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It's hard not to gush when I'm talking about Between Daylight And Pain, as it is a total eargasm of melodic and symphonic joy. But when I remember how predictable this band's debut was from way back when, I have to get my mind in check and think they're probably making up for past wrongs, which is no bad thing when it produces albums like this.

It's been a while since Holy Knights were on the scene, and they've evolved in the intervening years. This isn't the same Rhapsody/Celesty-styled Power Metal of yore; this is heavy on the guitars, crunchy in all the right places, with a slick modern production, choirs, keyboards, and decent hooks. At times the Italians try a little Prog-Power on for size, which benefits this darker sound immensely. For the most part, this album is full of speedy manifestos that remind me of Heavenly's sugar-coated stylings on Carpe Diem. There are other bands evident here, but Ben Sotto and his French plagiarists are who I hear most. This album is very consistent, with lots of surprising twists and turns, especially in the use of keys, which are stylish and not half as orchestral as we've come to expect from similar acts. The only problem is once it's over I can't remember much of it, except for the glorious refrains in "Glass Room" and stylish opener "Mistery".

Still, fans of Heavenly, Sonata Arctica, Angra, and Matenrou Opera will find much to enjoy here. Not only is it a smoking Power Metal release, but it makes up for the lack of vision on A Gate Through The Past.