ALBUM REVIEW: On A Moonlit Night – Vandor
It’s not an easy feat to put the power into power metal. Every single element has to slot together just to where it’s not over the top beyond recompense, and yet not too understated so as to lose the thrill, fun, and fantasy that inspires the listener. Tone and delivery are absolutely key to making a great and standout power metal record, as is construction, and Swedish quartet VANDOR nearly stick the landing on creating a great one with On A Moonlit Night. However, the elements that fall short are unfortunately among the most important. But all is not lost, as this is still a solid and very entertaining record with a tantalizing glimpse of a band that, with a tune up, could deliver an epic record in the near future.
From the lilting harp and sounds of a storm, the intro track Darkness Looms slides right into Mountains Of Avagale, and immediately something feels a bit off. The drums sound a bit sterile, even for power metal, but this is an issue that fades as the record progresses. It’s the voice of lead vocalist and guitarist Vide Bjerde that remains the biggest sticking point of the record. It’s not so much a matter of range, which is absolutely there, as it is a matter of tone.
Bjerde‘s voice just doesn’t have the sustain or the punch that some of his contemporaries do, and though he delivers some good performances and hits some stellar highs, his voice just doesn’t stand out and deliver the extra push needed to move a power metal song from solidly good, to truly excellent and goosebump-inducing. This song in particular is not one of the stronger songs on the record, but the transition points between verse and chorus are strong, as is the prominent synth tones on this song and on the rest of the record, which pull from power metal classics of the 90s and call to mind early NIGHTWISH.
These synths lead off the next track River Of Life, which is really when it sinks in just how great the guitars sound on this record. Bjerde and Jack L. Stroem sound fantastic. The tone is crisp and clear, with great construction on the harmonisation and just the right amount of reverb for that iconic vibe. Even the vocal harmonies are well put together, but the individual voice also doesn’t make much of an impact on this track. But then the record jumps to a new level for the rest of its runtime. The vocals never quite get to where they need to, but that doesn’t stop Bjerde from doing his absolute damnedest to get there over the top of a band that is seriously flying at 100 miles per hour from here on in.
Endless Sea feels totally classic, with its guitar and synth tone again recalling the classic bands of the 90s. The vocal and instrumental melodies are the hookiest yet and may be the highlight of the record. There’s a much appreciated orchestral break after the second chorus, and the kick ins sound massive. It’s a wall of guitars and drums crashing in in the most triumphant fashion. The song construction is certainly not something VANDOR needs any help with; they’ve got it down. Future To Behold is a ballad that really highlights Bjerde‘s voice, which actually excels in the plaintive nature of the track. A ringing clean guitar tone further complements it, and though he could go farther, this song has good bones both vocally and instrumentally. And there are some absolutely soaring harmonies that shine like Sirius on this one as well.
As for Fate of Eltoria, it’s pure DRAGONFORCE fury. The galloping drums, the speed and layout of the song, the guitar work… it’s pure DRAGONFORCE inspiration. But that takes nothing away from the spin that VANDOR put on this one. And good on Bjerde, this is his best vocal performance of the entire record. He is right on the doorstep to reaching that next level here. This is a pleasing, hooky, and inspiring track. It’s everything power metal should be, with that extra little fun of having a band tell a story about a fantasy world of their own.
Then comes the epic The Sword To End All Wars. At 17 and a half minutes, it’s evident there’s a long tale about to be spun. And all credit to VANDOR, they spin it well and the track is consistently engaging for the majority of its run time. The guitars remain excellent, with harmonies again being a standout element. There’s vocal variety in rising highs and contemplative quiet moments where Bjerde shows how his tone sounds like an old tome before exploding into a triumphant crash before the first keyboard interlude. Triumph is the word of this song in particular, as its tale of a chosen prince feels ever evolving; rising and falling like a roller coaster. Around the 12 minute mark is where things start to slow down and get a bit more tedious, especially when the band starts to pull in more prog elements and construction. But as the song ends with its chanting chorus, it really feels like the band delivered a very well thought out and nicely executed epic track. That sadly makes final track On A Moonlit Night, a soft campfire ballad layered with guitar and synth, feel a bit tacked on and unnecessary. It’s a nice comedown, but doesn’t end the record as strongly as the previous track would have.
Taking all this into account, VANDOR are right on the cusp of delivering one powerhouse of a record. If the lead vocals can get tuned up and practiced with an emphasis on power and sustain, then all the pieces will be in place to absolutely crush it on the next record. But On A Moonlit Night is a solid bit of work with excellent instrumental performances and construction that obviously tells of a band who knows what makes power metal special and endearing for so many. They are this close to delivering on all counts, but this record is a valiant attempt and more than worth a listen.
Rating: 7/10
On A Moonlit Night is out now via Scarlet Records.
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