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Review: Majestic - Trinity Overture
Trinity Overture

Label: Massacre Records
Year released: 2000
Duration: 51:15
Tracks: 9
Genre: Progressive Power Metal

Rating: 3.75/5

Review online: October 23, 2009
Reviewed by: Bruce Dragonchaser
Readers Rating
Trinity Overture

Rated 4.38/5 (87.5%) (8 Votes)

A bit of a minor celebrity in the Power Metal world, Swedish synth wizard Richard Andersson is one of those players I just can't get enough of, and despite everything he does sounding pretty much exactly the same, even way back in the year 2000, when he was still cavorting with the somewhat overlooked Majestic, his talent for penning outlandishly technical keyboard-led Power Metal was years ahead of him. Before taking the entire line up – with the exception of bassist Martin Wezowski – and turning the band into prog outfit Time Requiem, Andersson was the giant mind behind Majestic, producing two quality albums of neo-classical Prog-Power Metal in the Iron Mask/Symphony X vein, with the tome in question, Trinity Overture, being the second. It was also Andersson's first collaboration with Meduza/Firewind vocalist Apollo Papathanasio, and while not quite the masterpiece it could've been, it is still a very worthy set of tracks that any self-respecting Power Metal nut ought to own.

Without having any particular highlights, Trinity Overture manages to capture the listener quickly with plenty of Yngwie-like keyboard runs, shredding guitars, thick, sonorous vocals, and more twiddling solos than you can wave a pitch bender at. There is a very strong resemblance to Divine Wings of Tragedy-era Symphony X here, especially in the vocal department – just listen to the criminal pilfering of the ‘In the sky…' backing arrangement during "Voodoo Treasure"; scandalous! – and if you've heard anything by either Time Requiem or Space Odyssey, both future Andersson projects, then you know exactly what to expect here, although this is definitely the most straightforward album the man has made thus far, with grand, virtuoso melody playing an important part in his composition.

At times, this is a very good album. Tracks like "I'll Shoot the Moon", "Curtain of Fire", "The Rapture of Canaan" and The Seventh Sign-esque "Confusicus" really make this worth hunting down, and to hear Andersson's phenomenal command of the keyboard at such an early stage makes this a must for aspirant musicians. But perhaps, unless you are musically minded, this might prove too centered to appeal to those who just like a good headbang; although I'm sure every power metaller on the planet will find something to love here, even if it is just how much a band can plagiarize another's material without being sued.

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