Serenity's 'The Last Knight' - Album Review

Over the years the symphonic/power metal worlds have become somewhat over-saturated. There are so many bands out there writing grand, epic, orchestral-based metal that it can sometimes be hard to see the wood for the trees - and often genuinely great bands get buried in and amongst all of the mediocrity. In some ways, I think that the Austrian band Serenity have somewhat been a victim to this. The four-piece never seem to have reached the audience that their work ethic and songwriting deserves - with the band mostly forced into touring the European club circuit without ever really breaking into the next league. This is a shame, as Serenity really are a great band. While their historically-inspired bombastic power metal is certainly far from original, it is always well executed and filled with plenty of hooks. There is enough grandness and bombast on the average Serenity album to fill dozens of albums by any number of the 'pretenders' that often swamp them - meaning that each new Serenity album is always an exciting prospect for those of us in the know. That being said, I think it is fair to say that - until recently - I have only ever really been a casual fan of the band. I started listening to the band in around 2010 or 2011, and picked up their third album Death & Legacy not long after its 2011 release. At the time, Death & Legacy was just what I needed and it actually made into my Top 10 Albums of 2011 list. The Serenity of 2011 was something of a poor man's Kamelot, but they still did that style of music justice. Kamelot at the time were somewhat in limbo following the departure of Roy Khan, and it seemed that Serenity were ripe to steal their crown. It was not to be however, as Kamelot bounced back the following year with the Silverthorn album under new frontman Tommy Karevik while Serenity lost one of their main songwriters - keyboardist Mario Hirzinger, who the band have never really replaced. 2013's War of Ages was another strong, murky album, but it was also to be the last to feature original guitarist Thomas Buchberger - who left the band in 2015 leaving just frontman Georg Neuhauser and drummer Andreas Schipflinger from the band's original line-ups. However, 2015 can also be seen as the re-birth of Serenity - one that has seen them really solidify their sound, line-up and approach to their subject matter. The band's current line-up, with guitarist Chris Hermsdörfer and long-time bassist Fabio D'Amore, has been active since then and rushed out two strong albums in as many years - with both 2016's Codex Atlanticus (which I reviewed here) and 2017's Lionheart (which I discussed here) reintroducing the band as more of an overt power metal act, shedding some of the previous murkiness in the process. Three years on, and the four-piece has struck gold again and released their seventh studio album The Last Knight last month. This time following the adventures of Maximilian I, The Last Knight is a natural continuation from the band's previous two albums, with the occasional hint of their older sound also creeping in here and there. It does feel somewhat more concise and considered however, with a shorter running time and a somewhat beefier production courtesy of Sascha Paeth in his first outing working with the Austrian band.

As it common with Serenity's albums, The Last Knight kicks off with the instrumental title track - put together once again by the band's regular orchestral collaborator Lukas Knoebl. Given the time that Maximilian I was alive (1459-1519), it is fitting that the orchestrations here, and indeed throughout the album, have something of a Medieval feel to them. There is a certain period grandness that permeates this album, which should come as no surprise to those familiar with Serenity's catalogue, and that vibe is cemented when Invictus kicks in with all of its pomp metal trappings. The song, which features producer Paeth contributing some additional lead guitars, is one of the most overtly-power metal songs in the band's catalogue to date - and is unsurprisingly filled with hooks. It opens with a rendition of the song's catchy chorus, before a fluid lead guitar run kicks in and Schipflinger launches into a fast-paced double bass attack. That being said, the song is not a pure speed-fest - with the verses being a little more restrained with more gothic overtones that really allows Neuhauser's voice to shine. He turns in another fantastic performance throughout this album, and the grinding, somewhat heavier verses are a perfect opportunity for him to showcase some of the sort of vocal style he utilised on the band's earlier albums. The chorus is pure power metal bombast however, and is a contrast to the moodier verses - with the band's older and newer sounds combining well for a powerful opening statement. Set the World on Fire acted as the album's first single, and is one of the album's most instantly-memorable pieces. Upbeat power metal is the name of the game here, with a soaring Hermsdörfer guitar lead dominating the crunching opening passage, before a somewhat low-key verse strips everything back somewhat to leave a simple drum pattern and a chugging rhythm. Anyone familiar with the singles that followed the band's previous couple of albums will find this tune to be very similar - although it possesses one of the best choruses in the band's catalogue in my opinion. The band have often crafted strong choruses, but this is one of their most heroic-sounding yet - with a crunching mid-paced rhythm and some extremely theatrical vocal melodies. Herbie Langhans (Seventh Avenue; Beyond the Bridge; Sinbreed; Voodoo Circle) adds some additional vocals throughout, his deeper voice complimenting Neuhauser's perfectly. Serenity have utilised guest vocalists before, and Langhans' adds his name to the list of the band's successful collaborations with his performance here. Keeper of the Knights is another heroic piece and, after a couple more crunching songs, it goes all-out to create a bombastic and powerful atmosphere. Hermsdörfer's guitar leads are once again very catchy, having a kinetic bounce to them, while the verses zip along at a nice pace with D'Amore's bass really chugging along. Another powerful chorus is contained within too, with Neuhauser once again proving why he is one of the best vocalists in the power metal world. He always seems to be able to craft a powerful vocal melody, and the chorus here is no different - with some slightly higher notes from him than is usual. Perhaps the best moment of the song however is Hermsdörfer's guitar solo, which is quite lengthy and filled with lots of fluid and melodic runs.

