Review by Allan on April 17, 2002.

Five years ago Arcturus released an album that nobody really saw coming. It was when they first appeared in 1995 that they released a symphonic black metal release, which made somewhat a name for them but really didn’t showcase the bands amazing talent. Then, two years later, the band threw one of the biggest curves at their fans that a band could do. With the release of “La Masquerade Infernale”, critics were puzzled and amazed by the uniqueness and ideas that it contained. Now, in 2002, the band follows up to the high standards that have been set for them, and has released “The Sham Mirrors”.

While the change from “Aspera Hiems Symfonia” to “La Masquerade Infernale” was drastic and immeasurable, the change from “La Masquerade Infernale” to “The Sham Mirrors” isn’t as far stretched. The band didn’t completely defy their history, but they did in fact make changes. “The Sham Mirrors” is a more conservative record, and doesn’t show as much wavering in the songs. That’s not to say that it’s more listener-friendly though. It takes multiple listens for one to dissect the layers of music and the detail of the songs, which ultimately makes for a more intense record that will last a long time.

There are indeed many similarities within the band, as well as differences. The songs are composed in a very orchestral way, like previously. The atmosphere is a bit different, though. While on “La Masquerade Infernale” you may have found the songs to each hold a different atmosphere, “The Sham Mirrors” has a very dark feel to it the entire way through. The carnival-like atmosphere is gone. Overall, the album is a bit conservative compared to previous Arcturus, but the music is excellent and the band didn’t create the same thing twice.

The performances of the musicians are great. Since their formation, Arcturus have been considered by some people as a “supergroup”. I can’t say I disagree. While vocalist Garm, or Trickster G. Rex as he is referred to here, was great in the past, he shows his best performance to date here. He has found an excellent range for himself, and the emotions he conveys come off as passionate and not simply a humorous attempt. Steinard Sverd Johnsen has shown us the best of his capabilities here. The keyboards/piano is one of the very strongest aspects of the album. They add a new dimension to the music, as always. I must say, Jan Axel Von Blomberg (Hellhammer) continues to show his increasing ability with every record. His performance on “The Sham Mirrors” is fantastic. Guitarist Carl August Tidemann has always been an underrated guitarist, and will probably continue to be, but I can say that he has done just as great a job as he has ever done. As a band, they have surpassed their history and have done a great job.

Bottom Line: It’s hard to explain to you what Arcturus’ music is like. It’s more of something to be heard and experienced, than something described with words. But, I can assure you that “The Sham Mirrors” is a great piece of work, and should put any doubts about the band to rest.

Categorical Rating Breakdown

Originality: 9.5
Musicianship: 10
Atmosphere: 10
Production: 10
Overall: 10

Rating: 9.9 out of 10

Review by Allan on April 17, 2002.

Five years ago Arcturus released an album that nobody really saw coming. It was when they first appeared in 1995 that they released a symphonic black metal release, which made somewhat a name for them but really didn’t showcase the bands amazing talent. Then, two years later, the band threw one of the biggest curves at their fans that a band could do. With the release of “La Masquerade Infernale”, critics were puzzled and amazed by the uniqueness and ideas that it contained. Now, in 2002, the band follows up to the high standards that have been set for them, and has released “The Sham Mirrors”.

While the change from “Aspera Hiems Symfonia” to “La Masquerade Infernale” was drastic and immeasurable, the change from “La Masquerade Infernale” to “The Sham Mirrors” isn’t as far stretched. The band didn’t completely defy their history, but they did in fact make changes. “The Sham Mirrors” is a more conservative record, and doesn’t show as much wavering in the songs. That’s not to say that it’s more listener-friendly though. It takes multiple listens for one to dissect the layers of music and the detail of the songs, which ultimately makes for a more intense record that will last a long time.

There are indeed many similarities within the band, as well as differences. The songs are composed in a very orchestral way, like previously. The atmosphere is a bit different, though. While on “La Masquerade Infernale” you may have found the songs to each hold a different atmosphere, “The Sham Mirrors” has a very dark feel to it the entire way through. The carnival-like atmosphere is gone. Overall, the album is a bit conservative compared to previous Arcturus, but the music is excellent and the band didn’t create the same thing twice.

