"The Shadow Theory," is the 12^th full length album from Power Metal band KAMELOT and their third with vocalist Tommy Karevik.  It is continuation of the style from both previous albums "Silverthorn" and "Haven".  KAMELOT feel if it isn't broke don't fix it.  There isn't anything wrong with such thoughts, and I tend to agree most of the time.  Like with previous KAMELOT records, the listener is going to get mid length songs that combine a core Metal sound with keys and catchy hooks with keyboards and vocals that represent some of the best Power Metal has to offer.

Although the band doesn't introduce any major new elements, they expand on previous ones well. "Shadow Theory," has the heaviness, more metal approach of "Haven," but on steroids.  Their symphonic/keyboard elements are also expanded upon, courtesy Oliver Paloti.  He really brings his "A" game here and, even more so than previous releases, becomes an integral part of the band's sound. On "Phantom Divine," he starts the song off with both clean keys and industrial/ambient noises before the song starts with the riffs.   He doesn't overuse any one style of keyboards; every song features the type of keys it needs then moves on to something else that will work as well.  I appreciate this because it means I'm not constantly bombarded with overblown fake symphony sounds nor does he use so much industrial that I feel like it's something I might hear in a German nightclub.  He really finds a home for all his skills and his is the runaway performance on this album.

As the only guitar player, Youngblood is responsible for much of KAMELOT's heavier, darker approach to Power Metal.  He doesn't impress me with any amazing technical skills or complicated melodies (although I'm sure he has the ability to do so) but he is a beast when it comes to straight up riffing and guitar solos.  Simply put he is probably one of the best riff player/writers in the entire Power Metal scene.  So many of these bands come off as contrived by imitating JUDAS PRIEST to "Amnesiac" and tell me that isn't some heavy as nails, sonic density riffs. His solos, such as the one in "Kevlar Skin," shred pretty well too and he and Oliver compliment each other well when they dual it out. I do have a slight problem with Tommy's vocals.  Don't get me wrong—he is immensely talented with a wonderful voice.  I really appreciate how he prefers to use more expressive, gothic tones, than an outright constant falsetto; this is easily his best vocal performance with KAMELOT thus far.  However, he still sounds very much like their previous singer, Rou Khan. I'm still waiting for him to burst out of his shell and just really belt out his own unique spin.  As good as his performances are with KAMELOT, he still sounds better with SEVENTH WONDER and AYREON.

Right now, KAMELOT are one of the biggest Power Metal bands in the world and it is amazing this late in their career they are still putting out such high quality work.  They don't have a bad album but "Shadow Theory," is definitely their best since "The Black Halo."