Anyone already familiar with the most popular, debatably metal bands of the 80s (Def Leppard, Whitesnake) will understand what’s going on with Lionheart. Big power chords in the verses, big vocals in the choruses, crunchy but accessible riffs, and an overly of keyboards that sometimes take the form of a piano and sometimes something synthier. Dragonfly largely makes for an upbeat, easy-going sort of listen. Anyone also already familiar with the work of Lee Small will understand that his vocals are the buttery-smooth gel holding everything together. His simple, clear style which can also deploy dramatic flair where necessary is a coup for a band like this. It’s this that makes the general preoccupation with gang vocals in the choruses – immaculate Leppard harmonies these ain’t – so baffling. The more time spent with Small, and the less time with other vocals, the better. Music like this thrives on catchy melodies, so the best moments are those with memorable vocals and guitars. The guitar lick bridging the end of the chorus on “This Is a Woman’s War” is marvelous, and the urgent lead carrying “The Longest Night” likewise excels.
However, these moments otherwise prove the rule that Dragonfly is marked more by competence than excellence. There’s very little essentially wrong here, from the solid riffs to solid melodies to solid songwriting. It’s remarkably consistent as a coherent group of songs orienting around their concept in four-five minute segments. But it lacks much that’s outstanding other than Small’s vocals which do a lot of heavy-lifting. Its predecessor had higher highs (“Overdrive”, which remains a certified banger) and also lower lows (“The First Man”) but also greater variety in its integration of different sounds as I described in my previous review. Dragonfly is more consistent but less exciting and varied.
The brevity and pace of the songs progress the album briskly. But the back half travels through a low ebb as “Little Ships” and “Just a Man” lose my interest. They do nothing that isn’t done elsewhere and better; here, the record’s tonal and stylistic consistency is detrimental as I question the presence of these tracks. By contrast, the two tracks beyond this contain some of the best material, so Dragonfly would improve with some of the fattier meat trimmed. I also query the inclusion of the introductory sequence on the opener (“Declaration”) and the brief closer (“Remembrance, Praying for World Peace”). Each stands separate from the songs they’re a part of or next to. I understand their value to the record’s concept, but musically they’re extraneous and should have been integrated better. In particular, the closer would have been better served as a full track because what’s here rushes too many ideas into a space that’s too small, including an interesting orchestral edge.
I’m left with a sense of talent that hasn’t yet been fully realized in Lionheart’s modern era. While Dragonfly benefits from repeated listens as some of the initially unremarkable melodies sink deeper over time, it nonetheless struggles to push beyond just average. Despite Small’s big voice and the occasionally great guitar hooks, I can’t warmly recommend Dragonfly. It’s an adequate album of adequate songs with adequate melodies. Fans of the 80s could do much worse but also much better.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Metalville
Websites: lionheart-music.com | facebook.com/lionheart
Releases worldwide: March 15th, 2024