The performances of the musicians are great. Since their formation, Arcturus have been considered by some people as a “supergroup”. I can’t say I disagree. While vocalist Garm, or Trickster G. Rex as he is referred to here, was great in the past, he shows his best performance to date here. He has found an excellent range for himself, and the emotions he conveys come off as passionate and not simply a humorous attempt. Steinard Sverd Johnsen has shown us the best of his capabilities here. The keyboards/piano is one of the very strongest aspects of the album. They add a new dimension to the music, as always. I must say, Jan Axel Von Blomberg (Hellhammer) continues to show his increasing ability with every record. His performance on “The Sham Mirrors” is fantastic. Guitarist Carl August Tidemann has always been an underrated guitarist, and will probably continue to be, but I can say that he has done just as great a job as he has ever done. As a band, they have surpassed their history and have done a great job.

Bottom Line: It’s hard to explain to you what Arcturus’ music is like. It’s more of something to be heard and experienced, than something described with words. But, I can assure you that “The Sham Mirrors” is a great piece of work, and should put any doubts about the band to rest.

Categorical Rating Breakdown

Originality: 9.5
Musicianship: 10
Atmosphere: 10
Production: 10
Overall: 10

Rating: 9.9 out of 10

Review by Tobias on April 16, 2002.

It seems like I’ve been complaining about Power-Metal vocals for years. I’ve always said that many power bands have great music and only need to replace the vocalist to make something excellent. Well the time has come for almost that; Arcturus has rendered an album that is power metal through and through but doesn’t sport the high-pitched wussed-out wails normally associated with the genre.

So, why am I still not too excited?

The elements are all there; the songwriting, the arrangements, the artistry, the technical expertise, and a damn good deal of intensity. But blink your eyes twice and you come to realize that, in fact, some of the elements are just overdone.

The keyboards on this album make you feel like you’re living in an infinite bounce on jelly-belly planet, dodging flying gumdrops. If half the keyboard parts were done by the guitar instead, the music of ‘The Sham Mirrors’ would lay waste to anything in its path. The melodies are intense and expansive and could’ve come out with dominating force and genius. But the complex melodies become candied by the synthesized sounds.

Without a doubt, there certainly is a great amount of talent at work here. It’s a talent that will coruscate across the plastic of any disc. The blazing complexity of each song is evidence enough of that, and it’s probably enough to get this album into the collection of most music lovers’ collections.

But again, that talent is held back by some choices that don’t compliment the band. Hyper-extended keyboards aside, Garm’s vocals come across as invariably mediocre the majority of the time only to shock you with dynamic intensity delivered on the track ‘Radical Cut’. Fans of Katatonia or the mellow Anathema may find great entertainment value in his performance, but I prefer the blackened style that he excels at.

Despite what the title of the album might suggest, this is not just an illusion of good music. There’s so much to explore on this album that it allows for more attentive listens. Bands that can achieve that are in their own arena with critical acts such as Tool or Opeth, and they are well on their way to becoming classic and essential collection items.

Bottom Line: If you’re a fan of metal and talent, do yourself a favor and at least check it out even if over-blown keyboards turn you off.

Categorical Rating Breakdown
Musicianship: 9
Atmosphere: 9
Originality: 7
Production: 7
Overall: 6

Rating: 7.6 of 10

Review by Tobias on April 16, 2002.

It seems like I’ve been complaining about Power-Metal vocals for years. I’ve always said that many power bands have great music and only need to replace the vocalist to make something excellent. Well the time has come for almost that; Arcturus has rendered an album that is power metal through and through but doesn’t sport the high-pitched wussed-out wails normally associated with the genre.

So, why am I still not too excited?

The elements are all there; the songwriting, the arrangements, the artistry, the technical expertise, and a damn good deal of intensity. But blink your eyes twice and you come to realize that, in fact, some of the elements are just overdone.

The keyboards on this album make you feel like you’re living in an infinite bounce on jelly-belly planet, dodging flying gumdrops. If half the keyboard parts were done by the guitar instead, the music of ‘The Sham Mirrors’ would lay waste to anything in its path. The melodies are intense and expansive and could’ve come out with dominating force and genius. But the complex melodies become candied by the synthesized sounds.

Without a doubt, there certainly is a great amount of talent at work here. It’s a talent that will coruscate across the plastic of any disc. The blazing complexity of each song is evidence enough of that, and it’s probably enough to get this album into the collection of most music lovers’ collections.

But again, that talent is held back by some choices that don’t compliment the band. Hyper-extended keyboards aside, Garm’s vocals come across as invariably mediocre the majority of the time only to shock you with dynamic intensity delivered on the track ‘Radical Cut’. Fans of Katatonia or the mellow Anathema may find great entertainment value in his performance, but I prefer the blackened style that he excels at.

