ReinXeed - High (2009)

ReinXeed - High

As a longtime follower of the Christian metal scene, I have seen my share of bands release less than stellar debut albums only to rebound with sophomore offerings that display marked improvement.  Remember the progress Bride made from Show No Mercy to Live To Die?  And what about Saint’s steps and strides between  Warriors Of The Son and Time’s End?  Recent years have found Hero (Bless This Nation to Immortal) and Rivera Bomma (Invisible Force to I Am God) making the same headway.
Sweden’s ReinXeed also deserves consideration.  Releasing its full length debut The Light on CMSweden/Rivel Records last year, an album I described as “on the inconsistent side of things” and suffering “shortcomings in the area of production”, ReinXeed returns in the summer of 2009 with the CMSweden/Rivel follow up effort Higher.  The album finds founding member Tommy Johansson improving upon all aspects of the recording process, including the key areas of songwriting (more consistent and with stronger melodies throughout) and production (cleaner and with the more balanced mix).
On Higher ReinXeed maintains its penchant for melodic power metal with the occasional foray into the symphonic, epic or progressive.  The album is chock full of catchy, up-tempo numbers such as “Reality” and “Dragonfly” (cinematic flavorings on both) or “Haunted Mansion” and “Always Be There” (neo-classical sensibilities on these two).  The albums title track takes a high energy approach while “Star Shine” brings a melodic based sound.  A top of the line ballad in “Light Of The World” and progressive metal of “Heaven” add to the albums versatility.
My overall feeling is if your musical tastes trend towards Avantasia, Blind Guardian, Dragonforce, Sonata Artica, Theocracy and Narnia then you should find a lot to like in Higher.
On The Light Johansson took on a “one man project role” in he handled just about all aspect of the recording process (similar to Matt Smith on the first Theocracy album).  Higher, however, finds the artist backed by a full piece band in that he has recruited two guitarist (Kerry Lundberg & Mattias Johansson), a keyboardist (Henrik Fellermark), drummer (Erik Forsgren) and bassist (Ace Thunder).  Needless to say, the overall performance is impressive.
In my review of The Light I described Johansson as bringing a “wonderful melodic based voice hinting at Matt Smith but with more of a hi-end feel”.  The same holds true here but with added depth and maturity to his delivery.  To understand my point check out the smooth sounding tincture he adds to “Star Shine” or all out emotion he imbues “Light Of The World”.  The albums title track finds him exhibiting the full range to his voice.
It also must be noted the impressive display by ReinXeed of its instrumental sound, a particular giving the group ample opportunity to showcase its abundant lead guitar and keyboard soloing abilities.  Check out “Dragonfly”, a track nearly half instrumental, and “Heaven”, with its three minute instrumental opening, to full appreciate the bands adept musicianship.
As previously stated, Higher features the cleaner mix in comparison to The Light.  The guitar leads, drums and keyboards are mixed to near perfection.  That said, and similar to The Light, the rhythm guitar can at times get lost in the mix.  You will find portions of several songs in which all you hear are keyboards and drums, leaving one almost begging for some guitar driven muscle.  And that is where the only fault I can find in the album lies: an all out element of aggression is desperately needed here; if in doubt then compare the Higher rhythm guitar sound to that on Theocracy’s Mirror Of Souls and you will find a noticeable difference.
