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| CDcame out the 16 June 2008 - Epic Records / Columbia Records |
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DISC 1
1. Dawn of Creation
2. Prophecy
3. Awakening
4. Revelations
5. The Four Horsemen
6. War
7. Sands of Time
8. Pestilence and Plague
9. Death
10. Peace
11. Conquest
12. Lost Love
13. Persecution
DISC 2
1. Solitude
2. Exiled
3. Alone
4. Shadows in the Flame
5. Visions
6. Hope
7. New Beginnings
8. Calm Before the Storm
9. Nostradamus
10. Future of Mankind
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| Review |
 15 / 20 |
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In 2008, Judas Priest released their first ever metal opera - a double disc LP named "Nostradamus". Part one of this opus centers on the poetic visions of the Seer. The focus of this project is lyrical. The music of the album, in true operatic form, provides backdrop, mood, and aid to this singular subject. The best song "War" is complete with an exceptional, apocalyptic-like drum sound and an equally assertive synthesizer. "Pestilence And Plague" and "Death" also benefit from this doomlike musical approach; they are even joined in the middle by the proverbial tolling bell. With the exception of only two fast tracks ("Pestilence And Death" and "Persecution"), the majority of the album is slow paced and slow played in order to keep attention to its lyrical output, sung admirably by the legend Rob Halford. To add, a number of songs serve as appetizers to the more meatier tracks that follow. They, too, are soft with the sole intention of continuing the storyline. Of those selections, "The Four Horsemen" is the most outstanding in enhancing the story as well as mood by way of medieval organ. Of course, the most impressive part of this project is finding spots for the dual lead guitar work of Tipton and Downing - no small feat considering that the historically fast duo are being paired up with a slow to mid-tempo score. "Pestilence And Plague" showcases their best offering with a most melodic trade off during that song's solo. "Prophecy" and "Revelations" also shows great soloing as well. Unfortunately, these parts are few and far between. Drums and synthwork dominate this landscape, and because this work is story driven, the music is secondary and unimpressive. Some riffs by today's standards would be considered stock, and the one ballad on "Nostradamus", "Lost Love", is quite cookie cutter complete with chymes and piano. To enjoy Judas Priest's "Notradamus" then, one would have to possess more than a passive interest in the subject than just merely being a fan of heavy metal.
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| Review |
15 / 20 |
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In 2008, Judas Priest released their first ever metal opera - a double disc LP named "Nostradamus". Part two of this opus focuses more on the personal history of the famed Seer. From a songwriting perspective, there is much more of a balance between the opera concept and the metal prowess that Judas Priest is known for. Wheareas the first part fuses these two genres within each track, part two confines the more operatic parts to the short interludes, while releasing more of the classic fury of Priest metal on the longer offerings. The result is quite successful. Hard and heavy, "Alone", "Nostradamus", and "Visions" are so complete by themselves, they could stand on their own as singles. The interludes, on the other hand ("Hope" invokes a most magical feel and "Solitude" provides excellent continuity) are better at fusing these heavy boulders of rock together. Make no mistake: this album never strays from the idea of an operatic concept. Synth sounds are plenty and dominant, drum tracks provide more of a mood than a beat, and Rob Halford truly takes the center stage belting out the dramatic progression from beginning to end. Tipton and Downing continue their more complimentary role in part two, but still flash thier claws when called upon. "Alone", "Nostradamus" and "Future Of Mankind" all feature their trademark harmonizing duets and soloing trade-offs. The two most exceptional tracks on Part Two may be the title song for best displaying the Metal Gods' mastery of their home genre, and "New Beginnings" - a very strong, balladesque piece wonderfully introduced by the afformentioned "Hope". Still, had both parts one and two equally contributed a strong symmetry between opera and metal, then the whole would indeed be as great as the sum of its parts. However, because it is such a long album, how much one likes it will depend entirely on how many of the tracks one would regard as exceptional. To be sure, the effort of Judas Priest's "Notradamus" cannot be denied. It is a highly commendable realization.
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