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Reviewed by: Daniel Millard

Probably the most criminally unknown and undersung member of the Swedish power metal host, Crystal Eyes has remained remarkably consistent throughout its career despite rotating lead singers and generally being overshadowed by its countrymen. Rarely a particularly fast or heavy band, Crystal Eyes has based its formula instead upon a heavy/power metal mashup featuring prominent guitar leads, superior storytelling lyricism, and a knack for easy, lasting melodies that are among the best in the business.

World Of Black And Silver (1999)

The product of half a decade in the Swedish metal underground, World Of Black And Silver is a long-simmered pot of the band’s early tunes. Surprisingly varied for a debut in this field, World Of Black And Silver has a very raw aspect to it that comes out in both the artwork and production. Imagine power metal with the production of a raw black metal album, and you’ve got the idea.

In Silence They March (2000)

Similar in spirit and songwriting to the band’s debut, In Silence They March ups the ante by improving the production (but not a lot) and consistency of the band’s songs.

Vengeance Descending (2003)

The crown jewel of Crystal Eyes’ early career, Mikael Dahl introduces Daniel Heiman as a guest, improves album production yet again, throws more angst into the music than before, and starts to lean further towards heavy metal than power.

Confessions Of The Maker (2005)

The mighty Daniel Heiman joins Crystal Eyes for a one-shot infusion of his powerful voice into the band’s continuously evolving balance of heavy metal with its power metal roots.

Dead City Dreaming (2006)

Søren Nico Adamsen joins Crystal Eyes as its new lead vocalist, and guitarist Jonathan Nyberg departs. The result is a rather straightforward but highly enjoyable rock-infused heavy/power romp.

Chained (2008)

Adamsen’s second outing with Crystal Eyes. Similar to Dead City Dreaming in most respects, but with a bit more variety and even better developed vocal talent.

Killer (2014)

Dahl makes a triumphant return to vocals on a “modern throwback” sort of album that adds a bit more power than witnessed on the last couple of albums. The beginning of a new era? Time will tell.

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