Ghost Cult caught up with Thomas Youngblood of Kamelot recently to discuss their brand new live album/concert DVD and Blu-ray Kamelot – I Am The Empire – Live From The 013, out now via Napalm Records (review here). Thomas talked about the new live album, the production and planning that went into the concerts, the specialness of the 013 Poppodium venue in Tilburg, working with guests such as Elize Ryd of Amaranthe, Lauren Hart of Once HumNetheran, German string quartet Eklipse, Charlotte Wessels of Delain and Alissa White Gluz of Arch Enemy, Avantasia guitarist Sascha Paeth, writing materials with guests in mind, performing with a children’s choir, which included his son, how he has been spending the pandemic, and plans for new Kamelot music. Purchase the live album set at this link and listen to our chat. Continue reading
Ah, gigs. Remember them? Well, I Am The Empire – Live From The 013 (Napalm Records), the new live release by veteran power metal act Kamelot is a welcome reminder of what live entertainment looked like in a pre-Covid world.
With previous vocalist Roy Khan firmly in their rearview mirror (the band’s former singer himself recently announcing a return to the music scene in a solo capacity after a break of seven years), Floridian Power Metal act Kamelot keep to their tried and trusted formula for latest release The Shadow Theory (Napalm). As well as being the band’s twelfth full-length studio album, their third with Swedish frontman Tommy Karevik, this release also marks the end of the line for long-serving drummer Casey Grillo, who left in February. Continue reading
Kamelot have just released a new album, Haven, on their new label, Napalm Records. Taylor Phelps caught up with the bands’ venerable co-founder Thomas Youngblood on their tour bus outside the Worcester Palladium to discuss the all the new changes with the band’s business, the creative process of writing with guest musicians, and the history of Kamelot. Videography by MasterPhelps Photography.
Haven (Napalm), American Power Metal band Kamelot’s eleventh studio album and second since the departure of Roy Khan, is an album that sounds like a musical at heart, like it was fastidiously crafted to be performed on Broadway. Its stylings and symphonic groundings and Tommy Karevik’s leading man performance all point to it, and so effective is their dramatic voice, perhaps taking their work to the theatrical stage is the next step they need to take to fully realize a legacy that has been consolidated by consistency.
Historically, the Floridians have always been walked on safe, and not the wild, side. A touch of fantasy, a host of symphonics, with soaring, immaculate vocals on top, they have always delivered and always sounded utmost in their professionalism and musicianship, but never truly excited; a band that, while most definitely best in class (though perhaps by default), are at times too slick and lack the insanity/genius of a great.
The heady mix of Savatage, Dream Theater and Queensrÿche coupled with effective symphonics and Andrew Lloyd Webber musical theatrics is near-perfected in opening duo ‘Fallen Star’ and ‘Insomnia’, up there with the best tracks of the bands’ career, but it is with ‘Under Grey Skies’ and the addition of Charlotte Wessels’ (Delain) dreamy vocals and Troy Donockley (Nightwish)’s tin whistle that matters bloom and the full epic musical scale of the vision for the album begins to be realized. It sails close to the Eurovision ballad wind, but it’s a beautiful song fully suited to a soundtrack or a musical. Elsewhere, downtuned staccato rhythms underpin grandiose unveilings and Karevik dispels any notions that the band can’t succeed without Khan with an assured performance; actor, narrator, singer, frontman and further proof that the line between Kamelot’s albums and musical theatre is a thin one.
All the previous criticisms can apply: this is a slick, professional band, but on Haven Kamelot have once again verified they are best in class, and have found an emotional connection. No longer cold to the touch, they are bringing to life their vision most effectively and with genuine zest. While retaining all the expected hallmarks, it is most definitely meticulously put together (if the devil is in the detail, then Haven is positively Satanic) but there is something more to it; something exuberant bubbling through. You would expect a band entering their third decade to have the requisite chops, but you wouldn’t necessarily expect them to be injecting such vitality and vigour into the mix.