TY MORN - “Last Villain Testament”

By Dark Starr

This album has a great classic metal sound. It has a lot of symphonic and epic metal in the mix. There are some particularly strong songs here, but also nothing that seems weak at all. It veers close to getting a little monolithic, but still holds up well. I think part of that comes from the fact that they kept it fairly short. If they'd put a few more songs on here, the formula would likely have worn a bit thin.

"War of Nations" starts things, and the sounds of war are heard as the song gets underway. The cut drives in from there with a fast-paced rhythmically-oriented movement serving as the backdrop for the first vocals. This has a bit of a MANOWAR vibe, but also some real epic metal sound at play. There are some technical symphonic metal moments further down the road, too. "Hellastryke" is meaty and potent. It's less fierce, but also more symphonic and epic in nature. It has a number of twists and turns. The powerhouse instrumental movement gets pretty crazed at times. Chorale vocals in the mix at points lend some real majesty.

Firing in fierce, "Eyes of the Many Gods" works out to more of a proggy vein for the entrance of the vocals. The cut is still decidedly metal and dramatic, though. It is epic in nature and quite dynamic. Coming in with a screaming hot symphonic metal arrangement, "Wherever Demons Roam" is so classy. In fact, I'd say that it's one of my favorites here. There is so much magic and drama built into it. They take it through a number of changes, but it never loses the exceptional qualities.

Coming in with frantic, neo-classical styled jamming, "Come Feed Us Night" is a powerhouse. It's another highlight of the set. It has so much magic to it. "Firenado" is next, and screaming, furious metal is on the menu here. It is another meaty, driving piece. There are some sections of this it stand as tall as anything on the album. It does have a lot of drama, but as a whole I don't think it's quite as strong as the previous two songs. That said there are some neo-classical elements on the guitar solo that really elevate it.

On the one hand, much of "Compliments of the Wolf" feels a bit samey by this point. Then again, there is a dropped back section that really is quite proggy. There is enough meat on the bones here beyond that to help it stand tall. Coming in with hard rocking, but melodic guitar work, "The One" works through the symphonic metal introduction. Then it turns more furious. Still, it is quite melodic and intricate. It's another standout track.

"Lifting the Curse" is meaty and fierce. There are some particularly effective riffs here, and the whole song just rocks like crazy. Another fierce metal screamer (this one titled "Warlock") serves as the closer. It has some of the heaviest and crunchiest sounds of the album. Still, there are technical and symphonic metal elements at play. It is another highlight.