Review Summary: Edguy's musically high point turns out to be another power metal gem within the genre and their discography.
Back in the day, Edguy used to play power metal that had some sort of concept to every single album, something that Tobias still does with Avantasia. I guess you can say they sold out on their
Rocket Ride album to play more of a blend of hard rock and power metal. But years before that in the late 1990's and early 2000's they were a rising juggernaut within the German power metal scene. And there are reasons why they use to an upcoming key player along other respected acts such as Blind Guardian, Helloween, Gamma Ray, and Primal Fear. While Edguy wasn't following the traditional style of power metal that was being held firmly by the previous mentioned bands. Edguy made their own brand of “Operatic” power metal that was mainly produced off of
Vain Glory Opera, they only then followed that style in the next two albums – one of which happens to be
Theater of Salvation. But their shift really started on
Mandrake, even if it is a good album, it's still not their best effort. In
Theater of Salvation, Edguy is at a high point musically with their brand of power metal, before they started showing off their humor musically and in person (live shows/music videos).
Once playing the album, a nice piano intro starts off the journey through the
Theater of Salvation. Afterward, it follows straight into
Babylon, which is an awesome song that's catchy as hell, and overall a fast paced song, that has an awesome solo section. Generally people are mainly affected on first impressions, the first impression of hearing
Babylon whilst being more familiar to their more recent efforts. I can assure you that you'll be surprised by a great deal, for thinking that Edguy can pull off more then sleazy cock rock. Another surprising aspect of old school Edguy, is that they used to perform two solo sections! They hardly do that anymore! In
The Headless Game they do just that, with one of the catchiest songs I've heard in a long time, and it's highly recommended.
I've been saying a lot about Edguy's style of power metal, that blends tradition styles with their own technique in sound that centers around an “Operatic” feel to the music as a whole. But that's no need to ignore their ballads. Nowadays Edguy's ballads are so/so, but when you get a flashback of their previous work that made them who they are now, it's mind blowing. If you can't admit that
Land of a Miracle is a good song, then there's something clearly wrong with you. Same rules apply to
Another Time, but that song will be mentioned later.
After a strong start and a dramatic slow down. The proceeding song is a slow start for the album's flow to pick up its tempo after a ballad. But right when
Falling Down makes its own dramatic entrance with a nice guitar lick, and by its own shear power it turns out to be a highlight while making up the slight drag presented on
Wake Up The King. And that slight drag turns to a jogging start into a run for their money when
Arrows Fly comes flying in with more of an overall traditional power metal vibe. Even the follow up
Holy Shadows, it still picks up the album; just like every other song it has style and distinctive differences – it may not have straight forward power metal rhythm styles and riffs (it does have it in the solo though), but it sure as hell has the best drums on the entire album, and I tip my hat to Felix Bohnke.
Just like how
Wake Up The King had a rough start by following right after a ballad, it almost happens again with the stumbling.
Another Time was a good ballad in the standards of playing the album in its regular setlist from beginning to end (probably not the best to play it by itself, you more or less need the flow of the other songs that follows into the song). But this time, the ballad follow-up
The Unbeliever, had some sort of expectation of not slowing the album's flow down at all. Somehow or other the song doesn't miss, but instead hits at what they were aiming at, by having awesome guitar sections and transitions within the song that makes the song itself rather enjoying as a whole. But
The Unbeliever was also given the pleasure to anoint thy epic of the album. While
Theater of Salvation(the song) is full of surprising transition from ballad like moments to power metal moments, acoustic and electric guitar solos that vary in style, great drumming, superb vocal performances from Tobias Sammet, as well as backing vocals. But the song itself isn't just another Edguy epic, it's a song that defines the entire album all together as one, and is truly worth your time. Even if the last minute or so is when they're dickin' around with whatever I'm hearing at the moment; classic Edguy humor.
Overall,
Theater of Salvation is another power metal gem within the genre and Edguy's discography, with no filler. To what the album sounds like in brief terms: crazy drumming (for Edguy's standards), shredding that was once unimaginable from Dirk and Jens, and as usual, another superb vocal performance from the main guy behind Edguy's sound, Tobias Sammet. Sorry, Tobias Exxel, you didn't make the cut; you're just a bass player, regardless if you're a likable guy, but you're solid at best. Though the album may be an hour's worth of your time, it might just surprise you how great Edguy used to be as musicians.
Recommended songs: the whole album.
