Special report by Mark Gromen

A listening session was held in Cologne for the upcoming Frontiers collaboration with former HELLOWEEN vocalist Michael Kiske and operatic singer Amanda Somerville, whose talents can be heard alongside the likes of EPICA, KAMELOT and AFTER FOREVER. The now bald-headed Kiske fondly remembered the '80s Helloween tour stop in Toronto, where he was under the weather and even though the Germans played an abbreviated set, they completely sold out of all their merchandise. Although the eleven proper (and 'Set A Fire' bonus) see Somerville and Kiske singing lovey dovey/heartbreak lyrics to one another, they are NOT an item. She is currently with former After Forever guitarist Sander Gommans, who appears on the star-studded platter, alongside PRIMAL FEAR's bassist Mat Sinner (who wrote many of the tracks, as well as produced) and guitarist Magnus Karlsson. Targeting the female fronted metal crowd, this is sort of a transitional, or gateway, album for rock and metal guys to get their girlfriends hooked on heavier sounds.

Kiske/Somerville will release their debut album on September 24th in Europe and the October 12th in North America. Before the release of the album, the single 'Silence' will be out on August 20th.

A track-by-track overview of the album can be read below:

'Nothing Left To Say' - Rollicking opener starts with only guitar riffs, into double bass drumming. You can tell Sinner was involved in the construction of this one, apart from the "Silence of fear" lyric! Basically Kiske on vocals for this, the heaviest metallic moment.

'Silence' - One of two already shot (and aired during the evening) videos (see below). Keyboards and synthesized strings introduce this more epic attempt at recreating NIGHTWISH. More of an actual vocal duet. As a sidebar, interesting that there were more female journalists present at the listening session. Piano is the main instrument throughout, with a reprise of the keys-strings intro after the second verse. "Where and now, when silence says more than words. Here and now as I walk the boulevard of broken dreams."

'If I Had A Wish' - Upbeat again, slightly metalized. Think 'Dr. Stein' without the idiosyncrasies. Rocking video (wish Michael would have invested in a second outfit though!). Although virtually alternate every other line, chorus features only Kiske. "As far as the eye can see, you've been so far lost to me, If I had one more wish, I don't know which way to go. My heart says yes, but my mind says no."

'Arise' - Heavier, twisted melody to open, but quickly gives way to mid-tempo verse which dominates rest of track. "Arise, hear the child in you. The wind's in your face." Again vary vocalists frequently. Dropped tuning sludge after the chorus (?). An odd mish-mash of styles, but in the best moments, reminiscent of mid-tempo Heart.

'End Of The Road' - Twinkling ivories gives rise to big production: keys, orchestral, sound effects, chant. All are stripped away to reveal Somerville, alone with piano. Castanets accent this predominately femme lead ballad. "How can I be wrong? How can we go on calling? It just hurts so much. If you catch my fall, I'm drowning in a sea of tears." That final line would make a good alternative title for said song.

'Don't Walk Away' - Sort of late '70s/early '80s American AOR melody (JOURNEY, TOTO, JOHN WAITE etc.) Vocalists are more together, than separate. "There will be rain after sunshine. There's no spark without flame. I will be there for you. Please don't walk away."

'A Thousand Suns' - Ballady start with Amanda. The first real cooing track. Short Spanish guitar flourish comes out of nowhere. "Burn me down with the power of a thousand suns. Right down to the ground. Now there will be ashes left of this memory."

'Rain' - Distorted, jangly guitar (think 'She Sells Sanctuary', The Cult) leads off. Kiske hits highest note on the album, but only briefly. Darn! "When the rain begins to fall. All the sunshine will be gone. There's nothing left to say. Just good-bye and walk away.

'One Night Burning' - Piano and strings once again greet the ear of this Kiske led ballad. Somerville jumps in, soon after, a section only with her voice and piano, eventually fading out to solo piano notes. "This love is killing me."

'Devil In Her Heart' - More upbeat, rock, but with a dance back-beat. Is Somerville's voice modulated at start? Short, catchy. 80s hard rock/AOR sound. For some reason Prince comes to mind, perhaps its the soft slow and sexy enlivened by a wild guitar bit. Big, old style (Hammond) flare.

'Second Chance' - Will close the album proper. Preceding cut probably the better choice. More of a mellow alt rock vibe. "You see the signs, As I realize I will disappear, but there's a second chance for me." Might be Kiske's credo?

'Set A Fire' - The bonus cut is the most metallic moment since the opener, with a mini PANTERA squawk of guitar to begin, then down to Amanda atop rolling tribal toms.