Review Summary: A few gems and a few duds make The Black Mages’ third release worth at least one serious listen.
For anyone who’s reached this point – that is, the point of reading this review – The Black Mages likely need no introduction. But for those who’re just joining us, the Mages are Nobuo Uematsu’s rock outfit. For us musically appreciative fans of the Final Fantasy series, they serve up metal renditions of the games’ classic tunes, replacing MIDI and orchestral sounds with screaming guitars, keyboards, and the rest of the rock instrument family. A nerdy metalhead’s wet dream, you might say. They’ve released three full length albums to date, all of which are strong but not world-changing.
I’m sorry to say that Darkness and Starlight opens with a disappointment. Ever since I first rented Final Fantasy VII at age 7, I thought “Opening-Bombing Mission” was a fantastic song, and an ideal candidate for a metal cover. Sadly, the Mages botched this one. The booming bass and drum lines aren’t given proper priority, and the track is littered with disorganized and unimpressive guitar leads. Further still, the instrumentation is shoddily done; phrases perfect for guitar are left to the keyboard, and a piano takes a part destined for bass guitar. I could go on, but suffice to say that I doubt I’ll forgive this one for some time.
Fortunately, the remaining nine tracks ease my pain. “The Extreme” is an instant standout, featuring some of the album’s most electrifying yet thoughtful guitar work, while assuring us that the band still knows how to play their instruments off of each other to put together a dynamic song. The Mages rock out in epic fashion with “Assault of the Silver Dragons”, particularly in its concluding minute of climax. “Distant Worlds” changes the pace, welding together an airy intro, heartfelt interlude, and jazzy guitar solo. Its not all gravy though; the closing third of the song would probably be more at home in an elevator or possibly a bad porno. I should add as well that “Kurayaminokumo” stands as another forgettable five minutes.
Without a doubt, the back-to-back “Premonition” and “Grand Cross” mark the album’s apex. In the case of the former, soaring guitar solos and syncopated chugging are the name of the game, while for the latter, its exotic motifs and keyboard pyrotechnics. But both are superb, with just enough melody and just enough raw power. Finally and characteristically, the Mages send us off with a lengthy title track, though I’m not entirely sure what they hoped to achieve with this silly opera of a song. Another eminently skippable offering.
In sum, Darkness and Starlight is solid effort with a black spot or two holding it back. It’s certainly not the sort of album you listen to on repeat for days, but a few tracks should make their way onto regular playlists. Similarly, The Black Mages aren’t anyone’s favorite band, but I respect that they never fall into the hole of unsubstantiated novelty that could so easily afflict a band based on a video game. I’ll be patiently waiting for another six or seven quality songs on their next album, whenever it appears.
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