Written by vocalist Hansi Kursch and guitarist Andre Olbrich, power metal wizards and newly anointed holders of the flames of The Dark Lands, Blind Guardian has released a new song today along with a lyric video. Earlier this year, the band explained that they had been interested in releasing an orchestral album since they had started using those same elements in their metal albums, so sometime in the 1990’s. Of course, the idea simmered, and only recently has work on the concept reached full fruition.
In fact, since 1998’s Nightfall in Middle Earth, (though not starting at that album) Blind Guardian has continuously grown the orchestral aspects of their albums. 2002’s Night at the Opera featured “And Then There was Silence”, a 14 minute long behemoth of various heavy and orchestral instruments played together and separately while backing Hansi’s extensive vocals. While 2006’s A Twist in the Myth featured less of the orchestral instruments, 2010’s At the Edge of Time and 2015’s Beyond the Red Mirror featured more prominent use of the movie-like scores, featuring timpani’s, bells, strings, and the like alongside traditional heavy metal instruments such as guitar, drums, and bass.
The upcoming record Legacy of the Dark Lands seeks to use an orchestra solely to its full potential alongside Hansi’s epic vocals. And together, with the grandeur of each song, the album features an original concept which serves as the musical sequel to Die Dunklen Lande, a novel by German author Markus Heitz.
The album, Legacy of the Dark Lands, will be released on November 1st of this year.
Releases from bands such as Twilight Force, Freedom Call, Rhapsody of Fire, Avantasia, Hammerfall, and Sabaton might overshadow the release of Ancient Empire’s 2019 album Wings of the Fallen, but make no mistake, this is power metal at its finest. The chugging flight of riffs, fiery rhythms and epic guitar and vocal harmonies spread the entirety of the album like a nice layer of . Even after the first listen, the music keeps getting better.
The long dark is a quietly brutal and hellish game of survival. Abandoned towns, sparse farmland, and the withering trees of an unending winter dot the landscape. The ever-present danger of the wolves and bears of a harsh Canadian frostbite never really relinquish, and you’re continuously forced to scavenge for stale food and toilet water, wood for fires, medicine for treating wounds and illnesses, weapons to fend off the creatures of the land, and any other items that could increase your chances of survival in a town long-since abandoned.
What I really wanted to talk about, though, is the games music. While the soundtrack complements the games empty, yet engaging atmosphere, featuring the occasional lone electric guitar as you trudge across the barren white desert alongside occasional ominous strings indicating nearby danger, there’s another music artist in particular that would go really well with the game’s atmosphere.
Dan Caine writes music from the most inward depths of our emotional conscious. The music may be simplistic and lonely in nature, but the ambiance and gradual growth to each song creates the atmosphere to develop a slower, more mindful approach to thinking about one’s worldview. It’s like sitting by a river and putting your feet in the water. Just as the river changes constantly by its flow, your feet feel different as the water courses through your toes and adjusts to the water’s cold touch.
Music in video games tend not to follow a strict adherence to the genre or form of music they are trying to emulate, especially in video games with a real life cultural background. For instance, games like Skyrim use a more streamlined ambiance in each piece to have a surrounding atmosphere rather than making the music the focal point of the game itself. Although they use instruments from viking cultures and the landscape is that of Scandinavian cliffs and mountains, the music presents a welcoming warmth into the world itself, a place to get lost in rather than stomped on.
It’s usually better when a game’s music score follows the art, feelings, and mechanics of the game rather than try to take the forefront as a cultural standalone. Great video game scores accomplish both. However, I would rather listen to the ancient Nordic choirs with orchestral strings and clanging drums when fighting a dragon than listen to a soft Tagelharpa or Lyre in the midst of a fire-breathing dragon fight. The former music fuels the tension of the fight based on the need for it, not the want, which is exactly how the music should work.
Star Wars Score and Standalone Music
Imagine watching the lightsaber duel between Anakin and Obi-Wan in Star Wars Episode III without the music. It loses its tension and grandiosity. Besides a few short cut-scenes for dialogue, the entire battle becomes a mish-mash of random grunts, lightsaber hits, and one force duel. Whether or not the force duel keeps its airy vibrations as the two force users try to knock the other down, it still wouldn’t have the same impact emotionally without the music.
One of the main reasons why music that stands alone is so effective is because it uses the creation and release of tension through sound to grab your attention throughout each part of the song. “Hotel California” wouldn’t sound the same without the Spanish flavored guitars, the single singer during the verse and then a harmony of singers during the chorus. Having a song feel monotone throughout its playback loses a song’s disheveled catchiness, wherein a song has different melodies, parts, and possibly key changes that both disrupt your listening experience and enhance it.
