has a fire lit under their collective asses, as this seems to show the band trudging back up to the top of the hill.

Through all of the ups and downs, the strongest feature remained (and remains) vocalist Nils Patrik Johansson, that you should recognize from his work with Wuthering Heights and Civil War. No doubt, he is widely known for his range and inflection that emulates the mighty Ronnie James Dio, but his vocal chops are solid and, while they do sound like Dio, it's not outright mimicry, as his powerful voice mixes Dio with a touch of Jorn Lande and David Coverdale. Regardless of whether or not he's a “Dio clone”, he puts on one hell of a performance and carriers the band, even through a of the few low points. The guitar hooks and vocal melodies play off each other nicely, offering a solid front end to the album.

Notes From the Shadows is not a massive departure from anything the band has released to date. It carries the same classic heavy metal sound as all of their other albums, but with that is an enthusiasm and keen ear for hooks that we haven't heard Astral Doors toying with since Astralism in 2006. The riffs are a strong combination of bluesy structuring and melodic embellishments, much like the works of Feinstein, Ritchie Blackmore or even Vivian Campbell's work with Dio. Really, this is the same thing the band has done since their inception, with a mix of mid-paced anthems, like “Confessions” and “Shadowchaser”, and speedy, barn burners such as “Wailing Wall” and “The Last Temptation of Christ”. Nonstop keyboards accentuate the riffing, sounding very organ-like, for most of the ride: hell, “Hoodoo Ceremony” is even an instrumental featuring nothing but the aforementioned organ patch, but it works and allows the band to further emulate those classic vibes.

Perhaps the shift in quality relates to that fire under the band's ass that was mentioned before. This is the first time in quite a few years that the band really seems to be enjoying themselves. Despite the serious and dark lyrical themes, Notes From the Shadows seems to be a fun album, with plenty of meaty hooks, classic riffing and superb vocals. The drums are rollicking and offer quite a few interesting double kick patterns, but never really get moving past a gallop, even during when the rest of the band is in overdrive. Fortunately for Astral Doors, most of the tracks ooze that classy, hook laden style, like that stylish and catchy riff and embellishment during the chorus of “Disciples of the Dragonlord” that will get stuck in your head for days, but Notes From the Shadows is not free of missteps. “Die Alone”, which is nestled in the middle of the track listing, manages to lose most of the momentum the band builds to that point, with it's wonky backing keys and over simplistic approach.

Boasting a slick production that highlights the band's two strongest points, the chunky riffing and the stellar vocals of Nils Patrik Johansson, Notes From the Shadows is certainly showing Astral Doors at their best since 2006's Astralism. Hopefully the band can continue in this vein, as the last few albums were atrocious at best. It's really good to hear the band having fun while staying classy. I'm just going to pretend that the this is the follow up to Astralism. Catchy vocal hooks and classic, driving guitar riffs combine in fine form to put Astral Doors back on the map.

Written for The Metal Observer.