Following a busy few months touring [including an immensely enjoyable set at Bloodstock Open Air, a month on the road with HammerFall and a set at Metal-Mecca Wacken Open Air], Edguy have rewarded their fans with an entertaining combo of this Superheroes EP and also the first ever Edguy DVD.

The EP kicks off with the title track – designed to wet the appetite for Edguy’s next full album release – ‘Rocket Ride’ – due to be released January 26th 2006. It is typical Edguy single fare – drawing easy comparison to 2004’s ‘King of Fools’ – yet hints at the band experimenting with a slightly different arrangement of the Edguy sound. And – although this won’t be one of the highlight track on the forthcoming album – it will certainly give ‘King of Fools’ a run for its money as a live favourite.

Employing the same tactic as the ‘King of Fools’ EP from 2004, the remainder of the Superheroes release is taken up with non-album material. The EP immediately runs into ‘Spooks in the Attic’ – perhaps the most generic track on the release – but nevertheless full of Edguy spirit and a sing-a-long chorus. You get the impression that the track was once considered for the forthcoming album, but wisely demoted to this EP release. On further examination of the lyrics you also being to wonder if Edguy decided to drop it from the album to preserve their image as Germany’s most heterosexual metal band. The line “Heading for the grail across the sea of lubrication,” perhaps not best suited. Then – of course – you remember there is no such thing as a heterosexual German metal band, and you simply lose yourself singing along to this catchy if not very imaginative tune.

The third track – the ballad ‘Blessing in Disguise’ – is introduced by an evocative string sequence leading into a dark synth/percussive motif that leads you through the track. Far from the typically over-dramaticised power metal ballad, there is a much more personal air to this ballad, that makes it feel the genuine article rather than an afterthought ballad. Thanks to the soundscape created before the bittersweet chorus kicks in, coupled with Tobias Sammet’s well crafted lyrics that could well make you believe the track is some sort of personal exorcism for him, there is a little more to this ballad than it may seem at first.

Calling in AVANTASIA alumnus Michael Kiske for the longest track on the EP, ‘Judas at the Opera’ is a glorious return to the Edguy epics of old – like ‘Eyes of the Tyrant’ and ‘Theater of Salvation’. And – like these early greats – the song is firmly rooted in the imagination of Tobias Sammet, and makes no excuses for not completely making sense. The music is first class Edguy bombast, littered with melodies and Queen-esque harmonies that make you bounce around the room, effortless dual solos that will make Herman Li dribble into his coco-pops, a pulsating rhythm from Felix Bohnke’s drum kit and – around the four minute mark – a beautifully diverting string section that cries out for clemency.

However the sparkle for this piece lies within the lyrics, penned by the ever-loquacious Sammet. As mentioned previous, you don’t quite know where Sammet is taking you on this particular lyrical journey, yet thanks to the good faith laid down in the preceding tracks you are happy to go along. And so the attentive listener is lead upon a pythonesque journey into a conceptual opera house describing the aristocracy chasing a peacock and having it killed: “Get the chef to make peacock fillet steak.” Moving into the second part of the track, you are reassured by Sammet and Kiske that “We’ve come to chase the monkey off your back, facing your goggle eyes.” Even the final part of the song is tinged with the cryptic “Donkey has been given a soul”. Quite what all of this stands for is never quite revealed, but it all makes sense somehow and fits with the music beautifully.

Next comes a cover of the early 80s Magnum track ‘The Spirit’, which is firmly devoted to the acoustic guitar and – although I am unfamiliar with the original – it sounds like a fitting tribute to a time when heavy metal was less complex, yet still full of heart.

The EP concludes with the ‘Epic Version’ of the title track, which is fancy talk for a stripped down and slowed version of ‘Superheroes’, just featuring Sammet’s vocals seated at his piano, with emotive strings helping out when needed. What started the EP off as a bit of needless fun – like much of 2004’s ‘Hellfire Club’ – closes the EP on a more reflective note, holding the same emotion as felt in the AVANTASIA track ‘Inside’. Both reflect the mature side to Edguy which has taken a back seat these past few years – for me it is promising that this may make a strong return on the forthcoming album and show Edguy’s colours in full: Both entertaining and humorous, as well as mature and well-executed, this EP is a great promise of things to come.

For just £4 you can’t go too wrong in purchasing this EP, although those of you really concerned about your money should invest the money, so that – come January 26th – you can go out and purchase what could turn out to be the best power metal album of 2006.

Standout Tracks:  Blessing in Disguise, Judas at the Opera.

Overall Score:   7.5 /10