Lyrics also represent an area of improvement.  While ReinXeed leaves little doubt as to where it is coming from, the group often employs allegory to get its point across.  This stands out best on “Star Shine”:
Star shine guide my way to distant skies again
Heaven is right by my side
Starlight guide me tonight so I can be free
I will see You again
“Heaven” must be noted as well:
Far beyond the horizon You’re waiting there
Eternity waits beyond Your gates
Open up your eyes and witness our paradise
“Haunted Mansion” proves quintessential ReinXeed in combining sweeping instrumental portions, hi-end vocals and abundant vocal harmonies with quite the elegant chorus.  The end result is a luxurious atmosphere bordering on the neo-classical.  All in all a very fine effort that sets the stage for much of what is to follow.
The quality continues on “Star Shine”, a melodically driven piece featuring one of the albums better joining of guitar and keyboards.  The hook here is huge – of the kind to pull you in on first listen – while the symphonic touches and lightning-like leads help it to stand out above the rest.
“Magic Still Remains” is the only track I struggle to embrace.  Fast paced and up-tempo, the song might not lack in energy but fails to deliver that extra magic (no pun intended) the albums better material brings to the table.  This is one of several pieces in which some aggressive rhythm guitar would have gone a long way towards putting things over the top.
ReinXeed showcases its instrumental propensities on the cinematic “Dragonfly”, opening its first minute to a majestic keyboard based introduction while breaking for a lengthy instrumental interlude at its halfway point.  The momentum on this one is non-stop, reflected in its bountiful double bass and upbeat chorus bordering on the breathtaking.
The albums title track proves another high energy showstopper, smoothly racing its verse portions on the way to a chorus frenetically carried by Forsgrens’ unrelenting double bass.  I particularly enjoy how “Higher” slows to a near standstill at the beginning of an instrumental section in which keyboards and guitar contest.
“Always Be There” brings some neo-classical touches (I swear I can hear a harpsichord in the backdrop of this one).  The song opens calmly only to gain initiative as the rhythm guitar kicks in, initially taking a mid-paced heading prior to breaking out in spirited fashion for its fleet chorus and galloping instrumental interlude that follows.
A cinematic touch can be found on “Reality”.  Up-tempo like much of the albums material, the song begins to a keyboard solo prior to rollicking its remaining distance to rapid-fire double bass as a catchy chorus and more grandiose keyboards put things over the top.
“Light Of The World” represents as heartfelt a ballad as this reviewer has heard.  With keyboards and piano upholding its airy verses and rhythm guitar its touching chorus, the song finds Johansson delivering quite the stirring vocal performance- by far his best of the album.  An emotional guitar solo tops things off.
Were off to the races again of “Fantasia”, a stylish track driving through its verses with classically influenced keyboards leading the way only to gain initiative for a near speed metal based chorus upheld by the groups all out raw energy.  I can see Theocracy doing something like this.
Closing things out is the nine minute “Heaven”. The song breaks down into two parts.  The first is the over the top instrumental opening covering its first three minutes – the overall feeling brings to mind a movie soundtrack – and the second six minutes of melodic power metal driven by stalwart riffs, lofty keyboards and just the right amount of splendor and pomp.

