Fresh from the superlative 'Unification' 'Iron Savior' gift us 'Interlude' a mixed bag of five live cuts from the debut, four new concept related tracks and all finished off with a 'Judas Priest' cover. The more cynical would say what's the point? and this is a pretty fair comment, but ultimately 'Iron Savior' only produce quality and overlooking the eclectic mix, that's what we have here. The only line-up change since 'Unification' see 'Gamma Ray's' 'Thomas Nack' taking over drumming duties from 'Daniel Zimmerman'.

The first five tracks were all recorded live at the Wacken Open Air Festival '98, this is why no songs feature from '99's 'Unification', all are faithful workings of their studio counterparts and as such are enjoyable versions. The actual recording quality isn't top notch however, suffering from a little murkiness, while overall coming across slightly tinny, but that said this only distracts a little from the exacting performances.

The four studio tracks nicely follow on from the concept laid down on the previous album and continue the Atlantis / Space theme, generally not quite as uncompromising as work from 'Unification' but totally in the 'Iron Savior' mould. First off is the gritty rocker 'Contortions of Time', which contrasts softer, meticulous verses with bottom-end pummelling choruses to good effective, combine this with a sweet solo and a sublime execution and it's yet another superlative track in 'Iron Savior's' back catalogue. Despite a heavy intro the more harmonious 'Touching the Rainbow' takes a more poignant approach, 'Piet Sielck's' vocals hit the right notes, while the backing vocals further enhance. The more morose sounding 'Stonecold' ensues with a slightly more commercial approach and as with the previous track is lyrically emotive, the song also benefits from a pretty catchy chorus, while the driving rhythm hits the right buttons. The tempo is lifted for the more straight-forward Power Metal of 'The Hatchet of War', which deceptively opens with a subtle melodic intro, before launching into a chorus heavy rocker, sounds effects are put to good use mid track and although the chorus is a little basic, still another very respectable number. A cover of 'Judas Priest's' 'Desert Plains' is chosen to close the album and this it does in fine fashion, 'Piet Sielck' could never reach the high notes of 'Rob Halford', but 'Piet's' a shrewd cookie and cleverly adds a slight reverb to his vocals which is most effective.

Ok this isn't an essential album but there's some nice work here, especially the four studio tracks which fellow 'Iron Savior' fans will definitely want.