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Cornerstone | Two Tales of One Tomorrow | review | metal | Lollipop


Two Tales of One Tomorrow (Cornerstone/Fono/Koda)
By Martin Popoff

Disconcerting that this longstanding band of classicist metal traditionalists is still somewhat unheralded, Cornerstone being the domain of one Doogie White of Rainbow and Yngwie fame. What sets the band apart is its lack of urge to be heavy for heavy's sake, oddly mirroring the Violent Storm record experience, from Doogie's erstwhile Yngwie bandmate Mick Cervino. Production and playing here is of a stadium rock quality, the record heaving with dynamics over crisp drumming, in essence, Doogie seemingly on a quest to get the oddball Stranger In Us All Rainbow album right. By that I mean that this is like a follow-up to that record, but much more finished, appointed, rich of sonic depth. But Blackmore melodies abound, making this, on the negative, also a bit like a Joe Lynn Turner album he'd make with his Japanese friends if he succumbed completely to that Rainbow continuance concept. Highlights include "Blinded," a gorgeous, sophisticated ballad with a passion-filled chorus as well as guest violin, plus "Starlight And Mystery," a medieval rocker with Bodom-like synths, and, again, a profusion of elevated melodies zig-zagging here and there, Doogie being the king of kingly moat metal, well-versed in slathering durable mortar to stone.


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