Copas dari http://www.angelicwarlord.com/reviews/r/reinxeed09.html

Tracklist:
01. Haunted Mansion (5:13)
02. Star Shine (4:24)
03. Magic Still Remains (3:30)
04. Dragonfly (4:57)
05. Higher (5:42)
06. Always Be There (4:02)
07. Reality (5:07)
08. Light Of The World (4:31)
09. Fantasia (4:19)
10. Heaven (9:02)





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Reinxeed - The Light (2008)

Reinxeed - The Light

ReinXeed is the musical creation and vision of a multi-talented musician out of Sweden by the name of Tommy Johansson.  Getting his start as a guitarist at age 9 and taking up singing upon reaching 15, Tommy spent several years in music school – where he polished his skills by also learning piano, drums, bass and flute – before conceiving the idea of a “movie soundtrack mixed with melodic power metal”.  Hence, ReinXeed was born.  Tommy proceeded to put together his own studio where he recorded several new songs he eventually added to his MySpace page.  Drummer Eskilsson (Majestic Vanguard), impressed with Tommy’s material, soon got him in touch with Christian Liljegren of Christian Music Sweden/Rivel Records.
The Light, the full length summer of 2008 CMS/Rivel Records debut of ReinXeed, can best be described as melodic power metal with the occasional epic or symphonic tendency.  Fans of Royal Hunt, Avantasia and Sonata Arctica will find a lot to like here as will those into Theocracy, Narnia, Essence Of Sorrow and Majestic Vanguard.  Up-tempo numbers such as “The Light” (as fast a song as you will find), melodic based “Great Hall Of ReinXeed” and keyboard driven “Eternity” are as good as it gets.  Of equal merit are more progressive based pieces “Northern Sky” and “Kingdom Fall” along with the shredding instrumental “Heavenly Fire”.
It must be noted, however, that The Light includes several filler tracks - “End Of This Journey”, “Magic Might” and “Shyrheny” come to mind – resulting in a project on the inconsistent side of things.  “Legacy”, while a step above filler category, is better but suffers from the albums shortcomings in the area of production (more on this later).  All in all, my overall feeling is that The Light presents with too many contrasts of quality, reflected in the significant gulf between its better material and that which strains towards the pedestrian.  Again, a bit more consistency is needed here.
The Light finds Tommy Johansson taking on a “one man project role” in that he handles lead vocal duties in addition to rhythm and lead guitar, bass and keyboards.  Jani Stefanovic (Divinefire & Essence Of Sorrow) fills in on drums while also co-producing the project.  Tommy brings a wonderful melodic based voice hinting at Matt Smith (Theocracy) but with more of a hi-end feel.  If anything, the guy can flat out sing like a bird; if in doubt then check out the abundant range he exhibits on “Kingdom Fall” and “Great Hall Of ReinXeed”.  He proves equally able on lead guitar, best displaying his soloing abilities on “Northern Sky”, “The Light” and “Heavenly Fire”.   
Keyboards are also capably done but almost to a fault in that they end up laid on way too thick.  The outcome is that the rhythm guitar is often drowned out, one of the main symptoms of a mix that is out of balance: on most tracks, for instance, all you hear is a blend of keyboards and drums with a hint of guitar in the backdrop.  And when the rhythm guitar is not able to make its presence felt (as it should), you cannot help but ask yourself- is this even metal in the first place?  Production values could use some improving.
Lyrically, what we have in The Light is another epic fantasy/science fiction based concept album.  The key word is “another” in that in recent years Pyramaze (Legend Of The Bone Carver) and Seventh Avenue (Terium) have also produced fantasy/science fiction themed projects.  Unlike the previously referenced works, however, The Light does not quite deliver the musical character to back the storyline- with the aftermath being an atmosphere bordering on the corny.  I hate to be critical, but when you bring a concept based around “good and evil, where greed and power are united to conquer both sides into one dark place” (taken from the albums liner notes) then, songwriting wise, you had also better bring a certain element of musical consistency and depth, which is not always found here.   To understand my point, would Blind Guardian’s Nightfall In Middle Earth generate the creditability it has if you ended up hitting the skip button three or four times?
The album opens to its title track, an up-tempo number almost setting a frenetic, speed metal-like pace.  Hi-octane from the get-go, “The Light” storms ahead to a withering hail of rapid double bass only to smooth out for its verse portions.  The unrelenting environs returns, however, for a mercurial chorus in which Johansson exhibits the full range to his voice.  A complementary extensive instrumental section rounds out one the better pieces here.
