The German war machine that is 'Primal Fear' rolls on unhindered, despite the departure of longstanding fret master 'Tom Naumann' and the surprising label change to 'Frontier Records'. Naysayers who just regard the band as a 'Judas Priest' tribute act should have learned a valuable lesson with the superlative and diverse 'Seven Seals', and with 'New Religion' 'Primal Fear' continue to expand their sound with their most melodic album to date. In the wake 'Tom Naumann's' exodus the guitar department is strengthened with replacement 'Henny Wolter', who is no stranger to the band having featured on the blistering 'Nuclear Fire' and 'Black Sun'.

'New Religion' opens in time honoured 'Primal Fear' tradition with a top drawer Power Metal gem, this time around it's 'Sign of Fear' and after an interesting drum filled intro proceeds as such, the fret work is as stringent as ever, while 'Ralf Scheepers' is full of his characteristic ungodly screams- good stuff. The tempo falls for the more melodic but very powerful 'Face the Emptiness', which displays some killer instrumental work, the complex rhythm is unusual but so effective, while the keyboards and orchestration only further enhance- don't get me started on 'Scheepers'- wow! The more progressive approach continues with 'Everytime it Rains', a duet featuring 'Epica's' 'Simone Simons' a very melodic piece which nicely utilises the contrasting vocalists- a slight departure for 'Primal Fear' but it works well. It's back to more familiar territory with the uncompromising title track, which immediately screams of 'Judas Priest' but as the song progresses some more European influences creep in, think 'Gamma Ray', the mid-track slow down is unexpected but far from disappointing. More progressive influences are again felt with the trilogy 'Fighting The Darkness', the first part is a moody Power Ballad, which again puts keyboard and orchestral arrangements to good use and although not typical of the band is a successful endeavour, this gives way to a very nice instrumental section, simply titled 'The Darkness' and closes with a short but fitting reprise- nice work. It's back into Power Metal territory with the gritty riff driven 'Blood on Your Hands', 'Ralf Scheeper's' vocals undergo some distortion, that while far from poor- is maybe a tad overdone, that said the guitarists really have some fun and it all comes off very respectably. The following track 'The Curse of Sharon' is the only cut on the album I'm not sure I like, musically it's a winner from the off, some great complex playing and tempo changes, but the lyrics, are they suppose to be about 'Sharon Osbourne' or some Essex girl? I don't think this one was written for the UK market. The momentum is picked up with the pulsating 'Too Much Time', which to me sounds more than a little reminiscent of 'Sinner', a brisk but melodic affair and although not one of the finest cuts present, still strong enough to make the grade. The double punch of 'Psycho' and 'World on Fire' ensue, the former leaves you off balance for the nasty churning chorus, while the latter ticks all the right boxes with it's harmonious yet heavy approach and glorious instrumental break. 'Primal Fear's' seventh outing bows out with 'The Man (That I don't Know)' a powerful balladsy number, which 'Mat Sinner' likens to a 'James Bond' theme and I don't think he is far wrong with that assessment, the song also comes complete with more nice work from 'Scheepers' and splendid instrumental work.

Difficult one to rate this, thought it was just a tad weaker than 'Seven Seals', as there is perhaps a little too much emphasis on the progressive tracks, but still another cracking album.