Despite what the title of the album might suggest, this is not just an illusion of good music. There’s so much to explore on this album that it allows for more attentive listens. Bands that can achieve that are in their own arena with critical acts such as Tool or Opeth, and they are well on their way to becoming classic and essential collection items.

Bottom Line: If you’re a fan of metal and talent, do yourself a favor and at least check it out even if over-blown keyboards turn you off.

Categorical Rating Breakdown
Musicianship: 9
Atmosphere: 9
Originality: 7
Production: 7
Overall: 6

Rating: 7.6 of 10

Review by Jack on April 13, 2002.

“...“The Sham Mirrors” arrives at a time when metal needs it most” (The End Records. 2002). How apt a statement, metal may truly be in a state of temporary flux after the constant breaking and making of groups and the consistencies of albums from metal bands are certainly wavering. “The Sham Mirrors” has certainly come at a good time.

Arcturus’ beauty is so unique it cannot be termed, and phrases of genre cannot be coined to the band’s name. I tried (rather unsuccessfully) to naively define Arcturus’ second album “La Masquerade Infernale” as ”phantom of the opera metal” but it is one task that cannot be done. Arcturus is an entity that cannot be defined, they defy metal tags and classifications that we try to shackle upon them. “The Sham Mirrors” is no exception to this.

One could argue that Arcturus did take a step back into the more conventional side of things after “La Masquerade Infernale” and “Disguised Masters”. “The Sham Mirrors” is certainly more ‘metal’ than the two aforementioned releases by these cult metalists. However stripped to the bone, “The Sham Mirrors” is far from simple and pedestrian. Complex keyboard and guitar patterns are still be discovered by me on every new listen and my appreciation for “The Sham Mirrors” continues to climb at an astonishing rate.

Of special mention is the song ‘Radical Cut’. The build-up and climax to this song is totally brilliant and uses every bit of tension and extreme dramatics a metal band could possibly have at their disposal. Step-by-step and piece-by-piece, Ihsahn’s voice and the keyboard mastery of Steinar Sverd Johnsen are traded blow to blow for 4 minutes until the culminating minute and half when both musical assets are warped together to fuse a perfect combination. Utterly mind-blowing. Ihsahn has never sounded this good before.

Vocally, is the department where Arcturus is really able to accelerate away from the rest of the competition, arguably one of Norway’s favourite sons; Garm completely devastates on each and every song (Ihsahn being used on ‘Radical Cut’). Garm’s vocals are madcap and carnival in their theatrics one moment and then suddenly shift to a more calmed and controlled output. Instrumentally “The Sham Mirrors” is easily able to stand on its own two feet, however, it is with a vocalist like Garm that Arcturus is able to tell everyone to pack their bags and go home. There is no competition here. Arcturus is the beautiful swan in a pond full of dull, drab, boring and bland ducklings.

Bottom Line: A truly fantastic record, Arcturus has surpassed my extreme expectations and climbed to a new pedestal that I had waiting for them before I heard “The Sham Mirrors”.

Categorical Rating Breakdown

Originality: 10
Musicianship: 10
Atmosphere: 10
Production: 9
Overall: 9

Rating: 9.6 out of 10

Review by Jack on April 13, 2002.

“...“The Sham Mirrors” arrives at a time when metal needs it most” (The End Records. 2002). How apt a statement, metal may truly be in a state of temporary flux after the constant breaking and making of groups and the consistencies of albums from metal bands are certainly wavering. “The Sham Mirrors” has certainly come at a good time.

Arcturus’ beauty is so unique it cannot be termed, and phrases of genre cannot be coined to the band’s name. I tried (rather unsuccessfully) to naively define Arcturus’ second album “La Masquerade Infernale” as ”phantom of the opera metal” but it is one task that cannot be done. Arcturus is an entity that cannot be defined, they defy metal tags and classifications that we try to shackle upon them. “The Sham Mirrors” is no exception to this.

One could argue that Arcturus did take a step back into the more conventional side of things after “La Masquerade Infernale” and “Disguised Masters”. “The Sham Mirrors” is certainly more ‘metal’ than the two aforementioned releases by these cult metalists. However stripped to the bone, “The Sham Mirrors” is far from simple and pedestrian. Complex keyboard and guitar patterns are still be discovered by me on every new listen and my appreciation for “The Sham Mirrors” continues to climb at an astonishing rate.