“Great Hall Of ReinXeed” slows things down a bit – at least in comparison to “The Light” – but still sets quite the breakneck clip.  Standing out with its sublime – almost epic – feel, the song plows forward relentlessly, not culminating until reaching a chorus on the deep and resounding side of things.  Guitar and keyboard solos uphold another lengthy instrumental section.
“Eternity” is a keyboard based piece that approaches the mirthful with its bouncing, almost quirkily driven rhythm.  Please note I say this in a positive sense in that the song proves quite enjoyable, joining passage that border on the “folk-like” in capacity with others heading in the groups trademark melodic power metal direction.  Whatever you call it, it works in that “Eternity” features quite the moving melody and several air instrumental sections (one which is upheld its length by a piano).
“Northern Sky” ranks with the more progressive numbers on The Light.  The song almost starts in the form of a semi-ballad with its melding of piano and emotionally played guitar.  Soon picking up in pace to a galloping riff, “Northern Sky” maneuvers its way ahead in compelling fashion only to culminate for a stately chorus in which a near palatial setting is put into place.  I enjoy how “Northern Sky” – following a bristling guitar driven instrumental section – tapers to a near standstill for a quieter, keyboard based passage.
“End Of This Journey” proves somewhat of a letdown when considering the quality of the material preceding it.  Lacking that big “Theocracy-style” hook, the song almost comes across pedestrian in failing to deliver – in my opinion – that extra element of charisma and inspiration that would allow it to hold up under repeated play.  I can see how others might get into it – “End Of This Journey” does bring a resounding, choir-like chorus – but more often than not I tend to pass.
“Legacy” is better but still comes as a disappointment.  Musically, it brings the stronger melody and moves at the faster tempo but a too forward mix of keyboards – particularly during its chorus and portions of its instrumental section – can present a turnoff.  Don’t get me wrong, there is a lot to like on “Legacy” (it is by no means filler and is actually quite catchy) but it represents one of several songs that would benefit from a more balanced mix of rhythm guitar and keyboards.
“Magic Might” and “Shyrheny” are two more compositions I struggle to get into.  Neither gives us that abundant hook or melody that might immediately grab my attention- let alone keep me coming back time and again.  If anything, the two – while certainly in line with the musical backdrop to The Light – are a bit too plain sounding for my taste (kind of like “End Of This Journey”) in not providing that extra creative spark that would put them over the top.
“Kingdom Fall”, in contrasts, stands out as by far the finest number by ReinXeed.  Ten minutes of inviting progressive metal, the song begins to a lengthy instrumental opening that transitions from cinematic keyboards to a galloping double bass driven riff.  “Kingdom Fall” proceeds to march ahead in a symphonic manner, flowing through its catchy chorus – predominant melody imbued here – and a lengthy instrumental section upheld by a refined blend of keyboards and skillfully done lead guitar.  Without a doubt this one displays the artists full potential.
Normally, I am not a fan of those shorter “filler” instrumentals bands often use to open and close an album.  The one exception, however, is “Heavenly Fire”, a shredding track in which Johansson showcases his full abilities on lead guitar.  The song, if anything, brings to mind many of the instrumental pieces on older Impellitteri albums such as “Eye Of The Hurricane” and “Crunch”- the mood and vibe is the same.  The only complaint is that it could have been a minute or two longer.
When ReinXeed hits the nail on the head - “The Light”, “Great Hall Of ReinXeed”, “Eternity”, “Northern Sky” & “Kingdom Fall” come to mind – it does not get much better.  The presence of a few too many filler track, on the other hand, in the end hold things back.  Production represents another area of improvement worth noting.  That said, Tommy Johansson proves a talented (and versatile) vocalist and musician.  The main advice to give the artist might be to hire a full time producer, an objective voice that would not hesitate to tap the artist on the shoulder and say, “You know, Tommy, you might want to consider adding a bit more rhythm guitar to the mix.  And while you are at it, back off a bit on the keyboards as well.”  In all seriousness, with added consistency in the songwriting department and a more balanced production, I can see ReinXeed being a force in the Christian metal scene for years to come.

