After all this time, there are still things to discover, and every track is a little masterpiece of musical art in itself. But, whenever they are in danger to stray too far from the path, Warrel Dane’s melodic vocals patch the instruments back together, before the vocal line itself speeds off to explore the kingdom of semitones. Nevermore showed their really complex side here, which at times seems a bit overburdened with details and is always very close to losing the coherence that holds a song together. What matters is the music, and the album has not lost any of its appeal over the years. Strange that sound problems happened to Nevermore again later with Enemies of Reality … This could be a point where all three could have been better.īut, something is different for The Politics Of Ecstasy: this is the album out of the three that benefits most from better sound quality, for one because the original sound was rather poor, and also because the songs are more complicated and contain so many details that this album needs to be treated like a good Progressive Rock album rather than a Thrash release, and originally the production staff failed to realize this and act accordingly. One thing that was said about the other two rereleases applies here too: the liner notes are two pages of background information about Nevermore in general rather than giving a lot of insight to the album or the songs. This is the third and - for the time being -– last album in a row of rereleases of Nevermore classics.
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