This year (2013) is shaping up to be the year of the metal opera. In March, Tobias Sammet released his latest Avantasia album, The Mystery Of Time. And as of press time, Arjen Lucassen is hard at work on his next Ayreon chapter, due out before year’s end. Now, one of power metal’s guitar legends has thrown his hat into the metal opera ring: Timo Tolkki, formerly of Stratovarius. Frontier Records approached Tolkki last year with the idea of creating a metal opera concept album with guest singers. Tolkki must have liked that suggestion enough to try it out. The result is his new project Avalon and its debut album, The Land Of New Hope – an atmospheric power metal opus that doesn’t live up to all of the hype it’s received.

The Land Of New Hope takes place in 2055 A.D., when the Earth becomes uninhabitable. A group of explorers set out on a journey through space to find a new place to live, a world described in fairy tales as the "Land of New Hope." Musically, Tolkki emphasizes this main theme of hope through a breezy, spirited style of power metal that contains hard rock influences and cinematic orchestrations. Notice that I didn’t call The Land Of New Hope "symphonic power metal," though. That’s because string arrangements don’t appear on every song. But this is a power metal record through and through, with sprinting tempos, double-kick drumming, and rapid-fire riffs throughout. Fans will focus less on Avalon’s music, however, and more on the all-star vocals lineup. Tolkki enlisted the talents of Russell Allen (Symphony X), Elise Ryd (Amaranthe), Rob Rock (Impellitteri), Tony Kakko (Sonata Arctica), Sharon den Adel (Within Temptation), and Michael Kiske (Unisonic, ex-Helloween) – mostly veterans whose reputations are based on their exceptional singing abilities.

Most power metal records don’t offer much variety. But The Land Of New Hope brings just enough of it. About half of the songs follow power metal rules by the book, while the others deviate here and there. "Shine" and first single "Enshrined In My Memory" sway with the strongest hard rock leanings and are sweetened by Elise Ryd’s charming choruses. "A World Without Us" sets off on a similar path, but its simplistic rhythms and drumming segue into power-metal cartwheeling for the refrain. The title track straddles another kind of fine line: the one between uptempo flight and grand balladry. And speaking of slower moments, "I’ll Sing You Home" and "In The Name Of The Rose" lilt along with classical arrangements buoyed by surges of power-ballad riffs. Both songs would be more uplifting, however, if Tolkki’s lyrics were able to inspire the listener.

In fact, because its overall lack of inspiration, The Land Of New Hope starts to nosedive shortly after it begins. "Avalanche Anthem" promises an epic first chapter with fluttering strings and galloping rhythms. Then it pops its own balloon with a chorus devoid of energy, power, and memorable hooks or melodies. It’s the complete opposite of "epic," as if trying to grab the listener’s attention was the last thing on Tolkki’s mind when he wrote the song. This indifference spreads like a virus to the vocal lineup. Every veteran, especially Russell Allen, has given stronger performances in their own bands or on other projects. Doesn’t getting less than the best from the best defeat the purpose of a metal opera? Also, why didn’t Tolkki make better use of Sharon den Adel’s talents? Every Within Temptation fan knows the passion and dynamism she can deliver when she sings. But on The Land Of New Hope, den Adel’s given only a soft-spoken verse on "Shine." That’s not a cameo appearance – that’s a crime.

A couple redeeming factors do save The Land Of New Hope in mid-plunge. For starters, Ryd sparkles brighter than the other, more experienced Avalon singers. She understands when to play certain roles, from reserved and innocent ("In The Name Of The Rose," "I’ll Sing You Home") to confident and earnest ("Shine," "Enshrined In My Memory"). By doing this, she uses every facet of her vocal abilities and shows why she belong on the Avalon team. Also, despite how unremarkable most of the songs on The Land Of New Hope are, some still managed to sneak their way into my head. "A World Without Us" broke the barrier first, thanks to the opening riff hook and Allen’s singalong chorus. Then "Shine," and then a few others. For this reason, I sort of feel that the album’s grown on me – but only sort of.

That’s the most definitive reaction you’ll get from me about The Land Of New Hope. This album pledges a magnificent journey but takes the listener on a relatively dull one instead. And given the early momentum gathering behind Tolkki’s Avalon because of its lineup and other reasons, the outcome is a bit of a letdown. The album’s highlights do make certain tracks likable enough to replay, however. And Elize Ryd’s success as the vocal spotlight will pleasantly surprise listeners who haven’t heard of her yet or don’t care for Amaranthe’s candied power / death metal. My gut feeling tells me that fans of metal operas, power metal, and Tolkki’s previous works should enjoy The Land Of New Hope. But for anyone expecting a riveting metal opera odyssey (apparently this album will be the first in a trilogy), you might want to stick with Avantasia and Ayreon until Tolkki proves he can do better.

7 / 10

Best Songs: "A World Without Us," "Shine"

For Fans Of: Avantasia, Stratovarius, Within Temptation, Amaranthe, and Sonata Arctica

The Land Of New Hope will be released by Frontier Records on May 21 in North America and May 27 in Europe.