copas from http://www.angelicwarlord.com/reviews/r/reinxeed08.html

Tracklist:
1. The Light     05:17
2. Legacy     04:28
3. Great Hall of ReinXeed     04:54
4. Magic Night     05:40
5. Eternity     04:36
6. Shyrheny     06:18
7. Northern Sky     04:51
8. Kingdom Fall     04:22
9. End of This Journey     10:15
10. Heavenly Fire     02:55

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Reinxeed - Majestic (2010)

Reinxeed - Majestic (2010)

It is easy to start a controversy when power metal is the topic of discussion.  Who among metal fans doesn’t have strong opinions about the genre?  From Euro style power metal (Seventh Avenue) to classic US power metal (Jacobs Dream) to melodic power metal (Magnitude 9) to epic power metal (Theocracy), there’s plenty to listen to and talk about.
The debate over the leading form of power metal will unlikely resolve itself soon in that each of its forms brings not only its unique strengths and qualities but top players as well.  That said, it is without a doubt that Europe has been at the forefront of the power metal movement in producing such well known acts as Helloween, Blind Guardian, Rhapsody Of Fire, Sonata Arctica and Stravovarius.
In terms of the European Christian power metal scene, Germany’s Seventh Avenue and Sweden’s Narnia are two of the more longstanding and better known acts.  Sweden is home to another top of the line group in Harmony while Divinefire features members from both Sweden and Finland.  Finland has produced its share of talent as well in HB, Sacrecy, Wingdom and Venia.
And this leads us to the one band from the region that has recently stepped it up several notches: ReinXeed.  Hailing from Sweden and the brainchild of multi-instrumentalist Tommy Johansson, ReinXeed has been quite the prolific act as of late in releasing its CMSweden/Rivel Records debut and sophomore efforts The Light and Higher in 2008 and 2009 respectively.  The group returns on Liljegren Records (same label but different name) in late 2010 with its third full length offering, Majestic.
Majestic finds ReinXeed staying true to its past by heading in melodic power metal territory but with epic and symphonic overtones.  The band actually describes itself as “adventure metal”.  What am I hearing?  Non-stop double bass drumming, high end vocals, cinematic overtures and plenty of shredding – at times neo-classically influenced – lead guitar work.
But how well does it add up?  In comparison to the bands previous efforts, Majestic proves the all around more consistent work from a songwriting standpoint in featuring no filler tracks and the stronger melodies and greater accessibility throughout.
If you enjoy your metal fast – and by that I mean approaching speed metal territory – then “Deep Under Sea”, “Invincible” and “Neverland” will appeal to you.  “My Paradise” maintains the tempestuous spirit but mixed with some neo-classical flavorings.  When ReinXeed slows the tempo, such as on “Never Lie”, “Once Upon A Time” and “Atlantis”, it proves its ability to compose a piece literally awash in melody.  The versatility of the group’s songwriting skills can be found in the progressiveness of the albums title track and lushly done ballad “Second Chance”.
Founding member Tommy Johansson continues to play a “jack of all trades” role in handling lead vocals, guitars, keyboards and orchestration.  One reviewer who described him as a “vocalist-guitarist-keyboardist-bassist-songwriter-just-about-everything-except-the-kitchen-sink” hit the nail on the head.
The artist maintains his penchant for clear and pristine vocals with a high end touch.  Specifically, Johansson proves adept at going for a high note without overdoing it, as can be found in the occasionally falsetto he imbues the project.  Fans of Ski (Faith Factor) Eli Prinsen (The Sacrificed) and Vett Roberts (Recon) will find his style much to their delight.
Liner notes credit three guitarists: Johansson, Calle Sundberg and Matt Machine.  I do not know who handles what – in terms of rhythm guitar and which solo on what song and when – but the guitar performance is quite impressive.  Those into speedy lead guitar playing with neo-classical influences are going to find a lot to like here.  Just check out the fleet soloing on “Deep Under Sea” and “Invincible” or the generous instrumental portions to “Melody Of Life” and “My Paradise” to find out what I am talking about.
It also must be noted the strength of the keyboard work, which – mixed with piano, choir vocals and strings – helps lend to the projects symphonic and cinematic aura.
Production represents a step forward in comparison to The Light and Higher.  In particular, ReinXeed has captured the rhythm guitar sound it has been looking for- gone are the extended passages in which all you can hear are keyboards and drums.  The only thing constructive to offer is that the bass could have played a bit more forward role in the mix.
Lyrics, similar to past ReinXeed projects, are based around epic high fantasy and medieval themes but mixed with faith based and spiritual imagery.  Unfortunately, lyrics did not come with the packaging so I am unable to comment on specifics.
Complaints are few and far between.  The group perhaps could have added an instrumental or epic in the ten minute range for a bit of variety but otherwise this is a solid work from the ground up.

