Last time out when reviewing the self-titled debut from Shining Black, this scribe held out hope that there may be a second record in the offing. Especially given the talent on hand – vocalist Marc Boals is best known for his work over the years in Yngwie Malmsteen, Royal Hunt, and numerous projects/guest appearances across the melodic metal/hard rock landscape, plus guitarist Olaf Thorsen has decades of work in for Labyrinth/Vision Divine and his compatriots on keyboards, bass, and drums from Labyrinth fill out the lineup. Wishes do come true – as Postcards from the End of the World is the second record, another prime example of quality songwriting, proper execution, and remarkable performances done across continents in the melodic heavy metal/hard rock platform.
The musical components possess this duality of ear-pleasing hooks that capture attention immediately to branch off into soaring harmony and interplay possibilities – incorporating elements from AOR and melodic hard rock to power metal. Check out the tranquil verses through driving, semi-progressive riffs/tempo changes that elevate “Summer Solstice Under Delphi’s Sky” into that premiere stratosphere, the arpeggio-oriented lead break throwing even more thunder into the proceedings. At other times keyboardist Oleg Smirnoff takes on thoughtful measures through careful piano strains, setting up Olaf for stunning rhythms and bright lead sections, “A Hundred Thousand Shades of Black” familiar for those who live for classic European power metal. Marc’s range, power, and depth of emotion is on full display again – stretching to the hilt on a more adventurous, bombastic double kick-oriented “Mirror of Time” while dialing in the right reflective aspects and control during a more AOR/melodic hard rock number such as “Like Leaves in November”.
Certain combinations create undeniable chemistry that benefits the music community collectively – that’s the case here for the musicians within Shining Black. Those who love European melodic metal with plenty of stunning musicianship (drummer Matt Peruzzi playing at Dream Theater-like paces) and exemplary vocal passages to treasure, this record should slot convincingly into your aural wheelhouse.