Stratovarius' 'Survive' - Album Review

There are few bands who can claim to have been at the coalface, so to speak, when power metal as a genre was being formed in the mid to late 1980s. Helloween and Blind Guardian spring to mind as a couple of the genre's first big hitters - but perhaps the band that truly cemented the fast-paced and neo-classical sound that the European strain of power metal would often exhibit is Finland's Stratovarius. The band can trace their heritage back to 1984, but it was not until 1989 when they truly debuted with the release of their first album Fright Night. The band have had a long, and sometimes tumultuous, history, but have overcome all obstacles and have released a lot of great music along the way. Albums like 1996's Episode, 1997's Visions, and 1998's Destiny are all genuine power metal classics, and much of what came later in the genre owed a lot to this trilogy of Stratovarius releases. Whilst the band had released decent albums prior to Episode, particularly 1995's Fourth Dimension, it was the 1996 effort where the Stratovarius sound was arguably truly solidified. It was the first with the band's current keyboardist Jens Johansson - and his neo-classical duels with then-bandleader and guitarist Timo Tolkki took Stratovarius to the next level. This shredding duo, plus frontman Timo Kotipelto (who joined the band in 1994 when Tolkki decided to step back from singing), are responsible for some of power metal's most exciting moments - and the band are legends of the genre for this reason. The Stratovarius of today is a bit of a different beast, though, but they are no less powerful. Tolkki's departure in 2008 left the band without anyone who could claim to be an original member - although, in truth, Tolkki was not a founding member of the band and Stratovarius had actually been without a truly original member since founding drummer Tuomo Lassila's departure in 1995 - but Kotipelto and Johansson soldiered on, brining guitarist Matias Kupiainen on board. Since Kupiainen's appointment, Stratovarius has been going through something of a renaissance - following a handful of weaker releases at the end of the Tolkki era. They were also, for a while, extremely prolific. 2009's Polaris, 2011's Elysium, 2013's Nemesis (which I reviewed here), and 2015's Eternal (which I also reviewed here) came thick and fast, and are all very enjoyable albums - particularly Polaris and Nemesis. It seems, though, that releasing four albums in seven years rather ran the creative well dry - as the band had not released anything new since Eternal until a couple of months ago when Stratovarius released their sixteenth studio album Survive - their first in seven years. For me Eternal was easily the weakest of the band's recent run, so taking a bit of a break from writing was probably wise. I was always looking forward for what was to come next, though, and Survive sees the band back in form. It is the third album with the current line-up, and it could well be the heaviest thing that Stratovarius have ever done. The riffing throughout is much chunkier than usual, and there is a real urgency to the songwriting here - which, in my view, shines a bit of a different light onto the band's well-established sound.

