In 2017, and following a something of a hiatus, the Italian power metal band Labyrinth roared back onto the scene by releasing the excellent Architecture of a God (which I reviewed here) via fellow Italians Frontiers Records. Architecture of a God saw three of the band's classic line-up joined by three new faces, and the result was easily one of the band's best works to date. While it might be a cliché to say this, for me the Italian six-piece have never bettered 1998's excellent Return to Heaven Denied, an album which is seen as something of a underrated classic in the melodic metal world, but Architecture of a God came close. Both 2001's Sons of Thunder and 2010's Return to Heaven Denied - Part II: A Midnight Autumn's Dream were strong albums in the vein of their best release, but for me Architecture of a God came the closest to dethroning the band's 1998 classic. In many ways, Architecture of a God was a real statement of intent from the band - and also something of a solidifying effort following years of fluctuating line-ups and false starts. Frontman Roberto Tiranti, who had been out of the band for a couple of years, really showcased why he should be considered one of the genre's best vocalists with ageless display throughout the album; and the band's two founding guitarists, Andrea Cantarelli and Olaf Thörsen, built on the re-connection forged on Return to Heaven Denied - Part II: A Midnight Autumn's Dream to produce something rather special. Given Labyrinth's rather sporadic history, it was unclear where the band was going to go next, but luckily they stuck together and decided to build on what was achieved on Architecture of a God. The result of this sticking together is the band's latest, and ninth, album Welcome to the Absurd Circus, which was released last month. I was not sure where Labyrinth would take their sound after fully re-establishing themselves on Architecture of a God. Would they stick with what they know, or would they branch out somewhat? The answer is, perhaps paradoxically, a bit of both. Welcome to the Absurd Circus is certainly the Labyrinth that their fans know and love, but it is not just a re-mining of the Return to Heaven Denied formula once again. Lots of the band's core facets are still present, including their love of romantic melodies and atmosphere that only an Italian band can successfully pull off, but this album certainly feels somewhat heavier and more progressive than Architecture of a God. This seems partly driven by new drummer Matt Peruzzi (Shadows of Steel), the only new face this time around, who puts in a fantastically-varied performance throughout the album, but also from the riffing of Cantarelli and Thörsen. There are definite hints of the band's more progressive mid period, including their 2003 self-titled album here - but everything is still wrapped up perfectly in the band's infectious and warm trademark power metal sound.
The album showcases its heaviness, and new boy Peruzzi, right away. Opener The Absurd Circus kicks off with a furious drum roll before the first of many crunching riffs kicks in. The song is instantly more in-your-face than anything found on Architecture of a God, the weightier production really emphasising the bottom end, but the core Labyrinth sound is still very much intact. Oleg Smirnoff's fluid keyboard leads early on act as something of a contrast to the fast-paced riffing, while Tiranti's expressive vocals sound as good as ever. Due to the pace and relentlessness of the track, there is little of the band's romantic light and shade to be found here, but the song's chorus is packed with memorable vocal hooks that are sure to sink into the brain. In a slight contrast however, the album's first guitar solo is fairly low-key; as the song drops into a more atmospheric passage to allow a little light in among the shade. This solo section is quite lengthy, and later explodes back into the song's faster-paced riffing style, which allows both guitarists and Smirnoff to shine. Each adds plenty of melody into their playing, and the lengthy instrumental section really emphasises the progressive nature of the album - before a final rendition of the hooky chorus reinforces the band's love of a strong melody. Live Today is similar, but harks back to the band's classic sound in a bigger way. The fast pace and the dominance of keyboard melodies makes the song feel somewhat less heavy than the opening track, and it is clear that Labyrinth still have a lot in the tank when it comes to their classic late 1990s sound. The other thing that really allows this song to stand out are the constant shifts in tone. The best Labyrinth songs move between heavier sections and gentler, more atmospheric sections with ease - and that is exactly what this song does. The stand-out performer here is Tiranti, as the song really allows him to showcase his diverse voice. I love his full-tilt vocal style, but he is always well suited to the slower sections - his beautiful delivery packed full of emotion - before another explosive chorus mixes melody and speed with strong results. Of the opening three tracks however, it is One More Last Chance that impresses me the most. The song opens slowly with some dense clean guitar melodies and Tiranti's expressive, gentle delivery - but it is not long before the song moves through the gears. A Queensrÿche-esque guitar lead acts as a transition between the song's opening and the verses; with the latter being a real mid-paced groove-fest, driven by some inventive drumming. One More Last Chance is possibly the song here that really showcases what Peruzzi brings to the band. His precise, groove-based playing here is different to the usual endless double-bass patterns that characterises most power metal, and he really allows the song to showcase its natural power as the riffs lock into his playing. The aforementioned guitar lead forms the basis of the song's chorus - its deliberate pacing allowing an anthemic vocal melody to sit atop it in one of the album's most stadium-worthy moments. Combine these infectious grooves and melodies with perfectly-phrased guitar solos, and the result is one of my favourite Labyrinth tracks to date.
