The previous Tomorrow’s Outlook album ‘A Voice Unheard‘ is nearly eight years old at this point, so for a while, the question was whether the Norwegian band was ever going to deliver on the substantial promise shown on that album. Fortunately, ‘Black Waves’ takes everything that was good about ‘A Voice Unheard’ and improves upon it. ‘Black Waves’ is overall a more dynamic album that should easily appeal to those who enjoy the more elegant, mildly progressive side of US power metal. Another thing that massively benefits the album is the fact that it feels like much more of a band album rather than a project.

Where ‘A Voice Unheard’ was recorded by a core of three musicians and the album was complemented by contributions from guest musicians and singers, ‘Black Waves’ was recorded by the same five people, and having only one singer in Tony Johannessen really goes a long way in giving the album a strong, cohesive core identity. His Bruce Dickinson meets Tobias Sammet timbre enforces the Iron Maiden comparisons Tomorrow’s Outlook frequently appears to draw from reviewers, though I will persist that a slightly less complex version of ‘The Warning’ era Queensrÿche describes more accurately what they sound like.

Another thing that helps ‘Black Waves’ improve over its predecessor is the fact that it feels like a much more dynamic album. My only minor gripe with ‘A Voice Unheard’ is that a majority of the songs were of a similar mid-tempo, which made the album drag a bit at times. It’s not like ‘Black Waves’ has a bunch of fast rippers or doom metal songs to shake things up in the tempo department, but the larger amount of melodic variety really helps the album feel better as a whole. The guitar themes and the vocal melodies are more distinctive, improving the album’s flow.

Given the fact that ‘Black Waves’ is a concept album, taking its themes from the folklore and actual history of the coastal regions in Norway, that flow is very important. That is ultimately why ‘Black Waves’ is best listened to in its entirety, but it’s not without its highlights. The punchy ‘The Monument’ was an immediate favorite, as is the highly melodic and supremely catchy ‘Silver Ghost’. ‘Oceans of Sadness’ and ‘Black Hearts and Roses in Snow’, the latter of which makes incredible use of space, are fairly ambitious compositions, though no less catchy, while the surprisingly atmospheric ‘Eventide’ is a particularly strong opener.

‘Black Waves’ offers everything one could want from a traditional heavy metal or power metal album. The songwriting definitely is a step up from its predecessor, the guitar work is incredible both in the riffing and the solo department, and the Sascha Paeth production gives the material the exact punch it needs. Norway is not exactly known for this type of metal, but this particular type of traditional, but contemporary-sounding heavy metal isn’t very common to begin with. It should be, though. If you are into the USPM scene or very early progressive metal, ‘Black Waves’ is an absolute must-hear.

Recommended tracks: ‘The Monument’, ‘Silver Ghost’, ‘Eventide’