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CRYSTAL BALL
Crystallizer

Massacre (2018)
Rating: 6.5/10

Considering these Swiss metallers started life out as a metal covers band named Cherry Pie, Crystal Ball have certainly come a long way. Crystallizer is the band’s tenth full-length recording, and die-hard fans of this well-polished style of power metal will not be disappointed.

However, new fans may find such a record an all too familiar traipse through the avenues of steely European metal, whereby clichés litter every path. But what else were you expecting?

The power metal field from a European perspective is a jam-packed cauldron indeed, with a case of survival of the fittest coming to the fore. And so within that competitive bandwagon you’ll find Crystal Ball’s latest offering a rather nice, easy-on-the-ear glossy trudge. The powerful, reaching vocals of Steven Mageney provide a metallic sheen to proceedings, coating the already glacial aspects of what is another well-constructed, neo-Gothic metal romp that is built upon the sturdy guitar plateau of Scott Leach and ex-Krokus axe-man Tony “T.C.” Castell.

Only two years have passed since the band’s last offering, 2016’s Déjà-Voodoo, and you can expect more steady snowdrifts as the quintet eases its way through a collection of nifty, airy metal stompers.

The album opens with the steady jog of the title track, which is laced with a sizzling solo and the expected potent wails, although lyrically it’s rather naïve and awkward sounding. The track does build nicely to a fist-pumping, Judas Priest-like shouted chorus, but as a song to kick the album off it’s rather disappointing. And so too is the next track, the plodding ‘Curtain Call’, which is a rather generic power metal traipse featuring a gothic, punchy chorus but again lacking any real edge.

But it’s with ‘Alive For Evermore’ where the album finally picks up the pace. Here, the percussion of Marcel Sardella is full of bite, although as with so much of this stuff the quintessentially European vocal slant seems to smother that bite and gives the whole album a cheesy coating, but it’s still a good track. As is ‘S.O.S.’ with its galloping entrance and hefty bass licks from Cris “Iron” Stone.

Things do quickly become predictable, but within that generic format there are still a few gems to behold. ‘Crazy InThe Night’ varies the tempo and succeeds mostly because Steve Mageney’s vocals seem to be given extra oomph over that steady rhythm, while power ballad ‘Let Her Go With Love’ is a nice, snowy moment of the grandiose.

But for a true metal juggernaut, then look no further than the excellent groove of ‘Death On Holy Ground’. If only the band could provide a whole album full of these sorts of tracks, because although contemporary by design in that they combine power metal with groove metal it’s still a rollicking, epic song that builds until a contagious, dramatic chorus. Damn, it’s like a marrying of Pantera, Judas Priest, and Dio. ‘Dusty Deadly’ also has an impact with its steely chug.

So Crystal Ball’s latest venture is one of frosty familiarity, featuring enough solid power metal and well-constructed passages that you can’t really go wrong it if it’s tame, harmless power rock you’re after.

Neil Arnold

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