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FREEDOM CALL-3


FREEDOM CALL 

"Master of Light"

By Professor Jocko

German power-metal masters are back again with another musical masterpiece, hot on their heels from their last album, titled Beyond, released just two short years ago. Freedom Call are seasoned veterans to the professional music scene, having just completed their 9th studio album, along with several live albums, singles and countless tours. However, if this is your first experience with the group, you will be very impressed with their technical prowess with everything they do. These metal prodigies combine mainstream rock with the majestic energy of orchestral elements…kind of like Trans-Siberian Orchestra on steroids. 

The main premise of the Freedom Calls writing style is one of glory and triumph; both with the music, and lyrics as well. This is the same formula they have used throughout each album, so for those who are familiar with their catalogue, can expect a duplicate continuation from their last LP. The title of each song lends heavily to the content, which could be easily become transposed into any sports-related fight song, or perhaps a background score for any Lord of the Rings movie.  The opening track is called “Metal Is for Everyone”, which is your immediate introduction to the guitar wizardry of Chris Bay. This, along with the machine gun drumming technique of Ramy Ali is the perfect compliment to their over-the-top vocal applications.

The consecutive track, “Hammer Of Gods” follows suit with the same attention to detail, but starts to explore more individual vocals, and not as much with group chants. The Album title track, “Masters Of Light” opens up with a somber technique, perhaps reminiscent of secular medieval and Gregorian chant; intended to provide a spiritual connection between man and God. The song then progresses into more interweaving melodies, making it one of the more memorable tracks on the album. “Cradle of Angels” also explores the same mystical qualities with classical influences which could be coined as the ballad for this particular LP. 

Towards the latter part of the album, the band slightly deviates with hints of a progressive style with a song called “Ghost Ballet”. They still maintain their signature formula, but use musical rhythms and vocal harmonies to their advantage by creating some much-needed diversity. Overall, there is an uplifting emotional feel with every song, but perhaps just a little too redundant towards the middle of the CD. It almost seems as if they recorded 40 songs at one time, and are splitting them up 12 at a time, with the only thing changing is the name of the album.