Track By Track

“Deep Under Sea” fades in to cinematic keyboards prior to taking off at a near speed metal clip.  At that point we are off, as the song races its distance to rapid double bass in abundance and riffs of an expeditious variety.  Backing vocals step forward to interweave with its poignantly done chorus.  Destra comes to mind in the process.
‘Invincible” jump starts to an immediate burst of energy, plowing forward with a furious abandon that, again, approaches speed metal territory.  Johansson really stretches on this one – particularly for its energized chorus – in exhibiting the full range to his voice.  A classical feel is exhibited by the song during its extended instrumental stretch.
A plethora of melody is delivered on “Never Lie”.  The song tapers the pace – if even just slightly – in backing away from the unremitting pace of the previous two while placing emphasis on a huge background vocal driven chorus that would do Theocracy proud.  The music here is so positive you cannot help but walk away feeling encouraged.
The melody driven slant continues with “Once Upon A Time”.  The cinematic joining of keyboards and guitar at the start of the song give way to the persuasive riff that upholds its verses.  Evenly flowing to its catchy chorus, “Once Upon A Time” shines in that, once more, we are reminded of Theocracy.  By far the albums best track.
“Melody Of Life” returns things to an up-tempo direction.  The song represents quintessential ReinXeed, merging front to back galloping riffs and accenting keyboards with polished backing vocals in needed amounts.  But what puts things over the top is a lengthy instrumental excursion upheld by stretch of fast as it gets lead guitar.
“Atlantis” starts slowly to a grand and symphonic opening.  Abruptly kicking into high gear, the song storms its verses in high-octane fashion only to smoothly taper for an inviting chorus highlighting a near medieval flair.  Am I out of line to suggest a Rhapsody Of Fire comparison?
The albums lone ballad, “Second Chance”, is a heartfelt piece with its melodic guitar harmonies and underlining elements of piano.  Rhythm guitar is added to taste while topping things off are the bands larger than life backing vocals.  Put this on any Stryper album and it would sound right at home.
“My Paradise” brings some neo-classical elements.  What we have here is a song upheld by a frenetic tempo and non-stop double bass, the stalwart setting maintained for the raging onslaught that is its chorus.  A sweeping instrumental section backed by some well timed harpsichord hints at Impellitteri.
It does not get much faster than “Neverland”.  With its breakneck tempo and incessant urgings, the song invites comparison to another relentless power metal anthem: “Children Of The Light” by Sacred Warrior.  Initiative only tapers for a short orchestral interlude prior to the onset of its instrumental passage.
“Majestic”, the albums longest at 7:23, delivers a progressive based sound with time and tempo changes too numerous to go into adequate detail.  Overall, the song proves palatial in capacity with occasional medieval elements, as can be found in its sublime chorus backed by over the top vocal melodies (something I say in a positive sense).  This one hints somewhat at Blind Guardian.
The orchestral keyboards accenting “Lighting Strikes” help create a dramatic backdrop.  The song, otherwise, is of the high energy sorts with its focus on the driven and Johansson cutting loose with several well timed falsettos.
“Sword In Stone” closes things strongly.  A hook driven chorus and layers of tight guitar harmonies bring out the best in another solid number adding to the depth of what proves a consistent album from front to back.
I always knew that ReinXeed had a great album in them and such is what we have in Majestic.  Improvements in the areas of songwriting (enough quality and diversity to hold your attention) and production (again, the rhythm guitar gets the mix it deserves) will allow this to remain at the top of your play list for some time.  And much to our benefit, ReinXeed promises to remain active in that its fourth full length album is scheduled for release in 2011.  Looking forward to hearing more.

copas from http://www.angelicwarlord.com/reviews/r/reinxeed10.html

Tracklist:
01. Deep Under Sea (6:06)
02. Invincible (4:23)
03. Never Lie (4:23)
04. Once Upon A Time (6:04)
05. Melody Of Life (6:23)
06. Atlantis (4:57)
07. Second Chance (5:10)
08. My Paradise (6:04)
09. Neverland (4:35)
10. Majestic (7:21)
11. Lightning Strikes Again (6:22)
12. Sword In Stone (5:14)

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Reinxeed - 1912 (2011) Japanese Edition

Reinxeed - 1912 (2011) Japanese Edition

For the past year, ReinXeed has proven to be my constant companion in the world of power metal. After discovering their most excellent 2010 release Majestic, I hungered continuously for the foretold 2011 release from Tommy Johansson and company. Once I heard Majestic and really got a chance to compare it to the band's prior work, I realized what a pivotal album it was for the group, since it represents a real maturation in sound and talent. How then, would this continue on 1912?

