Timo Tolkki’s Avalon: The Enigma Birth-2021.

Timo Tolkki’s Avalon:Symphony Power Metal from Finland.

Discography:

Enshrined in My MemorySingle2013 
A World Without UsSingle2013 
The Land of New HopeFull-length2013
Design the CenturySingle2014 
Angels of the ApocalypseFull-length2014
Return to EdenFull-length2019
The Enigma BirthFull-length2021

Members:

Timo TolkkiGuitars, Bass (2012-?)
See also: Ring of FireTimo Tolkki, ex-Allen – Lande, ex-Revolution Renaissance, ex-Symfonia, ex-Chaos Magic, ex-Stratovarius, ex-Road Block, ex-Timo Tolkki’s Infinite Visions

Past Members:

Tuomo LassilaDrums (2013-2014)
See also: Timo TolkkiConquest, ex-Stratovarius, ex-Chrism, ex-Black Water
Antti IkonenKeyboards (2013-2014)
See also: Timo Tolkki, ex-Stratovarius, ex-Cartes Art Machine, ex-Juhlavammat

Line Up:

Timo TolkkiGuitars
Andrea ArcangeliBass
Marco LazzariniDrums
Antonio AgateKeyboards, Orchestrations
Guest/Session
Federico MaraucciGuitars
Aldo LonobileGuitars
PelleKVocals (track 1)
Caterina NixVocals (female) (tracks 2, 3)
Brittney HayesVocals (female) (tracks 3, 10)
Raphael MendesVocals (tracks 4, 8)
James LaBrieVocals (track 5)
Jake EVocals (tracks 6, 10)
Marina La TorracaVocals (female) (tracks 7, 11)
Fabio LioneVocals (tracks 9, 12)
Miscellaneous staff
Aldo LonobileRecording, Mixing, Producer
Federico PennazzatoRecording, Mixing, Mastering
Stan-W DeckerArtwork
Andrea ArcangeliRecording
Federico MaraucciRecording
Cataldo LonobileRecording

One thought on “Timo Tolkki’s Avalon: The Enigma Birth-2021.

  1. hells_unicorn, June 18th, 2021
    Written based on this version: 2021, CD, Frontiers Records

    There is definitely strength in numbers; as if the ongoing success of Tobias Sammet’s Avantasia and the wide array of super groups flowing out of the floodgates of Frontiers Records was not enough of an indication of that. Following his exodus from the band that was his vehicle for helping to usher in the second wave of power metal, ex-Stratovarius guitarist Timo Tolkki has made this the guiding philosophy of his subsequent ventures, his latest one in Timo Tolkki’s Avalon being arguably the most consistent and successful of the bunch. Though even this project has been subject to a certain level of ebb and flow in quality of output since its 2012 inception, things have been going quite well since the release of 2019’s Return To Eden, drawing more directly from the heyday of Timo’s former glory just prior to the 2000s with Stratovarius, and the follow up to said success dubbed The Enigma Birth, the fourth LP under the Avalon name continues this formula to masterful results.

    It almost goes without saying that the partnership that Timo currently shares with Frontiers Records was fated to occur when looking at how similar his trajectory as a creator has been to that of Magnus Karlsson. Perhaps the chief different separating these two virtuoso guitarists and symphonic arrangers is that Timo’s approach is a bit more nostalgic and gradual in its approach, while Magnus’ massive sounding sampled orchestrations have more of a modern bombast to them that is highly impressive but perhaps a bit less dynamic from one song to the next. On the other hand, Tolkki’s continual adherence to the speed metal roots of his signature style gives this particular album far more of an old school metallic character, often paralleling the triumphant fury of material heard back in Episode and Visions when the tempo is kicked up. To that end, this is probably the closest thing to a late 90s power metal offering to come out of the Frontiers catalog.

    While the stylistic nature of this album should be familiar to anyone even mildly familiar with power metal, the assembly of vocalists tapped to bring these songs to the finish line includes a few surprises. Things begin in standard fashion with a driving speed-infused powerhouse with the title anthem “Enigma Birth”, featuring frequent power metal cover artist and ex-Damnation Angels front man PelleK, who turns in a high flying performance that comes the closest to channeling Timo Koltipelto of anything heard on here. But from here on in the picture gets a bit more stylistically nuanced, as more symphonic-tinged offerings set to a slower pace such as the 80s rock infused banger “I Just Collapse” and the beautifully symphonic-tinged power ballad “Memories” (that little harp part during the intro and outro segments is just haunting) feature stellar showings by Chaos Magic singer Caterina Nix and Unleash The Archers’ own Brittney Slayes, rivaled fairly closely by the more standard pop-like balladry with a Within Temptation-like twist turned in by Phantom Elite vocalist Marina La Torraca.

    Generally speaking, the further into things this album goes, the more intriguing the vocal performances accompanying Tolkki’s dense arrangements and six-string wizardry, with those elements themselves adapting accordingly. The keyboard-infused yet driving power anthem “Master Of Hell” bringing in a masterful performance by noted Bruce Dickinson doppelganger and internet sensation Raphael Mendes, who also can’t help but also bring an unsubtle “What if Bruce sang for Stratovarius” scenario to the equally strong “Beauty And War”. On the slightly more rhythmically involved and progressive side of the coin, appropriately enough, is a chunky groove anthem in “Beautfiul Lie” featuring Dream Theater helmsman James Labrie himself, to speak nothing for the power metal splendor with an epic flavor delivered by Fabio Lione on “Dreaming” and the cruising speeder “Without Fear”, both pretty overt throwbacks to the late 90s Stratovarius days. One would also be remiss to gloss over the solid and soulful showing by former Amaranthe vocalist Jake E on the bass-heavy banger “Truth”.

    On the whole, this is just a slight smidgeon of a tinge below the massive undertaking that was the preceding chapter in the ongoing Avalon saga, but others should absolutely feel free to disagree with that notion given all of the highly proficient vocal entries found on here. The beauty in this varied vocalist mode of metal is that, much like the original conceptual template offered up by Avantasia’s The Metal Opera a little over 20 years ago, it adds yet another dimension to an already elaborate and exciting art form. For an album that isn’t that much of a stylistic enigma, it nevertheless provides an assortment of anthems so fun and varied that frequent replays are a virtual certainty. Whether one be an old school Stratovarius fan who is getting a bit impatient in the 6 years of studio silence said band has been basking in, or someone generally amenable to the outpouring of albums in this format courtesy of Frontiers Records, this is definitely an album not to be missed.

    Originally written for Sonic Perspectives (www.sonicperspectives.com)

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