The album's opening three songs really showcase the best of what Labyrinth has to offer, both generally and on this album, but there is still plenty more to enjoy here. As Long as it Lasts showcases more of the band's core, romantic sound with a driving opening guitar riff that instantly dissipates into a gentle verse that pushes Smirnoff's keyboards to the fore. While his keyboard playing may not be as prominent here as it was on Architecture of a God, when he does get to shine he still manages to steal the show. His atmospheric textures throughout the album really help those classic Labyrinth moments to shine; and fluid solo style shows that he can more than keep up with Cantarelli and Thörsen. This is a less flashy song from an instrumental perspective however, but the slow-paced dual guitar lead that acts as a guitar solo fits the mood perfectly - before Smirnoff, appropriately, takes over with a lengthy, yet low-key, keyboard solo. Den of Snakes is heavier, and showcases some more of the band's more progressive side, but not before a slow-building opening an Iron Maiden-esque twin guitar lead inject some real melody into the piece. There is less of the obvious light and shade here, with the song instead using subtle changes of pace to keep thing interesting. Slower, heavier riffs sit perfectly alongside pacier sections to bring the best out of both modes - while a lone atmospheric spoken word mid-section provides the song's only clear break; which is short-lived as it soon explodes into a lengthy guitar solo section. Word's Minefield returns to the band's classic sound with a gentle intro that soon morphs into a strident verse section. While not as groove-based as the excellent One More Last Chance, this song certainly channels elements of it. Peruzzi's drumming is less complex here, which allows the riffs to shine, while Smirnoff's keyboard leads are much more present in the mix to allow his fluid melodies to really add to the song's overall atmosphere. It is another very memorable piece from a melody perspective, with another chorus that sticks in the brain courtesy of Tiranti's talent for concocting infectious and fluid vocal hooks. Occasional heavier sections punch through the mix to shake things up somewhat, but in many ways this is just the good, old-fashioned Labyrinth that fans have come to love over the past two decades. The Unexpected returns to the heaviness of The Absurd Circus however, and again mines that more progressive seam that has been given a new breath of life here. Peruzzi's drumming once again opens up the song with a fast flourish, before pacey riffs take over. There are occasional quieter moments here, but this is a song that mostly sticks to its heavier and faster roots - which allows everyone to really let their hair down. Labyrinth are rarely the heaviest of power metal bands, and I like that some of the songs here up the ante in this respect. There are riffs and solos being thrown all over the place during The Unexpected, and it is a track that those who love their power metal to be more hectic and furious will certainly enjoy.
Moving onto something completely different, Labyrinth have been known over the years for covering Italian synth-pop tracks - but here the band have shifted their focus to Britain by tackling Ultravox's 1984 chart-busting Dancing With Tears in My Eyes. Taken from Ultravox's seventh album Lament, Labyrinth's version is heavier and packed full of the band's classic sounds - and in fact I would not have known it was a cover if I was not already familiar with the original song. The band have morphed the song into a power metal classic, and it is packed full of the band's trademark romantic melodies and Peruzzi's fast-paced drumming. Die-hard Ultravox fans may find Labyrinth's take on their classic song hard to stomach, but I love it. The song's melodies are made for Tiranti to exploit, and the addition of shredding guitar and keyboard solos only enhances what was already there. It is one of the most well-realised covers that I have heard for a while, and it becomes an integral part of the album as a result. Sleepwalker returns to the heaviness of The Unexpected with a crunching opening rhythm and a pulsing, bass-led verse that allows Nik Mazzucconi some rare time in the spotlight. That being said however, the production here actually does allow the bass to be fairly prominent in the mix throughout - something that is rare in power metal. Mazzucconi's playing is what makes the album sound as tight and heavy as it does - but he is rarely in the spotlight. His prominence makes Sleepwalker stand out somewhat as a result, but there are still lots of classic Labyrinth hooks - as well as impressive, lengthy guitar solo. A Reason to Survive is a ballad, and it allows the band's romantic side to really come to the fore. While there have been plenty of moments throughout the album that showcase the band's more atmospheric side, A Reason to Survive is the only song that truly focuses on it. Labyrinth's more romantic side is what sets them apart from the wider power metal scene - even from fellow Italians such as the various Rhapsody incarnations - and A Reason to Survive allows this USP to shine. Smirnoff's keyboards create a perfect atmospheric backing, but it is Tiranti's vocals that shine here - his emotional delivery showcasing his raw talent as a singer. The song also acts as a short break before the heavy and powerful Finally Free - the album's closing statement. With the heavy The Absurd Circus in mind, Finally Free is a great bookend moment - ending the album on a similarly heavy and fast-paced note. There is still plenty of melody to be found here however, such as during the soaring chorus, and the mix of heaviness and melody make the song a perfect Labyrinth album closer. Surprisingly however, among all the bluster and melody, the song also features a bass solo - something which I was not expecting on my first listen to the album. It works well however, and Mazzucconi's fluid playing works well against the atmospheric keyboard backdrop - which soon segues into the final explosive chorus and a slow-paced closing section that fades out beautifully in classic Labyrinth fashion. In many ways, Finally Free perfectly sums up Welcome to the Absurd Circus as a whole. The album is another excellent release from the Italian band, and its variety for me places it above Architecture of a God in the band's rankings. Return to Heaven Denied will probably never to topped, but Welcome to the Absurd circus is a great album that showcases the band's classic sound mixed in with some heavier ideas - meaning that there are a lot of excellent songs on offer here throughout.
The album was released on 22nd January 2021 via Frontiers Records. Below is the band's promotional video for The Absurd Circus.
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