The Swedish quintet Dynazta, totally the most clichéd of all the “powerphile” bands in the world, which for the last few years have been covering all those rough-looking “shots” that clench their fists and put their fingers in a menacing gesture as soon as they see someone with a long spread his ejaculate on the strings of Flying V, or grumbling on the set of Tama skopkov, hurried in order to deflow the already quite scattered power metal for the seventh time. And to my expected “immense surprise”, all metal clichés gave rise to powermetal opus, captivating and joyful, but boring and predictable, perhaps with exemplary catalog riffs and perfectly boyish vocals, but without a pinch of progress or extraordinary archaicness. like seven dots just a scounded, cerebral palsy ignorant. Sorry, for that sincerity, of course, I wanted to write “just a deep and extremely erudite music critic.”
Swedish Dynazta from Stockholm with his seventh album tries to be on horseback again, but stumbled some time during their fifth album Titanic Mass, which was first class, but unlike such Symphony X unnecessarily more modern and compared to similar Germanic bands again more eclectic . They give more space to diplomacy, which is reflected in the large number of elements and techniques used from the AOR, the glam scene, or from good old hard rock. In addition to the headbanger of a lustful other power riffage, it might even look like this five musicians won’t have to tease anyone bloodily about the sensation of their new album. A dozen tracks, plus one bonus, should be available to any regular rocker or even more tolerant mainsteam. However, they will have to reckon with absolute ignorance on the part of normal, long-time metal listening headbangers. These individuals will certainly not have enough of their embarrassing, quasi-metal stylizations, arrogant grimaces and strong shabby riffs, until I was swept away by a feeling of embarrassment, shame and primitive boredom, while I had an irresistible urge to relieve myself or draw a high-pitched body. These stylizations of them cannot be tolerated, even if they involve reducing the power metal to a more passive half, but all the more striking.
They demonstrate it quite violently in the introductory “Presence Of Mind”, which presents all the significers of their latest work: jet riffs, superficial techniques, keyboard lubrications, large choirs reaching up to pop and catchy melodies. It crowns great intonation-pure vocals and, unlike the suffering Hammerfall, they follow trends and their heavy thrashoid guitars and great solos are an integral part of their work. The dense sound then serves only as a pretext for heroic epics and the moral purification of power metal. The downside of this otherwise successful opus is that with reduced attention, it all falls into a black hole of boredom and monotony. The songs are merged into one piece, which, in the interest of fluency, significantly helped, but one gets into a state that one does not know which track is “going”. Sure, classic strength boards have never been more considerate in loading diversity, but they could disrupt this level of style purity. With his claustrophobic compositions, he evokes the need to escape to another, more colorful and contradictory world. The presented image of power metal is damn great, but at the same time rotten by its inverted values to such a depth that even the best moments in an experienced headbanger evoke perverted fantasies of average deeds, of course, after a deeper analysis, which as always proved shit … so in context previous events on the opus of the Titanic Mass, are not fundamentally different, but they are worrying about whether there is a way out of the eternal cycle of strength metal at all. Exceptions are the final trio of compositions, the title, “The Dark Delight” with keyboard underlays, the slower, nicely exposed piece “The Road to Redemption” and the faster piece “Apex”, which break the monotony and boredom of the album with their tempo and atmosphere. It is not thrash, but an attractive symfo-speed, which necessarily breaks the same formulas of other songs.
After they inflicted a great plaque on Renatus, revenge must logically have come in the form of a slightly above-average titanic mass and now an imaginary fall. Perhaps another opus will come in a sense of redemption. We will see!
“The Dark Delight” is ultimately sharp and dense, which does not lose its force and is the showcase of the current powermetal scene, but I think that only individuals who do not suffer from allergies to this subgenre could give it such a chance.