Theatrical art is so 'close' to music at times. Just think of Alice Cooper, King Diamond, Queensryche (onstage, at times) or - even - various 'extreme' Back Metal acts. When you can customize your music with a theatrical 'setup', grand are the chances to win the race. To be, now, specific: Denmark's Evil Masquerade do extend the limits, since they have such a healthy interaction while composing music. For them, theatrics is the well of the band's music.
Two albums was the band's creations till now. Hey, who remembers 90s 'luna' Metal mentors Moahni Moahna? Yeap, guitarist Henrik Flyman did form Evil Masquerade, adding original Royal Hunt singer Henrik Brockmann to the camp. The band did show its teeth right from the beginning: 2004's Welcome To The Show debut featured Y. Malmsteen credited Mats Olausson, Royal Hunt mainman Andre Andersen and Richard Andersson (Time Requiem, Space Odyssey, Majestic) supplying 'guest' keyboards. You can imagine the rest. Neo-classical theatrical Scandinavian Metal the most 'narrative' way. The same recipe did carry on through the band's follow-up, 2005's Theatrical Madness (now on the Frontiers label), where the 'dramatic' parts did grow up even bigger (both Andre Andersen and Richard Andersson did guest in this one, too). The band did even re-craft a whole part from Macbeth, to be named as Witches Chant.
Evil Masquerade have so far fallen into the trap - without their will, of course - to be categorized as a 'neo-classical' band. This is partially true, since the initials of everything/everyone Ritchie Blackmore & Yngwie Malmsteen have been influenced from (or have subsequently influenced) are carved in bold, Still, for everyone familiar with the 'spiritual' expertise of Royal Hunt, Evil Masquerade can easily walk along (less keys, of course), even if their heaviness in Metal is more obvious than in Andersen's clan. To identify the goal: Third Act is pompous and epic, bringing in mind the deeds of Tony Martin in Black Sabbath or Dio's 'epic' moments. The latter fact is strengthened by the voice of new singer Apollo Papathanasio (Firewind, Majestic, Time Requiem), who - let's put it out now - is a good reason to show interest in this album. His throat is deep and passionate, epic and ample, even if he is not afraid of crying out the lyrics where needed.
Apart from the convincing voice of Apollo, the rhythm section is the driving force behind the complex/artistic themes. Buhl, in specific, shows excellent drumming - nothing 'over the edge' - since he's guiding the band to mysterious paths with intelligent playing (the cymbal work is fabulous!). No need to chat about the job of keyboards in this one, in excess. Richard Andersson and David Rosenthal (Rainbow) himself guest on keyboards and the mysteries continue. Excellent back up-keys, furious solos cross-firing with the 100% classical guitar leads and...you're ready!
It is not suitable to judge Third Act as a 'progressive' album, even if it's the most complex/intelligent Evil Masquerade effort to date. If Ritchie Blackmore, Tony Martin, Ronnie James Dio, Andre Andersen and Yngwie Malmsteen ever were in the same 'renaissance' movie being played at a cinema (imagine...) the thoughts in their minds would easily be 'transcribed' into the songs if Third Act. Essential for followers of the above artists/styles and a 'goodie' for the likes of progressive fans, Third Act must be the 'upgrade' album for Evil Masquerade's fame from now on.