Short Reviews [Bob Saliba - 2024 - "Hosts Of A Vanished World"]

I must confess this is the first time I have come across Bob Saliba, although he has multiple bands, with Kingcrown being probably the most well-known, plus he has worked and toured with the likes of Therion, Tygers Of Pan Tang, Blaze Bayley...perhaps that is why he has managed to get so many name guests on this concept album. The concept is as follows, “Here is the fictional story of this palaeontologist somewhere in the future or a parallel present. A passionate scientist who spent his life studying many animal and vegetable species that have not been alive on this Earth for hundreds of millions of years. After every working day, the man would imagine what the Earth was like before the birth of Humanity or even before life of the modern era. Wondering about how evolved all of these fantastic creatures, how intriguing the very first forms of complex life were, how many unfortunate beautiful living worlds disappeared during the 5 main massive extinctions from the face of the planet, how life had to restart from the beginning.” This never feels like a project, even though we have a multi-instrumentalist with plenty of guests, but that is because first and foremost he has a core band plus Bob is a great singer who as well as lead vocals provides lead, rhythm, acoustic & flamenco guitars, Neapolitan mandolin, Greek bouzouki, Turkish cura and Turkish Saz. Yes, there are quite a few folk instruments involved which one would not normally expect on a prog metal/melodic metal album. The band contains Bruno Pradels (bass), Tom Abrigan (rhythm & lead guitars), John Macaluso (drums) while guests include John Macaluso (Yngwie Malmsteen, Ark, Jennifer Batten), Roland Grapow (Masterplan, Helloween), Ricky Marx (Now or Never, Pretty Maids), Alessandro Lotta (Rhapsody), and Jo Amore (Kingcrown, Joe Stump's Tower of Babel, NIGHTMARE). This is not an album which will be enjoyed the first time it is played as it feels just too dense, too complex, and there are too many threads which do not appear to fully weave their magic. While there are elements of Savatage there are also Blind Guardian while the use of both shredding electrics and strummed acoustics seems somewhat out of place, especially as they are often taking place at the same time and the ears can get somewhat confused and everything turns to mud. This is album which rewards perseverance as it is only with repeated plays that one starts to get inside the walls and start to appreciate the beauty contained within. To be honest, if I was writing the review when I had only played this a few times then chances are it would have been quite different, but I felt there was something here and possibly the issue was with me, the listener, and having now played it multiple times I think I am getting there. While I think this is a solid 4/5, I can imagine some reviewers giving this top marks, and naming it in their album of the year lists while I can also see others thinking this is just too bombastic and over the top. This is music which at times appears to be approached from a straightforward metal influence, while the acoustic instruments are from a middle European folk background and tie in very well indeed. This is a truly progressive album grounded in different cultures, styles and instruments which may take time to fully appreciate but when makes the effort there is a lot here to enjoy. I am intrigued to see what Saliba does from here on in and is a name I will be keeping an eye on.