Of special mention is the song ‘Radical Cut’. The build-up and climax to this song is totally brilliant and uses every bit of tension and extreme dramatics a metal band could possibly have at their disposal. Step-by-step and piece-by-piece, Ihsahn’s voice and the keyboard mastery of Steinar Sverd Johnsen are traded blow to blow for 4 minutes until the culminating minute and half when both musical assets are warped together to fuse a perfect combination. Utterly mind-blowing. Ihsahn has never sounded this good before.

Vocally, is the department where Arcturus is really able to accelerate away from the rest of the competition, arguably one of Norway’s favourite sons; Garm completely devastates on each and every song (Ihsahn being used on ‘Radical Cut’). Garm’s vocals are madcap and carnival in their theatrics one moment and then suddenly shift to a more calmed and controlled output. Instrumentally “The Sham Mirrors” is easily able to stand on its own two feet, however, it is with a vocalist like Garm that Arcturus is able to tell everyone to pack their bags and go home. There is no competition here. Arcturus is the beautiful swan in a pond full of dull, drab, boring and bland ducklings.

Bottom Line: A truly fantastic record, Arcturus has surpassed my extreme expectations and climbed to a new pedestal that I had waiting for them before I heard “The Sham Mirrors”.

Categorical Rating Breakdown

Originality: 10
Musicianship: 10
Atmosphere: 10
Production: 9
Overall: 9

Rating: 9.6 out of 10

Review by Allan on April 17, 2002.

Five years ago Arcturus released an album that nobody really saw coming. It was when they first appeared in 1995 that they released a symphonic black metal release, which made somewhat a name for them but really didn’t showcase the bands amazing talent. Then, two years later, the band threw one of the biggest curves at their fans that a band could do. With the release of “La Masquerade Infernale”, critics were puzzled and amazed by the uniqueness and ideas that it contained. Now, in 2002, the band follows up to the high standards that have been set for them, and has released “The Sham Mirrors”.

While the change from “Aspera Hiems Symfonia” to “La Masquerade Infernale” was drastic and immeasurable, the change from “La Masquerade Infernale” to “The Sham Mirrors” isn’t as far stretched. The band didn’t completely defy their history, but they did in fact make changes. “The Sham Mirrors” is a more conservative record, and doesn’t show as much wavering in the songs. That’s not to say that it’s more listener-friendly though. It takes multiple listens for one to dissect the layers of music and the detail of the songs, which ultimately makes for a more intense record that will last a long time.

There are indeed many similarities within the band, as well as differences. The songs are composed in a very orchestral way, like previously. The atmosphere is a bit different, though. While on “La Masquerade Infernale” you may have found the songs to each hold a different atmosphere, “The Sham Mirrors” has a very dark feel to it the entire way through. The carnival-like atmosphere is gone. Overall, the album is a bit conservative compared to previous Arcturus, but the music is excellent and the band didn’t create the same thing twice.

The performances of the musicians are great. Since their formation, Arcturus have been considered by some people as a “supergroup”. I can’t say I disagree. While vocalist Garm, or Trickster G. Rex as he is referred to here, was great in the past, he shows his best performance to date here. He has found an excellent range for himself, and the emotions he conveys come off as passionate and not simply a humorous attempt. Steinard Sverd Johnsen has shown us the best of his capabilities here. The keyboards/piano is one of the very strongest aspects of the album. They add a new dimension to the music, as always. I must say, Jan Axel Von Blomberg (Hellhammer) continues to show his increasing ability with every record. His performance on “The Sham Mirrors” is fantastic. Guitarist Carl August Tidemann has always been an underrated guitarist, and will probably continue to be, but I can say that he has done just as great a job as he has ever done. As a band, they have surpassed their history and have done a great job.

Bottom Line: It’s hard to explain to you what Arcturus’ music is like. It’s more of something to be heard and experienced, than something described with words. But, I can assure you that “The Sham Mirrors” is a great piece of work, and should put any doubts about the band to rest.

Categorical Rating Breakdown

Originality: 9.5
Musicianship: 10
Atmosphere: 10
Production: 10
Overall: 10

Rating: 9.9 out of 10

Review by Tobias on April 16, 2002.

It seems like I’ve been complaining about Power-Metal vocals for years. I’ve always said that many power bands have great music and only need to replace the vocalist to make something excellent. Well the time has come for almost that; Arcturus has rendered an album that is power metal through and through but doesn’t sport the high-pitched wussed-out wails normally associated with the genre.

So, why am I still not too excited?