Produced by Kupiainen, Survive is more riff and groove-focused than is typical for Stratovarius - but the band's melodic and upbeat sound is still very much intact. It is also more of a collaborative album from a songwriting perspective, with Kotipelto, Kupiainen, and Johansson generally credited with writing the material here - alongside collaborator Jani Liimatainen (Sonata Arctica; Altaria; Cain's Offering; The Dark Element; Insomnium). The 11-track album opens with its title track, which does not stand on ceremony at all. There is no swirling power metal scene-setter here, and following a count-in from drummer Rolf Pilve a snappy guitar riff kicks in that would not sound out of place on a melodic death metal album. The title track is one of the hardest-driving pieces here, but it soon starts to become recognisable as Stratovarius when Johansson's keyboards join the fray - adding a melodic halo around the riffing. Anyone worrying that the band have abandoned their usual approach hooks should fear not, though, as the songs are still very catchy despite the heaviness. Kotipelto still possesses a great voice, and his approach throughout the album is as anthemic as ever. He might not quite have the upper range that he used to, but his overall tone is the same - and the heavier sound allows him to operate more in his middle register, which probably brings the best out his current talents. The chorus here is as hooky as ever, with some anthemic wordless vocal refrains that will no doubt go down well live - whilst Kupiainen's solo is packed full of melody, although perhaps has more of a modern edge than Stratovarius' historic sound. Demand follows, and the song is more of a strident mid-paced rocker. Pilve generally stays away from his double bass drums here, with the track instead having more of a classic rock strut. The chorus is classic Stratovarius though, with lots of vocal harmonies and hooks, whilst the main guitar lead is doubled by Johansson's keyboards for some 1980s throwback harmonies. Considering that the drumming here is generally less busy, Pilve still manages to impress with a great fill-led pre-chorus section - whilst his groove-based approach elsewhere allows the song to retain its heaviness despite the throwback arrangement. Guitar and keyboard solos do up the pace somewhat, though, and the track is full of excitement and hooks as a result. Broken opens with a strange-sounding guitar and drum pattern, establishing an off-kilter groove, which Johansson then adds to with some floaty keyboard leads. This pattern essentially forms the basis for parts of the verse, which sway thanks to this tech metal-esque riffing, although this more modern approach to groove is not retained throughout the whole song - as a snappier drum beat kicks in as the chorus looms, which then explodes in trademark and cinematic fashion. There are lots of strong choruses throughout the album, but Broken's is one of the biggest thanks to the wall of synths that back Kotipelto's strident vocal delivery - and there is a slight symphonic feel throughout as a result.

With the first three songs here adopting a heavier sound, Firefly returns to something more traditional in style for Stratovarius - and the track is a snappy power metal anthem that is very typical of the sound that the band have used on their other recent releases. The overt heaviness is paired back somewhat here, and Johansson's keyboards are pushed to the fore. His synths really dominate, and some of the melodies that he lays down during the upbeat choruses add a real joyous feel to the piece. It recalls some of the more modern-sounding synths that he experimented with on Nemesis, and this is a track that could have easily sat on the 2013 album as a result. Kupiainen is less busy here, and his riffing generally provides a rhythmic backing to the piece - although a few choice leads allow the throwback power metal sound employed here to really take hold. We Are Not Alone ups the heaviness again, somewhat, and sits somewhere between the riffy nature of the opening trio and Firefly. It is the only song here co-written by bassist Lauri Porra, who has become a handy secondary songwriter for the band since his 2005 appointment, and the song is reminiscent of his other recent efforts - with a hard-driving mid-paced sound and a real focus on hooks. The verses are more stripped back than is generally typical, which allows the bass to shine, whilst the chorus soars thanks to some excellent vocal hooks and an arrangement that allows them to dominate. This song is perhaps less busy arrangement-wise than many of the others here - and that allows the hooks to really jump out. Kupiainen's guitar solo is less shred-happy, too, which really makes every note count - whilst a recurring keyboard hook ties everything together. Frozen in Time is similar in the fact that it is generally a mid-paced rocker with a sparser arrangement, but it ups the heaviness again somewhat to allow for a crunchier overall sound. The keyboards are generally less prominent this time, although they are always there providing an atmospheric depth, whilst the guitars really cut through the mix. The riffing is generally pretty straight forward, but this just allows the rhythms to dominate - and the strident mid-paced feel allows for some great fists-in-the-air moments. Kotipelto really shines here, and his vocal performance throughout is one of the album's best in my opinion. He generally sings at the upper end of his register here, which shows that he can still do so when required. This gives the song a bit of an old-school sound, and the chorus hooks here recall some of the more majestic songs of the band's past.

