| Musical Style: Hard Rock/Metal | Produced By: Lars Chriss |
| Record Label: Rivel | Country Of Origin: Sweden |
| Year Released: 2005 | Artist Website: |
| Tracks: 10 | Rating: 85% |
| Running Time: 43:26 |
Vocalist Christian Liljegren, at the time sporting the last name Rivel and better known for his four-album involvement with Swedish neo-classical melodic metal band Narnia, branched out in January of 2005 on Rivel Records with Audiovision and its full length debut The Calling. A side project as opposed to a full time band, Audiovision traces to the turn of the century material artist had in his possession that did not fit the mold of Narnia. Liljegren proceeded to reach out to guitarist Lars Chriss (Lion’s Share), who in addition to producing and co-writing the album helped recruit the musicians rounding out the Audiovision lineup: keyboardist Andreas Lindahl (Wuthering Heights), bassist Michael Hoglund and drummer Thomas Broman (both Tryckvåg).
Grounded on melodic metal and hard rock but integrating modern power metal overtones, Audiovision loosely falls within a ‘melodic power metal’ category fans of not just Narnia but other Liljegren fronted bands Wisdom Call, Golden Resurrection, The Waymaker and Flames Of Fire should be able to identify. Audiovision brings similar levels of musical acumen when factoring guest appearances from vocalists Mats Levén (Yngwie Malmsteen) and Jeff Scott Soto (Yngwie Malmsteen) and Axel Rudi Pell) in addition to guitarists Carl Grimmark (Narnia), Mattias Eklundh (Freak Kitchen) and Bruce Kulick (Kiss). When further factoring bassist Tony Franklin (Blue Murder), keyboardist Tommy Denander and narrator Eric Clayton (Saviour Machine), Audiovision rings true of an ‘all star’ project.
Album starts strongly to its acute title track. “The Calling” impresses as restive, contentious and focused - observing the front to back keyed-up guitar riffs - but also convincing, artists trademark soulful and earthy vocal deliver helps make the catchy hooks that much more prominently. Keyboards and Chriss’ high-strung lead guitar carry things instrumentally.
“The King Is Alive” ensues as a victorious anthem. It avows a similar arresting guitar accent, hulking riffs crunch in and out of the mix, along with an increased keyboard precedence ranging from symphonic to airy. The monarchial refrain realizes a borderline worshipful flair. Perhaps it is Grimmark’s stunning lead guitar work, but Narnia is a point of reference. Lyric snippet:
Feeling the unseen power
Lifting my hands to the sky
I just can't believe my eyes
My King was dead
But now He's alive
The King is alive!
The King is alive!
Just remember I will rise from the death
The King is alive!
Once for all, I'll set you free!
Speaking of which, Grimmark penned follow up cut “Evil Or Divine”. Do not expect, however, another Narnia style power metal rendering; rather song touches upon a flattering industrial flair as Lindah’s keyboards dance over a founding of juggernaut guitar. A moody affinity bespeaks when song decelerates, as Liljegren sings in wistful fashion and Höglund’s punchy bass pushes to the forefront. No guitar solo, but one is not necessary when factoring direction at hand.
“The Rock Of My Soul” revisits up-tempo power metal. Song divulges contrasting diversity: Brother Hubertus Liljegren bestows the ominous verse sections with backend growls, while a high-end falsetto precedes the surmounting refrain. Impression is a creative coalescing of the melodic and extreme, albeit not to quite the extent as artist’s heavier Divinefire project. Lyric snippet:
Heaven or Hell?
Love or Hate?
Sick or Well?
What can I say?
It's hard to find the middle link
Evil is up
All I was sink
It's time to see it's the day
And for it's too late
I identify with “Read Between The Lines” as a hard rock semi ballad. With Liljegren singing at his expansive best, song transitions between moderate moments innate to unshaken guitar and moody harmonies and others bursting in shattering fashion to enunciate of the unguarded. There is an eighties aspect here, revealed in Eklundh’s shredding lead guitar.
