Dynazty
Titanic Mass
Spinefarm Records
2016
Without much ado, Dynazty proceed after the game changing “Renatus” with the release of another album, their fifth this time, entitled “Titanic Mass” that is already out.
Them Swedes are a little idiosyncratic when it comes to their sound as they barely have two albums that sound the same, starting out as a sleazoid sort of rock band, to progressively go from a Heat-sound-a-like into a premiere power metal with teeth band on “Renatus” that now adds a lot of symphonic arrangements to the game, without this time changing the genre altogether. What’s enabled them to be so able to switch between genres is the monster of a vocalist that Nils Molin is, who has both a great range but also a very interesting timbre that’s clean but he’s able to coarse into a rather dramatic and melodic direction, with the right amount of grit as to sound manly and not wimpy. What can I say Dynasty are just lucky to have a guy like him behind the mic without that meaning that the rest of the band is any less dynamic or capable.
“Titanic Mass” sounds like “Renatus” on steroids and while that on paper sounds great, it probably a little underwhelming in its effort to top the previous effort. The band has compressed the hell out of this, which makes the band pretty antagonistic to the vocals, not that Molin has any trouble to come on top, but I would have liked the rhythm section a little lower in the mix and not as fist tight, a little more lose because the bass sort of makes things a little muddier than I would expect. it’s funny how Peter Tagtgren (Sabaton, Pain, Dimmu Borgir, Lindemann, etc.), who’s still responsible for their productions hasn’t managed a somewhat “cleaner” sound… it’s just a touch too modern sounding, for the style, but not to the point where it’s compromising the album, just a little off to keep it from being the best it could be.
Opener “The Human Paradox”, which is a single and video, is a double bass rousing anthem that is trying too hard to be another “Cross the Line” and almost gets away with it… it’s got the trademarks of the band’s sound, but sounds more grandiose at the same time, which distracts a bit from the song itself, especially with the percussion etc. being way too upfront.
“Untamer of Your Soul” pushes the pedal decidedly to the metal, based on a chunky riff… and is OK, I guess, since Molin manages to pull off a rather impressive and high chorus at a hundred miles an hour, almost… fitting solo, too, I guess...
“Roar of the Underdog” is similar and would have failed to impress if it wasn’t for Molin sounding glorious on the chorus and quite quirky on the ensuing verses.
“Titanic Mass” is much heavier and based on a phat riff that builds and contrasts nicely with the somewhat predictable but screaming (literally) chorus making it quite impressive and quite an improvement on the couple of songs preceding it, with the extra orchestration here, becoming audible, as the band leaves enough “space” to the song to “happen”.
“Keys to Paradise” without differentiating the style greatly is probably taking a couple of steps away from power metal and closer to melodic hard rock, but still has an uplifting chorus that’s harder edged than the rest of it.
“I Want to Live Forever” is slower and more majestic, with a great chorus which is big and sweeping. Quite Majestic number.
“The Beast Inside” is more primal, but not entirely savage, despite being more basic.
Equally extreme and acidic “Break into the Wild”, is quite vitriolic, when the chorus comes around, but fails to be that interesting during the verses.
“Crack in the Shell” manages to get the balance a bit better, both chunky and chugging, but also melodic during the chorus and in possession of a rather nice bridge as well.
“Free Man’s Anthem” does struggle again temporarily during the verses, but manages a Stratovarius of old, worthy chorus… well with better vocals, obviously.
Last but certainly not least, “The Smoking Gun” is a slower song, a bit of a ballad that has some more powerful moments, but manages to give a more lyrical tone and provide some closure at the albums close.
“Titanic Mass” doesn’t manage to impress as much as “Renatus” but comes pretty damn close. If you liked that album, it’s likely that this one will be a no brainer as well. It was always gonna be a tough one to follow, but Dynazty are quite resilient and have proven that they’re able at the very least to closely match their own moment of glory… almost.
Them Swedes are a little idiosyncratic when it comes to their sound as they barely have two albums that sound the same, starting out as a sleazoid sort of rock band, to progressively go from a Heat-sound-a-like into a premiere power metal with teeth band on “Renatus” that now adds a lot of symphonic arrangements to the game, without this time changing the genre altogether. What’s enabled them to be so able to switch between genres is the monster of a vocalist that Nils Molin is, who has both a great range but also a very interesting timbre that’s clean but he’s able to coarse into a rather dramatic and melodic direction, with the right amount of grit as to sound manly and not wimpy. What can I say Dynasty are just lucky to have a guy like him behind the mic without that meaning that the rest of the band is any less dynamic or capable.
“Titanic Mass” sounds like “Renatus” on steroids and while that on paper sounds great, it probably a little underwhelming in its effort to top the previous effort. The band has compressed the hell out of this, which makes the band pretty antagonistic to the vocals, not that Molin has any trouble to come on top, but I would have liked the rhythm section a little lower in the mix and not as fist tight, a little more lose because the bass sort of makes things a little muddier than I would expect. it’s funny how Peter Tagtgren (Sabaton, Pain, Dimmu Borgir, Lindemann, etc.), who’s still responsible for their productions hasn’t managed a somewhat “cleaner” sound… it’s just a touch too modern sounding, for the style, but not to the point where it’s compromising the album, just a little off to keep it from being the best it could be.
Opener “The Human Paradox”, which is a single and video, is a double bass rousing anthem that is trying too hard to be another “Cross the Line” and almost gets away with it… it’s got the trademarks of the band’s sound, but sounds more grandiose at the same time, which distracts a bit from the song itself, especially with the percussion etc. being way too upfront.
“Untamer of Your Soul” pushes the pedal decidedly to the metal, based on a chunky riff… and is OK, I guess, since Molin manages to pull off a rather impressive and high chorus at a hundred miles an hour, almost… fitting solo, too, I guess...
“Roar of the Underdog” is similar and would have failed to impress if it wasn’t for Molin sounding glorious on the chorus and quite quirky on the ensuing verses.
“Titanic Mass” is much heavier and based on a phat riff that builds and contrasts nicely with the somewhat predictable but screaming (literally) chorus making it quite impressive and quite an improvement on the couple of songs preceding it, with the extra orchestration here, becoming audible, as the band leaves enough “space” to the song to “happen”.
“Keys to Paradise” without differentiating the style greatly is probably taking a couple of steps away from power metal and closer to melodic hard rock, but still has an uplifting chorus that’s harder edged than the rest of it.
“I Want to Live Forever” is slower and more majestic, with a great chorus which is big and sweeping. Quite Majestic number.
“The Beast Inside” is more primal, but not entirely savage, despite being more basic.
Equally extreme and acidic “Break into the Wild”, is quite vitriolic, when the chorus comes around, but fails to be that interesting during the verses.
“Crack in the Shell” manages to get the balance a bit better, both chunky and chugging, but also melodic during the chorus and in possession of a rather nice bridge as well.
“Free Man’s Anthem” does struggle again temporarily during the verses, but manages a Stratovarius of old, worthy chorus… well with better vocals, obviously.
Last but certainly not least, “The Smoking Gun” is a slower song, a bit of a ballad that has some more powerful moments, but manages to give a more lyrical tone and provide some closure at the albums close.
“Titanic Mass” doesn’t manage to impress as much as “Renatus” but comes pretty damn close. If you liked that album, it’s likely that this one will be a no brainer as well. It was always gonna be a tough one to follow, but Dynazty are quite resilient and have proven that they’re able at the very least to closely match their own moment of glory… almost.