Some will mark ReinXeed's brand of rapid-paced, icy symphonic power metal as forgettable, trite, and lacking "balls". If you're this close-minded, I'm just ignoring you. For the rest of us with a thirst for this sort of thing, 1912 sees ReinXeed picking up just where they left off on Majestic, albeit with a more serious tone and slightly changed sound. As you might deduce from the title and the album cover, this is a concept album of sorts about the Titanic fiasco of 1912, and the story of those passengers on board. This is an interesting theme coming from this band, and I'll admit that I was surprised. However, they handle it very proficiently while dropping a fair amount of the lyrical fluffiness observed on past albums.

Ok, so it's no Sonata Arctica, but the tone of much of this album is often similar: cold and supremely melodic, yet often very lyrically sober. While past albums have had something of a "distant" tone to them (as if the group were playing at the top of a mountain a few miles away), 1912 is a bit more clear. In general, this album boasts more orchestration than past efforts, but also sees a considerable improvement in layered vocals and choruses. Occasionally, another singer besides Johansson steps briefly into the spotlight, and while these bits take a step back towards the youthful sound we've seen on previous releases, it adds interest. Johansson has one of those very smooth voices that, if singing an extended section without too many ups and downs, might lead people to nod off a bit. I don't mean to come off poorly here though, since he really belts out some excellent leads on this album, and it is his best vocal performance yet.
Reinxeed - 1912 (2011)
In general, 1912 is a bit less immediately gripping than past efforts, but it grows on you like no one's business. The general exception to this is "The Voyage", which I feel is the best song that the band has ever composed, and I absolutely cannot get enough of it. Otherwise, the album follows a churning, frigid course from boarding the ship to the aftermath of its collision with the infamous iceberg (other excellent songs include "We Must Go Faster" and the title track). Even listening casually, it's very easy to follow the story arc and the sequence of events. The trade-off, then, is less immediate accessibility and the need to listen to the tracks consecutively in order for everything to make sense in exchange for a stronger and mature album as a whole, and one that offers a fulfilling listen from beginning to end. A minor note here: the band seems to occasionally reference its own previous work both melodically and lyrically on this release, as evidenced in both "Challenge The Storm" (see "Deep Under Sea") and "Spirit Lives On" (try "Forever Carry On").
I'm surprised, really, by how thoroughly this album shakes off any number of stereotypes about power metal. Sure, it's light and the vocals are sometimes through the roof, but it's also very tight and precise, with great guitar work, excellent orchestral hits, and very strong choral sections. With this release, the band has also shed the "flower metal" label as well, so what's left and where do we place ReinXeed? At this point, they're a bit in a class of their own, since I cannot think of many bands at all that carry a similar sound with this kind of proficiency. Bowing once again before their technical expertise and tried-and-true formula, I doff my cap to ReinXeed and proclaim 1912 as one of the best experiences of symphonic power metal in 2011.

Original review written for Black Wind Metal

Tracklist:
01. 1912
02. The Final Hour
03. Terror Has Begun
04. Spirit Lives On
05. Through The Fire
06. The Fall Of Man
07. The Voyage
08. We Must Go Faster
09. Challenge The Storm
10. Reach For The Sky
11. Farewell
12. Lost At Sea
13. ReinXeed Alliance [Japanese bonus]
14. Aces High [Japanese bonus]
15. Pray For Japan [Japanese bonus]

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ReinXeed - Welcome to The Theater (2012) Japanese Edition

ReinXeed - Welcome to The Theater (2012)

