Review by Stephen Pedicino
I’ve always believed that Italy’s exports never garnered enough attention from the metal scene. After Rhapsody and Lacuna Coil, there aren’t that many Italian bands that get substantial publicity. Eldritch have been releasing albums since 1995 but are still unknown by many fans of progressive and power metal. Musically, they made a drastic change around the turn of the millennium, but should be known for putting out three solid progressive metal albums in the nineties. Lately they’ve re-released their earlier works with a better production, so hopefully THESE albums will get more exposure instead of the modernized sound they’ve been producing for the past 6 years.
El Nino begins with a symphonic/techno-tinged intro (very fitting for a prog album). “No Direction Home” then opens and firmly establishes the progressive nature of the album while incorporating some solid power metal riffage. It’s definitely one of the best tracks here and immediately demonstrates that these guys can play they’re instruments.
“Scar” smacks the listener with a groovy and extremely catchy intro and that will surely provoke a synchronized nodding of the head. Its probably the heaviest track and the most likely to stay in your memory afterwards. By the first listen it’s a bit hard to decide whether these Italians are power metal with progressive influences or progressive metal with power metal influences. Eventually, I concluded that who really gives a damn :--)…….people like to nitpick with classifications when they should just be appreciating something for what it is. Am I right? (Excuse my self-righteous deviation)
The Dream Theater/Fates Warning influences of this band can be easily recognized, but they managed to play well enough to separate themselves from the mediocre. About every song features solos exchanged from the guitar and keyboard, and most are well-done and not overly ambitious. If I could compare this album to others, I would say it is most akin to Vanden Plas or Shadow Gallery with a touch of aggression inspired from the likes of thrash metal and Savatage. Interesting mixture, eh?
Things are broken up a bit with the emotionally balladesque, “The Last Days of the Year.” Dramatic, but the great vocals from Terence Holler provide enough depth and range to prevent the song from sounding cheesy.
You can hear a strong semblance of Queensryche with “To Be or Not to Be.” If the spacey keyboards were absent, I swear Geoff Tate would fit like a glove in this song. The title track has a nice chorus, but it’s overused and gradually becomes more annoying each time it comes around. Its still a decent song to close the original album with.
This re-release features seven bonus tracks, each taken from the bands earlier demos. Most are enjoyable with a couple being tapped straight from the power metal vein. In total, the record has 16 tracks which is a definite value for a prog metal fan.
All in all, this album is consistent and formulaic.
There aren’t any songs that will blow you away, but fans of this
style will find quality and satisfaction here. If you are a big fan of
Eldritch’s recent and heavier sound, you’ll probably find
this album boring and too “proggy.” The keyboards are used
prevalently and in a more ambient than ostentatious manner. The arrangements
are not extremely complex, yet the band displays enough technicality and
rhythm to warrant them respect.