Each new album release by the "huge" Jon Oliva is undeniably a significant event in the metal music scene. The quality of this musician is universally acknowledged and this could not mean anything different with his band's fourth cd "Festival". 

An album that is darker, more guitar based, more mature, in short more Savatage-like than its predecessor and experimental "Global Warning", which deals in its greatest part with the dark nightmares of Jon Oliva. The Mountain King manages to dress and give them "flesh" with his own distinct vocal timbre and superb guitar work that exists in all tracks. The album has only but few keyboards and is clearly focused on guitar parts that surprise with their diversity, a fact not by chance as they are a figment of the musical genius of Jon Oliva.

"Festival" sets off with "Lies" which has been composed in great part by the late Criss Oliva, stating once again that the legacy of Savatage is inexhaustible. The second track "Death Rides a Black Horse" is the most striking moment of the album. It is a dark mid-tempo track that manages by repeating the title in the chorus to haunt the listener. The title song of the album is inspired by a sickening dark atmosphere fully manifesting the climate that prevails in the new album the band. With "Afterglow" we pass on to one of the most interesting and experimental album tracks which through style transitions reveals the musical universe of Jon Oliva: starting from acoustic Zeppelin-like parts to metal paths and then to jazz music forms! "Living On The Edge" contains ideas and elements from the old Savatage therefore it is naturally one of the most straight-forward metal moments in "Festival". 

A complete contrast comes with "Looking For Nothing", a ballad heavily influenced by the Beatles. Back on hard paths with "The Evil Within" and once again the nightmares of Oliva take a musical dimension. "Winter Haven" starts with acoustic themes and culminates to a heavy slow track while with "I Fear You" things sound even heavier with the distinctive vocals by Jon matching perfectly. The album closes with "Now", a beautiful power ballad which somehow exorcizes the nightmarish and dark atmosphere that diffuses throughout the new project of the band. 

"Festival" is an album that it takes time as it develops gradually in the consciousness of the listener. Since, however, the moment that the album will conquer you it is certain that you’ll enjoy a seductive dark feast that only the genius and the nightmares of Jon Oliva can produce.