Sweden’s ReinXeed remains one of the more productive bands within the power metal scene, having released five full length albums in as many years.  The group made significant musical steps and strides over its first three - The Light (2008), Higher (2009) and Majestic (2010) - prior to coming into its own on the fourth, 1912 (2011).  What set 1912 apart is how it (as described in the 85% Angelic Warlord review) “takes things to the next level in terms of songwriting, performance and production” while (featuring) “perhaps the strongest collection of songs ever from ReinXeed” and “standout melodies that almost come across Theocracy-like in capacity”.
Welcome To The Theater, the fifth ReinXeed album from the spring of 2012, maintains the group’s penchant for bombastic melodic power metal fused with elements of the epic and symphonic.  Enticed by non-stop double bass, mercurial riffs, shredding lead guitar, instrumental excursions galore and high end vocals?  Then you will not be disappointed in ReinXeed!
Helping to define Welcome To The Theater is the manner in which it uses cinematic keyboards and orchestral overtures.  Which is not surprising considering that Welcome To The Theater stays true to its namesake as a concept album revolving around movie soundtrack themes.  In terms of specifics, each song is about a movie while incorporating musical references and lyrical hints from the film in question.  No, I will not provide a spoiler mentioning specific movies covered but they are of the blockbuster action variety (think Jurassic Park, The Patriot, Spider Man, etc).
The stronger Welcome To The Theater material showcases the same quality that made 1912 such a standout release.  Repeated play reveals Welcome To The Theater to feature six songs that both rank with the groups best and successfully capturing the feel of Hollywood at the same time.
Long term fans know that ReinXeed can set a relentless tempo and such is the case with speed metal romps “Life Will Find A Way” (impelled by front to back galloping riffs) and “Somewhere In Time” (with its non-stop impetus and double bass).  What stands out about the two is how they do not sacrifice melody for the speed therein.  The same can be said for “Follow Me” (taking a classic melodic metal based approach) and “Freedom” (with its enticing progressiveness).
When ReinXeed slows the pace - at least somewhat! – it maintains the same caliber of songwriting.  Best exemplifying this are mid-paced pieces “Stranger Tides” (as a result of its brilliant baritone refrain) and “No Fate” (almost playing up a medieval touch).
The quality, unfortunately, drops off with the albums remaining material.  “Save Us”, featuring a vocal trade off between founding member Tommy ReinXeed and Frida Viberg, falls a bit flat (aside to the weakness of the chorus, female vocals do not seem to fit the ReinXeed sound).  Likewise, “Temple Of The Crystal Skulls” and “Welcome To The Theater” are lacking- at least to my ears.  The problem revolves around how the two almost come across “forced” in their attempt to adhere to the albums cinematic soundtrack approach.
Tommy ReinXeed continues to bring his trademark pristine and pure high end vocal style.  One cannot help but appreciate how he can go for a falsetto-like high note without overdoing it in the process.  This type of maturity allows for comparison to contemporaries such as Lance King, Ski (Faith Factor) and Eli Prinsen (The Sacrificed, Sacred Warrior).
He also forms a top shelf guitar team with Calle Sunderg. I do not know who handles what solo on which song but the results are impressive in lending an overall neo-classical vibe.  Plenty of blazing leads licks and chops make their presence felt along with harmonies and melodies in abundance- as can be found throughout the albums numerous instrumental excursions.
Production is on the same level of 1912 with its near perfect joining of refined keyboards and rhythm guitar in just the right amount.
When at the top of its game, ReinXeed ranks alongside anyone in the melodic power metal genre (note the previous Theocracy reference).  The problem, however, is that Welcome To The Theater, similar to 1912, is somewhat inconsistent.  My review of 1912 noted how the group might be overextending itself in the productivity department with the end result a filler track or song on the average side of things slipping through the cracks.  And such is the case here.  Consider that songwriting Tommy ReinXeed has come up with 54 songs in just five years- and that does not account for his work in his other band Golden Resurrection.
So perhaps a much needed break or change of pace is in order.  Hence, I close with the same advise to the group offered in the 1912 review: And that is to “wait several years before putting out the next ReinXeed album in order to give yourself the time to come up with 10 to 11 great songs (in the same manner that Theocracy did between Mirror Of Souls and As The World Bleeds).”  I know that ReinXeed has a great album in the 90% to 95% range in them- let’s hope they take the time to come up with enough quality material to reach said goal.

copas dari http://www.angelicwarlord.com/reviews/r/reinxeed12.html

Tracklist:
1. Welcome (Intro)
2. Life Will Find A Way
3. Follow Me
4. Save Us
5. Stranger Tides
6. Somewhere In Time
7. Freedom
8. No Fate
9. Temple Of The Crystal Skulls
10. Welcome To The Theater

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