The elements are all there; the songwriting, the arrangements, the artistry, the technical expertise, and a damn good deal of intensity. But blink your eyes twice and you come to realize that, in fact, some of the elements are just overdone.

The keyboards on this album make you feel like you’re living in an infinite bounce on jelly-belly planet, dodging flying gumdrops. If half the keyboard parts were done by the guitar instead, the music of ‘The Sham Mirrors’ would lay waste to anything in its path. The melodies are intense and expansive and could’ve come out with dominating force and genius. But the complex melodies become candied by the synthesized sounds.

Without a doubt, there certainly is a great amount of talent at work here. It’s a talent that will coruscate across the plastic of any disc. The blazing complexity of each song is evidence enough of that, and it’s probably enough to get this album into the collection of most music lovers’ collections.

But again, that talent is held back by some choices that don’t compliment the band. Hyper-extended keyboards aside, Garm’s vocals come across as invariably mediocre the majority of the time only to shock you with dynamic intensity delivered on the track ‘Radical Cut’. Fans of Katatonia or the mellow Anathema may find great entertainment value in his performance, but I prefer the blackened style that he excels at.

Despite what the title of the album might suggest, this is not just an illusion of good music. There’s so much to explore on this album that it allows for more attentive listens. Bands that can achieve that are in their own arena with critical acts such as Tool or Opeth, and they are well on their way to becoming classic and essential collection items.

Bottom Line: If you’re a fan of metal and talent, do yourself a favor and at least check it out even if over-blown keyboards turn you off.

Categorical Rating Breakdown
Musicianship: 9
Atmosphere: 9
Originality: 7
Production: 7
Overall: 6

Rating: 7.6 of 10

Review by Jack on April 13, 2002.

“...“The Sham Mirrors” arrives at a time when metal needs it most” (The End Records. 2002). How apt a statement, metal may truly be in a state of temporary flux after the constant breaking and making of groups and the consistencies of albums from metal bands are certainly wavering. “The Sham Mirrors” has certainly come at a good time.

Arcturus’ beauty is so unique it cannot be termed, and phrases of genre cannot be coined to the band’s name. I tried (rather unsuccessfully) to naively define Arcturus’ second album “La Masquerade Infernale” as ”phantom of the opera metal” but it is one task that cannot be done. Arcturus is an entity that cannot be defined, they defy metal tags and classifications that we try to shackle upon them. “The Sham Mirrors” is no exception to this.

One could argue that Arcturus did take a step back into the more conventional side of things after “La Masquerade Infernale” and “Disguised Masters”. “The Sham Mirrors” is certainly more ‘metal’ than the two aforementioned releases by these cult metalists. However stripped to the bone, “The Sham Mirrors” is far from simple and pedestrian. Complex keyboard and guitar patterns are still be discovered by me on every new listen and my appreciation for “The Sham Mirrors” continues to climb at an astonishing rate.

Of special mention is the song ‘Radical Cut’. The build-up and climax to this song is totally brilliant and uses every bit of tension and extreme dramatics a metal band could possibly have at their disposal. Step-by-step and piece-by-piece, Ihsahn’s voice and the keyboard mastery of Steinar Sverd Johnsen are traded blow to blow for 4 minutes until the culminating minute and half when both musical assets are warped together to fuse a perfect combination. Utterly mind-blowing. Ihsahn has never sounded this good before.

Vocally, is the department where Arcturus is really able to accelerate away from the rest of the competition, arguably one of Norway’s favourite sons; Garm completely devastates on each and every song (Ihsahn being used on ‘Radical Cut’). Garm’s vocals are madcap and carnival in their theatrics one moment and then suddenly shift to a more calmed and controlled output. Instrumentally “The Sham Mirrors” is easily able to stand on its own two feet, however, it is with a vocalist like Garm that Arcturus is able to tell everyone to pack their bags and go home. There is no competition here. Arcturus is the beautiful swan in a pond full of dull, drab, boring and bland ducklings.

Bottom Line: A truly fantastic record, Arcturus has surpassed my extreme expectations and climbed to a new pedestal that I had waiting for them before I heard “The Sham Mirrors”.

Categorical Rating Breakdown

Originality: 10
Musicianship: 10
Atmosphere: 10
Production: 9
Overall: 9

Rating: 9.6 out of 10

Review by Felix on January 20, 2024.