Souls and Sins is more of a mid-paced track, and one that certainly sees the band looking into their past. The murkiness of the band's earlier albums has largely been shed since the 2015 line-up changes, but this song is a proper look back to albums like Death & Legacy and 2008's Fallen Sanctuary. Those Kamelot comparisons that used to follow the band around during their early years rear their heads again here, with a heavier overall approach and a greater emphasis on gothic trappings. Hermsdörfer's riffs here are much heavier here than on many of the tracks on this album, and there are prominent keyboard melodies throughout that fit in nicely with the oppressive string backing. Neuhauser's vocal performance here is also somewhat more creepy than usual, with an emphasis placed on more deliberate phrasing and something of an emotional tug. There is far less of the pomp here than on the opening three songs - with more gothic melodrama that sees the band, temporarily, looking to the past. This somewhat heavier vibe also remains throughout My Kingdom Comes, a fast-paced anthemic piece with a soaring guitar opening and occasional Eastern-tinged flavours. The murkiness from the previous song remains here, but at times is turned up a notch and the track contains easily the album's heaviest moments. Parts of the verses feature harsh vocals from Hermsdörfer, who's riffs take on a much edgier tone to match his growls - before Neuhauser takes back over for another stunning chorus that is another contender for the album's best. It is full of irresistible melodies that pour from the speakers - with an extremely overt power metal sound that counters the heavier tones heard during other parts of the song. As a result the song is another favourite, and it is a song that is likely to become a live staple going forward. Queen of Avalon sheds the murk almost entirely, and instead presents possibly the most upbeat, and flowery song in the band's history. The opening folk-tinged guitar melodies are more akin to your average Twilight Force song than anything Serenity have done previously and, while the verses are somewhat heavier, there is an extremely fun vibe that continues throughout the track. The chorus is actually quite cheesy, again recalling Twilight Force, but it works in the context of the song with the band managing to pull it off. Neuhauser's voice is not used to singing melodies quite this uplifting and carefree - but he rises to the challenge and manages to make the sugary melodies sound convincing. It is a different kind of song for Serenity, but it works well and adds another side to the album. My Farewell is very different from Queen of Avalon, and acts as the album's ballad. It opens slowly with some sombre piano melodies, which Neuhauser sings atop, but soon opens out with the rest of the band joining in. It is a fairly slow-paced piece, with a very percussive feel and prominence given to the strings and the piano - with the guitars mostly just filling in the gaps. As far as ballads go, it is a decent effort - but I feel the band have produced better ones in the past. The vocal melodies are strong, but in my view the song lacks the emotional weight of some of the band's previous ballads - and I would have preferred the song to be a bit more stripped back, allowing the piano and strings to properly dominate.

After taking something of a backseat during My Farewell, Hermsdörfer and his guitar step back up to the plate throughout Down to Hell - with a great juddering opening riff and plenty of soaring, moody leads. If it was not for the harsh vocal-led sections during My Kingdom Comes, the main riff here would probably be seen as the album's heaviest moment. It has a great groove to it, and it really shows what Hermsdörfer brings to the band. Since he joined Serenity it is certainly fair to say that the band have become more guitar-centric, with his riffing a big part of the modern Serenity sound. He is all over this song, with the orchestral arrangements taking on much more of a supporting role here. Despite this heavier vibe, there are still plenty of strong melodies throughout - with a fast-paced chorus really taking hold. It seems that each song on this album is destined to have a memorable chorus, and it is this that really makes the album an easy and immediate listen. Many of the melodies here are true earworms, with the chorus being no exception even within the riffier confines of the song. Wings of Pride is another more overt power metal piece, with some Renaissance-esque clean guitar melodies opening the song - before a fast-paced drum beat kicks in and dancing orchestral arrangements surround everything. True old-school power metal seems to be somewhat in short supply these days, but this is an excellent example of it. Schipflinger barely lets up, laying into his drums to create the song's galloping rhythms, while soaring guitar leads and grand strings add sugary melodies in and around his assault. It is also fitting that the old-school power metal song has a great old-school power metal chorus, with lots of big harmony vocals to back up Neuhauser's grand melodies - which helps to create a huge sound. This, combined with the occasional outbreak of shredded lead guitar, makes for a real winning combination. The album comes to a close with Call to Arms, a dramatic piece with a big gothic choir and a heavy, chugging rhythm throughout. Those Kamelot vibes are present here once again, with the choir really recalling some of their more expressive moments - while the occasional twinkling piano-led sections provide a change of pace. This is another pretty heavy song in the context of the album, but there is also a lot of bombastic moments to be found - which is fitting as it closes the album out. Not wanting to be left out, the song also contains a winning chorus - which is enhanced by the use of the big choir to once again back up Neuhauser's vocal melodies. It is the sort of song that has had everything thrown at it, and everything seems to have stuck. It is a great closing number that combines a lot of the ideas found throughout the album together, and ensures that the album ends on a high. Overall, The Last Knight is another strong album from Serenity that might well be my favourite release of theirs since Death & Legacy. Despite the more concise sound utilised here, there is still an awful lot going on and it is an album that rewards repeated listens. It has a bit of the band's past and present included soundwise too, so anyone missing a bit of the old Serenity spark should find a lot to enjoy here.

The album was released on 31st January 2020 via Napalm Records. Below is the band's promotional video for Set the World on Fire.