With the release of DARK MOOR's sixth album, "Tarot," we can do a bit of math and compile some curious statistics. Eight years of existence: the first half, from 1999 to 2003, yielded three albums with Elisa Martin behind the microphone stand; from 2003 to 2007, the next three albums featured Alfred Romero on vocals. The natural conclusion about upcoming lineup changes practically writes itself — though I very much hope that doesn't happen, as the musicians have reached a very high level.
The Italians, meanwhile, invite us to cast aside all mathematical and logical analysis and entrust our fate to the Tarot cards, which form the lyrical concept of the new album. Each song tells the story of one of the cards and explains all the secrets and meanings surrounding it. In the booklet, next to each song's lyrics, there is a visual depiction of the card's main figure. For example, if it's "Death," you'll see a skeleton with a scythe; if it's "Lovers," there's Cupid with a bow, and so on.
As for the music itself, I had already begun noticing on the previous album that DARK MOOR are much more successful with compositions where the symphonic and epic elements are kept to a minimum. My suspicions were confirmed on "Tarot." As much as the simple but sincere "The Star," "Lovers," and "The Hanged Man" resonate with your soul, songs like "The Emperor" with its RHAPSODY-scale bombast, the seven-minute epic "Devil In The Tower" with its unnecessary and pointless multi-layered vocals, and "Moon" with its massive borrowings from classical music provoke mild irritation. The exception is the album opener "The Chariot," a catchy, memorable rocker with a choral chorus (CD-Maximum, as they often do, included a music video for this track on the disc, which will naturally delight all owners of this edition). As has become fashionable in modern power metal, many songs feature growling and female backing vocals in varying doses; unfortunately, I couldn't find any information in the booklet about who was responsible for them.
To sum up: DARK MOOR have confirmed their standing as one of the best sympho-power bands on the European scene, and Alfred Romero's vocals have definitively overshadowed Elisa's past achievements. But personally, I would like to see fewer excessive, worn-out symphonic "bells and whistles" and more down-to-earth yet sincere compositions — that's what the Italians do best.