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Metal’s number one keyboardist Richard Andersson has over the last few years been one of the most prolific musicians on the rock scene with this being the third Time Requiem album to hit the shelves since the new millennium rolled in. Couple this with 2 Space Odyssey releases and a re-recorded best of in The Ultimate Richard Andersson Collection and you can see that Andersson is a man that lives breathes and sleeps music. Luckily all these releases are full of some of the finest progressive meets neo-classical metal you will hear.

Last years ‘Ultimate Andersson Collection’ in a way was a hint of things to come with the third Time Requiem opus ‘Optical Illusion’, signalling the arrival of Göran Edman (ex Malmsteen) who is back for the new album as well. This pairing along with the guitar virtuoso talents of Magnus Nilsson (who played on the Space Oydyssey releases) is sure to get any neo-classical fans buzzing with excitement.

Musically ‘Optical Illusion’ sees the trademark Andersson sound (read quality) built upon with a more symphonic film score like edge. Fans of the bands prog metal meets neo-classical sound needn't worry as this new sound is weaved into the more traditional sound.

Opener ‘Sin To Sin’ is a bold opener that heralds the new slant to the sound perfectly. Clocking in at over 7 minutes there is enough here to maintain your interest throughout. Opening with acoustic guitar and synth pads before the band kicks in around the 40 second mark to hone in a riff that builds over the initial intro that is like a more intense play on the riffs Yngwie used to such good effect, on tracks like Leviathan. The track then shifts into a superb melodic metal verse that sees Göran Edman soar and shows that even after a few years out from singing this kind of music he is better than ever. The chorus is perfect for his rich Scandinavian tones and any fan of his work with Malmsteen or indeed the Johansson record ‘The Last Viking’ will lap this up. As touched upon at the start the track is very rich musically, Andersson’s keys intertwine with the guitar work of Magnus Nilsson as well as they have done on the previous Space Odyssey releases. Andersson even on the first track shows that he is the number one keyboardist in the metal realm and his first solo shows class from the moody bent notes to the fast neo-classical flurries. I know that Richard sees Jens Johansson as a strong inspiration but I truly believe that fan has now eclipsed mentor. Andersson’s solo is followed by Nilsson letting loose and whilst you can hear the Malmsteen influence in his play, his solo work adds more variation than we have heard from the Maestro in the last few years. What you are left with is a superb opener that evokes the best of previous efforts with the newer sound stopping it from becoming repetitive.

‘The Talisman’ focuses more on the straight neo-classical melodic metal sound with another excellent riff before easing up to allow Edman to work his vocal magic once again, throwing in a darker and animated vocal for the verses. Lyrically the track focuses on a man on a journey through danger and evil yet manages to conquer despite the odds (I think?). Either way the chorus is again pure magic and those vocals are a  sheer pleasure to hear. Solos are again high on the agenda and Andersson works his skills over the backing to superb effect with this probably going down as one of my favourite solos from him to date, the way he uses the pitch wheel is stunning.

The title track ‘Optical Illusion’ harks back to the darker more grandiose film score tones heard on the opener, with an eerie keyboard underpinned by orchestral manoeuvres and impending bad weather type sounds.  This builds with bass and drum work further adding to the menace (reminiscent in some ways of the movement Mars from Holst’s The Planets suite). Just over the one minute mark the music resolves into more melodic waters that is a nice contrast to the darker intro. The verse seems to play between the two styles; Nilsson’s guitar work is relatively simple yet allows Andersson’s keyboard figures to add the depth. Edman double tracks his vocals in places to add more intensity before the chorus soars to the heavens with melodic prowess. At the 2:55 mark the tracks breaks to silence apart from a clock ticking over which some more symphonic orchestrations come in and the intro riff repeats, this then resolves into the second motif heard in the track before heading into a second verse and chorus. Again this progression is played out but instead of heading into another verse we break into a solo section which sees Andersson utilise Malmsteen’s ‘Fire & Ice’ chord progression for the solo section. This very melodic progression is a masterstroke working against the darker sounds elsewhere very positively. Solo trade off’s between Andersson and Nilsson complete the effect before the chorus progression returns to close the track – stunning.

‘Ashen Soul’ opens with a classical motif before launching into a superb riff that has power, and depth thanks to the keyboard work. The track is quite commercial for the verse which fans of the Space Odyssey albums will be familiar with; Edman’s vocals are the icing to add to the commercial appeal. The chorus is heavy and addictive and probably the darkest I have heard Edman – it works a treat. Andersson adds another solo that sees his use of the pitch wheel to add great human inflections being very vocal and Nilsson answers his phrases with equal aplomb.

‘Ocean Wings’ starts off with a delicate arpeggiated acoustic guitar and Edman alone. Andersson has done a tremendous job of capturing the rich tone of Göran’s voice with the production and any fan of melodic metal will find ‘Ocean Wings’ a sonic treat. The track moves into darker waters after the intro with a riff is quite Blackmore-esque to these ears before shifting up a few gears for a new verse. The pre-chorus is another gem with Edman’s voice taking you along for the journey and those familiar with only his work with Yngwie will be pleasantly surprised to hear the way he utilises his voice hear, rising and dipping to suit the mood. The track then breaks back into the opening segment before the following riff goes through a key change and Andersson lays down another moving solo that is again very vocal in delivery.

‘Miracle Man’ is a track that to some extent seems a little out place with the rest of the material on the album in that its so blatantly commercial it’s a little at odds with the rest of the music. However, once you hear Edman’s vocal delivery you can see why Andersson included this track on the album – arguably there is no better vocalist out there that can deliver melodic metal like this even almost 20 years on from his debut with Jon Norum on Total Control in 1987. Goran’s voice has definitely improved like a fine wine over this time. The solo section is similar to the bluesier output from Malmsteen, this is counteracted by Richard’s more melodic lyrical solo lines before that blatantly commercial chorus sinks into your head again – and its addictive as hell.

The neo-classical ‘Sphere Of Fantasy’ closes the domestic version of the album (our Japanese buddies get a re-recording of Despair & Pain from the debut Space Odyssey release) and is closer in style to previous Time Requiem tracks with its more straight-ahead double bass drum delivery and frantic attack. The pre-chorus is another delight with a glorious open string riff over which Edman vocals delve deep down again. The chorus itself is another strong hook and fans of Malmsteen tracks ala ‘See You In Hell (Don’t Be Late)’ will be hooked. The solo section is reminiscent also of classic Rising Force with blazing solos from both Nilsson and Andersson before heading back to the gripping pre-chorus and chorus. A great way to close the album.

On the album Richard comments on his website, “Finally the circle is closed. I have been in charge of everything from beginning to end. This time I even mixed and mastered the stuff since I wanted to complete the vision by myself. I spend a lot of time composing the songs with Mr. Edmans voice in mind. I am extremely satisfied with the whole production”. Essentially Richard has show that he needs no outside help on any level of the album with everything being sonically big and everything well balanced in the mix stakes. Optical Illusion is also testament to the maturity of his song writing and even though the album would be special had previous Time Requiem vocalist Apollo Papathansio sang on it, the extra special quality the Göran Edman brings to the album easily shows why Andersson got him on board.

Optical Illusion is another stunning chapter in the Richard Andersson discography and further enhances his position as a front runner in the metal / neo-classical genre.