Introductions usually try to capture a piece’s essence in a brief grasp and set a relaxed pace without an ‘abrupt’ right-off jump, much the same an an an albums’ more or less does; case in point Initiation, from Keeper of the Seven Keys Part I. As a standard default, an ascent, to prepare a journey through the record. Initiaion is orchestration tinged, tipping to an abrupt ending. The orchestration is further explored in Part II, which has a Thrash appeal in some of its songs.
Giving way to track number two, which, building on a hold and intruding with fast pace and a rhythm from which Michael Kiske bases his singing is created by non overbearing riffs. Neither are the vocals short of impressive, as they hit a lot of high notes while shifting back without strain. 1987 fell in a prediction-casting period with increasing technological advances. A Power Metal output jumping into the same melee? No sir. Well, somehow. . . . Fantasy plays its part, for the band’s take. 2016 has reared its head alright.
A mid-section ballad balances an energized album—almost splitting it into two; not in the interlude sense. One of Part I’s best of highlights is where the drums complement bass lines, or a bass played in conjunction with the drums. Whichever way it could be viewed.
29 years later, it still is a go to record catalogue—that went on to become a genre blueprint, lyrics abound too. THOSE SEVEN DEADLY SINS / HADES SENDS NO EVILS YET.