Dark Moor – Ancestral Romance

January 26, 2011 in Reviews by blackwindmetal

Dark Moor – Ancestral Romance (2010)

Reviewed by Daniel Millard

Dark Moor has been a constant presence in the scene of symphonic power metal for nigh on 20 years now, and while they haven’t had the greatest record for consistency, their persistence is to be admired. As a devotee of their brand of symphonic power metal (as opposed, perhaps, to Rhapsody), I’ve enjoyed every release at least moderately, if not much more so. Recently, they’ve been like a fine wine, getting considerably better with age after pulling out of their slight mid-era slump with the outstanding Tarot. With the release of Autumnal, my hope soared, as here was evidence of Dark Moor re-asserting itself as a real master of its genre, unafraid to experiment and take its ambitions to the next level.

The proof, friends, is right here. Dark Moor has released another landmark album that is on par with both of their previous releases in mixed terms of grandiose songwriting, fetching melodies, and downright symphonic indulgence. While similar in spirit to their last release, Autumnal, Ancestral Romance is a bit less chromatic and romantically styled. The sound is generally a bit more light-hearted and quirky, as opposed to the somber tone that the band infused its last album with. One thing they haven’t fixed is their lyrics. As any Dark Moor fan will resignedly tell you, the lyrics are penned only very tenuously in the English language. The pronunciation really isn’t too horrible, it’s just that phrases like “Love came to me, love for good, from the stone. With love, how could I be alone?” end up being somewhat incomprehensible or downright silly.

While I’m getting the bad out of the way, the song “Just Rock” has to be mentioned. This is awful. It’s insipid, banal, and ridiculous. All words that I generally don’t associate with power metal (and Dark Moor) at all. It’s like a substantially more orchestral Queen rose from the dead with a Spanish accent and backing choirs, trying to deliver an awful gospel of rock. Rock? Where’s my METAL??

Enough! The rest of Ancestral Romance is a colorful spread of tunes that are predominantly inspired by Spanish history. “Gadir” kickstarts the album with a monstrously memorable chorus and a tale of the oldest city in Europe. “Love From the Stone” is technically the single off of this album, a love song that is catchy and tuneful, and possibly the best straight ballad that the band has to offer. The album hits a dark note with “Alaric De Marnac”, the tale of a nocturnal serial killer, before stepping up to the mighty “Mio Cid”. Skipping over the aforementioned garbage, we arrive at the strange and lackadaisical “Tilt at Windmills”, which is a very relaxed and humorous track. I can almost see Don Quixote charging them with a ridiculous smile plastered on his face and a heroic song in his heart. The remainder of the album continues with the energetic and stellar “Cancion Del Pirata” (possibly the best song that the band has ever penned), the whimsical instrumental “Ritual Fire Dance”, the quick and philosophical “Ah! Wretched Me”, and finally, the second remarkable ballad on the album, “A Music in My Soul”.

Alfred Romero is perhaps the best that he’s ever been on Ancestral Romance. From a husky, sensitive whisper of a voice at the end of “Mio Cid” and “A Music in My Soul”, to a rising, triumphant tenor in “Galdir” and “Cancion Del Pirata”, he is absolutely spectacular. Romero and Dark Moor are almost singlehandedly responsible for my love for power metal when sung in Spanish. I’ve grown to appreciate just how smooth, flowing, and beautiful the language is, and find myself just waiting for the sections or songs that are written solely in Spanish. “Cancion Del Pirata” and the final chorus of “Mio Cid” are prime examples of this.

Dark Moor’s bombastic use of strings, brass, and choirs is here in full force, but unlike some of Autumnal, they come along with the rapid double bass and fiery guitar licks that I’ve grown so fond of. The harpsichord-emulating keyboard that has been in and out of Dark Moor’s music since The Hall Of The Olden Dreams has made a return, and some parts of this new work feel like a throwback to the band’s early glory days with Elisa Martin. They maintain their supreme musical (if not lyrical) talent for storytelling, and an emotional conveyance that I simply find most other artists incapable of matching.

Ultimately, despite its typical struggles with English and one BAD track, Dark Moor does indeed deliver another exceptional entry into its passionate neoclassical repertoire. I would even go so far as to say that Ancestral Romance may be the best Dark Moor album since The Gates Of Oblivion. To Dark Moor: cheers to another solid piece of work that you should be proud to have your name on, but don’t you ever write another song like “Just Rock” again.

4.5 // 5