Light Of Lies

Juan-Carlos Aneiros (keys), Alberto Chenevard (bs), Brian Reber (dr), Eberhard Paduch (voc), Maruel Rodriguez (git)

format: LP Side A:
  1. Chalice Of Your Mind
  2. End Of Time
  3. Der Hofnarr Und Die Königin
  4. Spirits

Side B:

  1. Piccolo Divertimento
  2. The Liar
  3. Sunshine In Your Mind
  4. Light Of Lies

year: 1990
country: Switzerland
label: Iron Ages
#: 21932
insert: innersleave w/ lyrix
edition: ?
rarity: 5/10


It would be ignorant to just refer to this album as "pure epic Heavy Metal". STONEFIELD obviously took a lot of influences from the 70's, the epic end of Dio-era RAINBOW in particular, but the end result sound more like a slowed down BLIND GUARDIAN than your average 70's retro act. In my ears they did this style better than most Scandinavian or Japanese bands in the same vein, at least on this their second release, which surpasses their debut MLP from the year before in excellence. Dark, symphonic tracks like "End Of Time" and "Spirits" elevates the album well above the average of the time and the majestic Power Metal of "The Liar" alone is a strong enough reason to make "Light Of Lies" a good investment for the more centerfield Metal fan. I figure QUEENSRÿCHE- as well as ADRAMELCH- and OMEGA-fans will be rolling on the floor to this album.

There's something distinctively profound and mysterious about the lyrics and graphics of STONEFIELD, but I'm having difficulties to pinpoint the exact qualities that give me these occult vibes. It's certainly not their insignia alone (a combined trident and inverted cross?!), but also lines like:

"They take away all your gold, And sell you instead their bad lies. To ease our problems they try, Happy-go-lucky love songs, The culture is dying for you, To blame is the preacher untrue..."
(The Liar)

"Look to the heavens, And see the light of your life, Look into darkness, And feel the might of this time..."
(Light Of Lies)

...and so on to even more odd and peculiar issues. Aw heck, I'm probably reading too much into it, but add a little imagination and it gives the album some extra esoteric edge and that definitely heightens the listening experience, at least for me. (If I close my eyes to the silly comical drawing of the lineup from the inner sleeve, that is.) The main thing that knocks them off a possible, personal fave-list of 1990 would be the occasional flaws in Ebenhard's singing. He makes a high and strong vocal performance, perhaps not always in perfect tune, but very typical of this genre. The Teutonic accent shines through a bit too brightly on a few occasions though, and as you all know for a fact that's a very ugly language.

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