It is unclear who first uttered that experience is life's greatest teacher, yet in great acclaim it is ascribed to Julius Caesar that created the maxim "UT EST RERUM OMNIUM MAGISTER USUS," which itself roughly translates to: experience is the teacher of all things. The message rings true even to our present day and is itself a great explanation for the talents of Sascha Paeth and his band SASCHA PAETH'S MASTER OF CEREMONY who has just released their debut album entitled, "Signs Of Wings." Within the near 47 minute LP exists a collection of different stylings that whilst revolving around the centralized notion of Heavy Metal still themselves exhibit influences from a range of different places, whether it be Gaelic, Baroque, Power Metal, Neo-Classical, Musical Theater, and Speed Metal to make mention of a few.

"Signs of Wings" opens with its fastest song, "The Time Has Come"-a personal favorite-commences immediately with hurried and relentless guitar work soon joined in by the rest of the band via a staccato buildup, before the vocals come in and completely alter the tone of the song with elevated and piercing vocals. The song quickly returns to its previous semblance as the rest of the band joins in; throughout the rest of the song the verse motif is repeated through the other instruments and the chorus. The entirety of the album is built upon a large dynamic, with songs that strewn across different approaches, stylings, and instruments such as the accordion and stop-go rhythm in "Radar" which is similar to an Irish Jig, the heavy toms and slow guitar lead-in within "Where Would It Be," the heavy and simple riffs and rhythms within "Wide Awake," the flanged vocals at the beginning of "Sick" only to be followed by guttural screams akin to Death Metal, and the Eastern-esque guitar leads found within "Bound In Vertigo."

Without contest the most amazing aspect of the album is the presentation and delivery of the voice-not that the other elements are themselves not impressive or technically avid-as each swell, tuft, and belt is expertly crafted for each track. The vocals themselves present an oddity as they don't appear intentioned for Metal, and whilst female vocalist are prevalent in Metal and Rock-Raven Black, Kobra Paige, and Joan Jett to name drop a  few-few have such a delivery that is as withdrawn and compressed as Cowan's. The oddest-as it feels out of place-track upon the record is without a doubt is "The Path" a melodic sing songy track whose foundations are rooted in piano progressions, and whilst the track itself is a significant departure from nearly every other piece upon the album it does well to illustrate Cowan's voice as she delivers her vocals within a Classical register yet weaves in and out of Metal stylings and the Classical voicings which is a remarkable peculiarity, and very oddly heavily reminding me of Jennifer Hale.

SASCHA PAETH'S MASTER OF CEREMONY is the emcee of its own craft, a dynamic collection of different motifs and ideas that all revolve around Heavy Metal and its immediate ilk. The album as a whole might cross too many streams for any passers-by to fall in love with the band, but in essence contains a collection of tracks that are each strong on their own for listeners to adore and identify with.