“Face To Face” returns to up-tempo territory. Song literally flies from the start, elevated with its unsettled concentration as explosive harmonies and lower register vocal melodies reinforce the barbed stance. Once more, the eighties feel cannot be denied pointing to Kulick’s consuming front to back licks and chops. Lyric snippet:
I have to go this way
And I know the road is tough
But I have to go through for my future dreams
I want to be free from this evil spell
Face to Face
With my enemies
Face to Face
Looking in their eyes
Face to Face
Caught between two worlds
“Show Me The Way” defines as albums heaviest, as rhythm guitar derives from traditional metal and Eklundh steals the show with his volcanic lead guitar. Broman shined equally in bestowing ample portions of double kick drum, lending to the forwardly focused acumen and boisterous hooks to command. This one finds Audiovision firing on all cylinders.
Six and half minute cover to Sweet’s “Love Is Like Oxygen (off Level Headed from 1978) proves a layered harmony driven masterpiece, aligning pop-based aesthetics with mirthful piano, crunchy guitar and delicate basis realizing albums picture perfect production. Liljegren forms a duet with hearty mid-ranged vocalist Jeff Scott Soto, while a wonderful extended jam style instrumental run finds complementary organ dueling with sizzling guitar leads. One of albums high points in which Audiovision brings a flattering up to date take on a classic.
“Hold Me” substantiates far-reaching melodic metal in the form of layered backing vocals, commercial vestiges but not to fault and electrifying guitar premise. A seventies classic rock aspect, however, realizes pointing to the periodic appearance of Hammond B3. Narration from Matthew 6:21 attributes to Clayton (Saviour Machine). There is more to Audiovision than ‘power metal’. Lyric snippet”
I have been running my race
Been fighting this mountain so long
The darkness is trying to drag me down
I have to be strong
Hold me, Lead me
I need Your love to survive
Hold me, Lead me
Without you I'm gonna die
For where your treasure is
There will your heart be also
Hence, instrumental closing cut “Colors”. What we have is not an all too brief filler instrumental to end the album but rather a well-conceived five-minute fusion based jam. “Colors” impresses of the relaxed and laid back as Chriss presents with is flawless guitar work - ranging from bluesy to jazzy to heavy rocking - over a footing of Franklin’s heightened bass. Keyboardist Linus Kase, whom would record the Flagship progressive rock Maiden Voyage debut with Liljegren later the same year, provides a gossamer side to the song.
Audiovision debut The Calling shines as a studio project with an all-star feel. Whereas loosely falling under a melodic power metal heading, it also navigates hard rock, melodic metal and instrumental territory. Liljegren as always performs vocally at a high level, as do cohorts Chriss, Lindahl, Höglund and Broman. Various guest performers prove no less adept. The Calling also proves musically consistent with a package of ten strong songs. Good news is the album is relatively easy to find, so no need to break the bank to find a copy. That said a vinyl release is long overdue.
Review by Andrew Rockwell
Track Listing: "The Calling" (3:27), "The King Is Alive" (4:21), "Evil Or Divine" (4:12), "The Rock Of My Soul" (3:58), "Read Between The Lines" (4:29), "Face To Face" (3:49), "Show Me The Way" (3:47), "Love Is Like Oxygen" (6:36), "Hold Me" (3:56), "Colors" (4:46)
Musicians
Christian Rivel - Lead Vocals
Lars Chriss - Guitars
Andreas Lindahl - Keyboards
Mikael Höglund - Bass
Thomas Broman - Drums
Additional Musicians
Mats Levén & Jeff Scott Soto - Lead Vocals
Hubertus Liljegren - Growling Vocals
Mattias Eklundh, Carl Johan Grimmark & Bruce Kulick - Guitars
Tony Franklin - Bass
Michael Andersson, Sampo Axelsson, Tommy Denander, Linus Kase, Mic Michaeli & Jorgen Schelander - Keyboards
Eric Clayton - Narration
