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Can anyone remember the last time you got chills listening to a song you've heard millions of times before? I thought not. That's why it's equally exciting for me to report that even though the style, melodies, and performances have all been done before – and sometimes better – this album is bloody extraordinary. The brainchild of former Labyrinth guitarist Pier Gonella, melodic power metallers Odyssea have sadly never resurfaced since the release of their debut in 2004; their position in the metal community currently unknown. Hopefully they will make a comeback, as I seriously need to hear a second chapter.

"Tears in Floods" primarily sticks to the Italian stereotype in the mould of Labyrinth and Vision Divine, with elements of Stratovarius appearing vaguely. Fast, uplifting, catchy power metal replete with neo-classical fretwork, soaring vocals and lightning fast double kick drums. But what is particularly interesting about this album is the sharp, technical keyboard work and electronic sequencing. Cold and haunting in their nature, the synthesizers give the songs an icy, chilling mien that is at times so provocative it scared the hell out of me. Once past the hyper-catchy, but slightly conventional opener "Fly", the strange characteristics of "Tears in Floods" really start to take shape. Cleverly – or not so cleverly – Odyssea have decided to stick their best tracks towards the end of the album, with the stark contrast of the double title tracks and possibly the catchiest track on the album, "Creatures". Where the first part of the album's namesake is a decent run through instrumental Malmsteen territory, the second part is frankly one of the best power metal songs ever written. Flirting with electronic overtures and groovy bass lines, "Tears in Floods Pt2 – Miserable Man" bleeds atmosphere, from the troubling keyboard samples to the deeply emotional vocals of I can't walk away/I want to be saved. This truly is amazing stuff.

With variation being the fruits of enjoyment, "Tears in Floods" offers it in spades from the At Vance-like bite of "Angel Cries" to the spacey, neo-classical stomp of "Falling Star". Carlo Faraci is a very versatile vocalist, although unless you like your vocals of the ear-splittingly high variety, this might dissuade you from enjoying the albums full opulence. On that subject, Faraci's style is quite similar to Timo Tolkki's vocals on the earlier Stratovarius albums. Watch out for the chorus of "Falling Star" though; your speakers may just shatter. Mine almost did.