It's not often that a band finds itself unleashing that difficult sophomore album on the world for the third time in their career but that's exactly what, in essence, Judas Priest are doing with Nostradamus. First time round there was Sad Wings Of Destiny then came Demolition, the second album with Ripper Owens and now this, the second album since  Rob Halford's return to the fold. The band's last effort Angel Of Retribution, whatever it's strength's and weaknesses, provided Judas Priest with one of the highest charting album's of their career to date and much of that must be put to down to the curiosity and nostalgia value of Halford's return. This time around however Nostradamus must stand or fall on it's musical strength alone, and it's a release that is likely to split the band's fan base right down the middle such is the change in the band's sound.

In recent times, stretching back as far as Painkiller in fact Judas Priest have delivered metal of the heaviest variety, riff after pounding riff screaming vocals, double bass runs and all of the clichés one would expect of a denim and leather clad quintet. Not this time though. With Nostradamus, call it brave or stupid, the band have produced a concept album, and a double CD at that, dealing with the life and works of the legendary French seer, yep Nostradamus who else. Instead of riff after riff the band instead incorporate sweeping keyboards, orchestration and even hints at subtlety thanks to some interconnecting musical interludes. But does it work?

Well in the opinion of this reviewer the answer is a resounding no. The whole affair is so overblown and grandiose that it misses the point completely. In trying to be clever the band seem to have forgotten that the true essence of Priest is no nonsense ,head banging, fist pumping anthemic metal with choruses you can scream at the top of your lungs and music to annoy both the neighbours and you're parents. Not here though. The choruses for the most part are pretty tame and everything seems to be decidedly one paced as the songs merge into each other without ever standing out. It's clever for the sake of being clever and totally ignores what turned people on to Priest in the first place. Also gone is Halford's screaming vocal delivery replaced instead with a more mid-range approach. Whether this is by choice or the fact that he can no longer deliver those trademark screams is open to question but you end up longing for a Breaking The Law, Electric Eye or even a Turbo Lover.

Sad to say however brave the decision to release a double concept album it may very well be a decision that comes back to haunt Judas Priest, who would want to here a middle of the road, boring balled  like Lost Love live when you could be hearing Painkiller. What Nostradamus will achieve is to turn Judas Priest into a true nostalgia act rather like Kiss rather than being a band that is relevant and has something new to say in 2008.