World on Fire ups the pace again, the the heaviness from the album's opening trio returns - although the balance between the guitars and the keyboards is more finely struck here. Kupiainen's guitars add plenty of crunch, whilst Porra's bass is higher in the mix than is typical to add real depth. They create some great headbanging riffs here, but the main melodic focus, despite the heaviness, comes from Johansson's keyboards. There are a few old-school keyboard leads throughout the song, whilst other moments are quite synth heavy that again recall the sound of 2013's Nemesis. The chorus is another that goes for a more cinematic sound, too, and there is again a bit of a symphonic edge. It is another of the album's best choruses as a result, and I can see the song becoming a live favourite thanks to the big riffing throughout and its stadium-ready hooks. For those missing the really fast-paced, neo-classical Stratovarius of the mid-1990s, Glory Days should turn heads. The opening riff is snappy and very Tolkki-esque, with Kupiainen even thinning his guitar tone for the occasion, and the song generally moves forward at a break-neck pace. Pilve lays into his drums throughout the song, whilst Kotipelto pushes himself vocally with a higher-pitched delivery at times - again recalling the band's golden period. Perhaps the song's title is a reference to this period of the band's history, but if it is not then the coincidence is uncanny. I really like the modern Stratovarius sound, but this look to their past is welcome. The interplay between Kupiaien's guitar and Johansson's keyboards is suitably old-school, too. There are lots of little dual leads here, and the guitar solo is shreddy and fast-paced. Breakaway then slows the pace down, at least early on. The album does not really have a true ballad, but Breakaway is the closest thing to one - as it opens with acoustic guitar melodies and some gentle vocals from Kotipelto. Following the fast-paced previous song, this brief moment of calm is welcome - but it does not last. The song soon kicks in properly, and it morphs into a lush, mid-paced rocker with a cinematic scope. It does not really feel like a ballad after this point, but it never becomes an out-and-out power metal track either. It still feels like a change of pace, though, and it allows for a bit of a rest from the heaviness. The chorus still soars, though, thanks to a great keyboard arrangement - and the slower-paced guitar solo from Kupiainen showcases a different side to his playing.

Before the Fall speeds things up again, and the song returns to a pace similar to that of Glory Days - but the track generally feels more modern. Kupiainen's riffing returns to something akin to that melodic death metal style referenced earlier, and the keyboards generally take a backseat. The verses feel furious as a result, but the smooth vocals allow a melodic edge to be retained - whilst the chorus is more typical in sound thanks to a bigger keyboard presence and a more epic arrangement. That being said, though, I do like the heavier sound that the song goes for. It is perhaps not as heavy as the title track, but the riffing is similar - and the verses are structured in a way that really shows it off. The instrumental mid-section is great, too, with Johansson laying down a lengthy keyboard solo - before Kupiainen takes over. The album then comes to a close with the 11 minute-plus Voice of Thunder. Stratovarius have often included a longer, more progressive piece on their albums in the past - and this is another strong effort in that category. It opens slowly, with some gentle acoustic guitar melodies and some folky vocal lines - but this is the calm before the storm, as once the song kicks in properly it morphs into a strident mid-paced rocker with some more heavy guitar riffs that are off-set by the occasional keyboard flourish. The keyboards are not always prominent, though, and away from these leads they again generally take a backseat. They come out for the choruses, though, which are more cinematic in scope, but the verses here are crunchy with a strong guitar presence and a pulsing drum groove. Given the song's length, the band allow themselves to stretch out a bit more. It is not as progressive in arrangement as some of the band's other longer songs, but ideas are given a bit more of a chance to flourish - which is welcome. Each riff is given more of a chance to shine, and there are some longer instrumental sections that focus on guitar and keyboard leads - allowing the instrumental prowess of the band to cut through. If anything, that is what the closing song achieves the most - as it is a piece that just allows everyone a bit more time in the spotlight. It closes the album out in an epic and heavy way, and it brings together many of the album's ideas in one larger whole. The album ends on a high as a result, but there are no truly weak moments here. For me, Survive is one of the strongest albums of the band's recent run - and is certainly up there with Polaris and Nemesis in terms of quality and songwriting. I hope that the album kick-starts a new era of creativity for the band following the seven-year gap between albums, as for me Stratovarius still have a lot to offer the power metal scene.

The album was released on 23rd September 2023 via earMusic. Below is the band's promotional video for World on Fire.