(Power Metal) [CD] Sonata Arctica - Pariah's Child (Limited Digibook) - 2014, FLAC (image+.cue), lossless

The wolf on the cover artwork and the first single might have been quite reassuring for all those who kept whining about what SONATA ARCTICA have delivered in the last couple of albums, especially after what I consider to be their most controversial release: “Stones Grow Her Name”. Well, before you start jubilating about a come-back to the spellbinding ecliptic heyday, I recommend you stop reading at this point and don't bother listening to the album if you recognize yourself in what I've just mentioned.

It is "the album that should have been done after “Reckoning Night” besides “Unia”". Such were the words of the wolf-like frontman whose voice, image and presence remain thrillingly-unmatched. I have to second what Tony said here. “Pariah's Child” indeed belongs in the pre-“Days of Grays” era. You can definitely hear less experimenting-for-the-heck-of-it and (fortunately) less of the "Shitload of Money" clichés that diminished the previous album's appeal to their fans. Yet this album still showcases the band's deviation from anything repetitive towards new arctic horizons while still sounding perfectly like themselves. More quintessential Power Metal elements are present on this record, reminiscent of their older sound indeed. The lyrical themes are mostly tongue-in-cheek, almost cheesy, such as "they make ‘em big and blue" rather than the more solemn stuff like "Blank File" / "Weballergy" and their prospective foreshadowing about Social Media or heartbreak over Dana O'hara's departure.

"The Wolves Die Young" launches the album and it is arguably the most typical SONATA ARCTICA track here. Ever since its release, it has been an instant hook for me. You'd easily find yourself humming that light-hearted chorus when no one's around. "Running Lights" is supposed to be a tribute to Lou Reed. This is actually one of the most solid songs on this album and Henrik Klingenberg's keyboards greatly contributed to its older days' reminiscence. "Take One Breath" is where he also displayed a really neat piano work which turned out to be one of the best highlights of the album. A lyric video of "Cloud Factory" has been released recently and most feedback poked fun at the cheesy lyrics. I find this track immensely amusing and the latter half of it never failed to put a wide silly smile on my face as I sing along those hilarious lyrics. "Blood" is more on the heavier side, especially when it comes to Tony's vocals and the crunchy riffs. The intro keyboards here were played by Kakko.

When you least expect any surprises, "What Did You Do in the War, Dad?" briskly alters the mood. It's where the whole thing gets compellingly-emotional and you'll find yourself instantly humming along again. "Half a Marathon Man" is another mood-shifting song, rooted in a rather Classic Rock style and it has even some gospels. It's followed by "X Marks the Spot" which turned out to be one of the best songs the band has ever written, absolutely my favorite in this album. Just wait till you hear it!

The album wraps up in beauty with the mellow ballad "Love" that belongs with "Tallulah" and "Shy" and finally the epic "Larger Than Life" that ranges from "Bohemian Rhapsody" to a Scaretale-like NIGHTWISH-y feeling with its prominent symphonic arrangements.

As I said, if you came here looking for breakneck Power Metal tempos, emotional tantrum and an early 2000s revival, you came to the wrong place. Still, I think this album if far more "approachable" than its predecessor in this respect.

Review written by Tuoksu Holopainen for www.metal-temple.com

Tony Kakko - Keyboards, Vocals
Tommy Portimo - Drums
Pasi Kauppinen - Bass
Elias Viljanen - Guitars
Henrik Klingenberg - Keyboards