NOSTRADAMEUS – Illusion’s Parade

NOSTRADAMEUS - Illusion's Parade
  • 7.5/10
    NOSTRADAMEUS - Illusion's Parade - 7.5/10


AFM Records
Release date: November 13, 2009

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Right after the release of Nostradameus’ tough album of Hellbound, the guys decided to take their music to the next level of intensity and feel. Their EU only Power Metal hammer days turned to dust as they became heavier and intense and took a step that merged their style with both EU and American elements. Moreover, their lyrical approach turned a bit murky and concentrated on rather serious matters of a personal nature. The verification can be found on their earlier album, and Hellbound’s follower, Pathways from 2007.

In 2009, Nostradameus intended to create yet another milestone on their road with a fifth album, Illusion’s Parade, which even more intensified their means of aggression, yet to the levels of Power/Thrash/Heavy Metal on its older and modernized attributes. Tougher as it came out to be, the Swedish onslaught was not able to produce a release that will show that their intensity was worth working for because as it is the new album, judging by its quality (both production wise and material), is far beyond the two previous creations.

With all the familiarity of the band with their early releases, it is very hard to comprehend on why the production on Illusion’s Parade, on its full potential and positive qualities, lacked the final review by the crew of Roasting House Studios. Overall, the production made is driving with the likelihood of no place for mistakes – this one is evil and bad. Nevertheless, what about the mastering (and in some spots the mixing)? The inconsistencies are just killing sometimes because this is about very solid material and the production crew, without reviewing the entire job top to bottom, made efforts that were just not enough to receive the full treatment from this number. It just cannot be that while hearing this album on your speakers, it will sound better than on headphones. When tuning to the headphones, one will be able to hear that there are places with total chaos of mixed channels that top each other. The result from those occurrences is not a total noise outbreak, yet, it is hard to fully enjoy what Nostradameus have to offer, and they always had something to offer.

Another good example, and maybe a critical one, is the fight of the band’s vocalist (Freddy Persson) to be heard on the songs. In more than enough areas Persson’s main vocal channel (not considering the backup vocal channels that are rather strong), seems to be weaker because the blistering guitars kill his effort. It is a shame that this very talented guy, with a tough voice both on clean and growl, has to be placed behind.

Don’t take this the wrong way, the crew of Roasting House, with their strong monitors, did a splendid job on the instruments. There are the guitars, which are more powerful than anything else, even over the drums in several places (another fault on its own), with their cutting edges and the majority of the melodies and quality solos. However, a producer just cannot shadow a vocalist out and furthermore; one should keep a sharp eye out for inconsistencies with the production for the reason that it should be heard as a perfect flowing line through all receivers and through the whole material.

Coming to the material on Illusion’s Parade, a new impression was created that was different in the past. Whether something happened or not, Nostradameus lost something on their way of becoming the beast they are today. Their tracks have their great moments of convolution and melodic scenery, yet, they are not that exciting on the bottom line. There are a few points, which can be considered as fair highlights as on “Walk Of Pain”, “Art Of Deception”, the long distance construct of “Broken Soul”, “Nothing” and the “no rest for heaviness” of “Armageddon Forever”.

Illusion’s Parade, as the band progressed itself, has what albums, such as When Eden Burns of Persuader, has to offer and that aggression is one of the big three old sub-genres of Metal filled with modern elements.


  • Lior Stein

    Lior was a reviewer, DJ and host for our Thrash Metal segment called Terror Zone, based out of Haifa, Israel. He attributes his love of Metal to his father, who got him into bands like Deep Purple, Rainbow, Boston, and Queen. When he was in junior high he got his first Iron Maiden CD, The Number Of The Beast. That's how he started his own collection of albums. Also, he's the guitarist, vocalist and founder of the Thrash Metal band Switchblade. Most of his musical influences come from Metal Church, Vicious Rumors, Overkill, and Annihilator.

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