Some weeks ago, I was visiting the Luxembourgian border town Vianden. Very picturesque, with a river, a castle, crooked streets and some nice restaurants. While I was eating my exquisite gourmet food (spaghetti bolognaise), the spearhead of Luxembourg's thrash scene, Scarlet Anger, came to my mind. In view of their punchy debut, I was curious about their second work. So here comes "Freak Show", an album with a design / concept that refers to old horror comics. This is absolutely not my metier and I do not understand anything, but that's irrelevant. Let the music do the talking.

Scarlet Anger still play thrash metal, but they have slightly modified their style. Velocity is of minor importance. Heavyweight brutality does not prevail as well. With that said, it goes without saying that they are forced to present an equivalent compensation. Do they provide excellent riffs, a high degree of musicality, robust song patterns or great choruses? From my point of view, the answer is pretty clear. Already the glorious double hit at the beginning proves the mature musicianship of the five guys from Dummeldeng. (I really like the names of Luxembourgian towns such as Dummeldeng. Wasserbillig is also one of my favourites.) The opener is based on fantastic lines and a convincing mixture of sharp riffs and fairly casual parts. Not to mention its remarkable chorus. Furthermore, another thing becomes immediately evident. The excellent production gives every band member room to show his skills. Transparent, sharp and well balanced, these words describe the sound fittingly. The lacerating "Attack of the Insidious Invader" is among the most aggressive songs of the album. It lies in close proximity to the stormy eruptions of their debut. The homicidal chorus reveals the merciless side of the band, but the entire song does not show any signs of weakness.

The majority of the following tracks fails to achieve the same quality level. Scarlet Anger are striving for variety and a lot of good parts show up, regardless of their degree of brutality. Songs like the mid-harsh "The Abominable Master Gruesome" or "Welcome to the Freak Show" (lame beginning, but it grows constantly and has a catchy chorus) illustrate that the compositional recipe of the band can work. Only "The Unbelievable Story of a Stupid Boy" does not get out of the starting blocks and relatively harmless, partially Maiden-esque instrumental parts of the third track do not hit the mark as well. But the exciting, relatively brutal closer demonstrates that the second word of the band's name was deliberately chosen. Yet the album also houses a certain number of tunes that present a mixture of very strong and less compelling sequences. Sometimes less is more and perhaps Scarlet Anger would have been well advised to integrate two or three simple yet effective high speed thrashers. Nevertheless, "Freak Show" is an ambitious work and it is laudable that the band tries to realize its musical vision. Half-hearted compromises do not show up in the cosmos of the formation. The same applies for feeble vocals in view of the truly powerful performance of Joe Block. He unites the rage of Gary Meskil with the expressiveness of guys such as Gus Chambers (R.I.P.). His contribution dominates songs such as "The Thing Without a Name".

If you ask me for my personal opinion, Scarlet Anger have not yet exhausted all their opportunities. The quintet impresses with a fine sense for resilient melodies and despite an unexpected number of relaxed harmonies, the band is not afraid of ferocious, more or less malicious outbursts. Only the final touch is sometimes missing. The third album will show whether the talented guys are able to take the next step. To win the Luxembourgian championship is one thing, but to become an established member of the worldwide thrash scene is something completely different. However, I intend to visit Vianden, Ettelbrück or Luxembourg City again next year and I wish I can then think of the release of their third full-length while eating another delicious portion of spaghetti bolognaise.

Rating: 7.7 out of 10

Review by JD on December 19, 2016.

It is official, Europe is now getting seriously thrash crazy. New bands are cropping up and taking old school thrash to the next level and kicking through like crazy. All of these bands hold the fundamental roots of thrash in check while injecting it with a new power and blood with each release, the results are interesting and exciting.

I have reviewed Scarlet Anger before (the album was Dark Reign), gave them a solid 8 out of 10 and hoped this Luxembourg based band would take a step in their evolution and step out of the shadows of their influences. I had found Scarlet Anger on the verge of breaking out back then so let's see if they have or not.

Freak Show is a solid album right through the entire disk. Songs like the album opener 'Awakening of the Elder God' and the title track are strong musically - showing strong melody while still giving you crushing thrash that harkens back to the late 80's ground-breaking moments while adding is other metal elements. The Pantera-esque vocals although sometimes do not match up well with some songs and are seemingly out of place. Amazingly solid album given here, but still not as much in the way of advancement as I was expecting. The strength of the band is the musicianship delivered with the subtlety of a howitzer while the weakness is the vocals in spots.

I call this a cautious next step in Scarlet Anger's growth, but not nearly big enough. It is still one hell of a good album, but a great urgency to get to that next step still exists.

Rating: 8 out of 10