Progressive rock bands, which are a topic for another essay, are great at creating changes for the listening experience. It’s sort of like taking a vacation on a beach, closing your eyes and relaxing, then being transported to a medieval army where you have to fight an enemy with swords or think your way through a mental maze. Of course, you may eventually go back to the beach setting, but the building of the song creates a better experience than the lack of a build-up and remaining stuck on the beach.
Total War: Shogun 2
This brings me back to the soundtrack for Total War: Shogun 2. A well-placed composition within the heat of battle, just like the soundtrack for Rome: Total War, helps create and elevate the atmosphere in which it resides. Total War: Shogun 2 has a more unique identity that can stand on its own as opposed to Rome: Total War, which was innovative for its time, but had the usual medieval battles of most strategy games in 2004, beyond its mixture of turn-based campaigns and real-time battles. The use of samurai duels not just on a scale the size of an army, but also being able to zoom in to each samurai’s individual duel creates a unique perspective in the realm of gaming, where the player can see both the strategy and the blood shed for the victory of the clan.
When the main theme to a game opens up with a delicate series of strings and wind instruments, followed quickly by a big blast in sound by both drums and strings, then enters into a fast-paced samurai duel of a song, the music develops a whole new layer as the rest of the soundtrack plays during each piece of the gameplay.
Total War: Shogun 2’s opening song manages to accomplish the above and also sets the tone for the rest of the game. For a culture known greatly for peace, tea, and religions based on individuality, there has always been a time, like other cultures, where war went on for hundreds of years, with intermediary times of peace, and then more war to define the ruler, or in Shogun 2’s case, the shogunate. The music reflects both the peace of Japanese culture and the war-climate during the time period as well, specifically because it’s a video game, but also because it fits the paradigm of Japanese samurai, bowmen, and the taking of the title of shogun of Japan.
And that’s where music should take you. It should place an image in your head, whether it’s from the game or simply from the time or place it’s trying to depict. There’s a certain atmosphere created from Shogun 2, namely being that of a Japanese tea-drinking general leading an army of well-trained swordsmen into bloody battle and dusty death. Shouldn’t the music both create and enhance the atmosphere?
The slow, deep and brooding horns of Rome: Total War that play shortly before the loading screen segues into the start menu is one of the best ways to introduce a player to a video-game focusing on the conquest of Europe, the Middle East, and North Africa during the late BC era. Of course, the intro showing the nowadays poorly rendered preview of the real-time battles is equally as inviting and stirring for the war generals in us all, but the real fun begins when you finally get to choose your first of three Roman factions (Julii, Brutii, Scipii) and enter into the immersive conquest mode.
And then the song for the loading screen before starting the campaign enters. Another slow and mystical entry of sound, with bells, big drums, and heavy-end stringed instruments plays together, an imitation of the slowl turn-based commencements of diplomacy and trade coupled with the intense excitements of real-time battle awaiting us players shortly after the wars really begin.
Wintersun’s third album The Forest Seasons was released July 21st, 2017 after a five year lull in time from when Time I was released. Given the expectation that Time II would be released instead, concept album The Forest Seasons is musically a change of direction for the band, although it still retains the orchestrations from their previous album. The album goes through each of the four seasons, bringing a musical mood and theme to each one. The Forest Seasons also has a vastly improved organic sound when it comes to mixing orchestrations right beside and underneath the layers of droning guitar riffs, artificial drums (which still fit the nature of the album), tight bass lines and vocals that range from heroic to terrifying and include an ensemble of singers on “The Forest That Weeps (Summer)”.
After 43 years of traveling through space at the speed of light, the crew and I aboard the SS ‘Boston’ have finally reached our destination; a brand new planet for humanity to colonize. Along the way, we each brought some of our favorite records to listen to. I decided to bring Boston’s self-titled debut, and with all the out-of-this-world noises that songwriter Tom Scholz strings along on guitar with the soothing and conversely epic melodies and harmonies of singer Brad Delp, I couldn’t have made a better choice.
The spaceship finally touched down on the planet about ten minutes ago. A brief amount of turbulence and we could finally have some Peace of Mind. I keep constantly wondering at what we’ll find on this new planet. A semi-intelligent extraterrestrial species? New lifeforms? What new challenges we’ll encounter? As I can see, the planet is rich with lush green forestry, a gorgeous blue sky, scattered clouds and a whole lot of room for human colonization. Maybe we could finally build our sky structures, arrow-shaped objects that point and expand upwards for gravitational and life-support purposes.