Author: Darth

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Album Review Staff Review

Walk in Darkness – Gods Don’t Take Calls (Review)

It’s no secret that I’ve always been appreciative of Nicoletta Rosellini, and her numerous bands and projects. And this sentiment certainly does not appear to be at any risk of changing for the impending release of “Gods Don’t Take Calls” – the latest from Italian gothic/symphonic metal outfit Walk in Darkness. As despite the general premise of the album’s title, somehow all of my prayers for this new studio production were still answered (and then some).

The album is the follow-up to 2022’s essential “Leaves Rolling in Time”, and has been slated for release on December 12th, 2025. Similar to prior entries in the band’s discography, the quartet continues with their exploration of humanity’s decline, and its pre-occupation with superficialness and chaos. By combing through the ruins of this modern civilisation, and reflecting on our shared memory and identity, it serves like an almost prescient record of our joint upheaval, in a world where the gods are now silent. It is not without an enduring sense of hope, however, as each of our spirits are calling out for something greater. And there’s still a hint that beyond the darkness and disillusionment… a fragile light lives on.

The band itself needs no real introduction; not just because they choose to be anonymous. Aside from Rosellini herself, who is credited as being a lyricist/co-songwriter for the album along with lead vocalist, the other members have an air of mystery about them due to their hooded attire. But we do know that Shaman is the main creative power behind the band as guitarist, lead composer and lyricist. While Monk Key and Arcanus, complete the line-up by looking after the bass and drums respectively. It’s worth noting that this anonymity is more than just an aesthetic decision. It feeds into a more profound function, whereby the art can direct emphasis on universal themes and essences, as opposed to personalised concepts.

The starting build-up and tension of “Nico Rising” hits you right in the chest, well before the band powers through your speakers with their own predominant intensity. The sensation of urgency is palpable, as if the band’s message has gained greater importance since our last encounter with them – beckoning listeners to find inner purity and search for hidden truths. An encouragement that is echoed in “Across the Oceans“, a song that pushes the case for humanity’s rebirth, and the desperate need to seek the light from out of this modern chaos.

We must free the chained Gods
And rebuild the pillars that hold the sky
To walk over these dark clouds
To restore light and find a way

Walk in Darkness – Across the Oceans

Rosellini is the face and voice for all these concerns, and there is none more capable to serve as your harbinger. With her warm-sounding and emotion-rich vocal inflection, she stands miles apart from her peers. Her tone is also perfect, as she strikes the right balance of compassion, without any of the usual side-effects of being preachy. It also helps that her singing blends in seamlessly with this dark, foreboding instrumentation that is the trademark of Walk in Darkness. Their music paints a desolate soundscape for listeners through its dense mixture of cinematic orchestral arrangements, deep melodic structures, and heavy guitar riffs (and solos), where each note conveys the genuine sensation of weight and purpose.

If there is a song which encapsulates the beating heart of this album, then it would have to be “No Banners, No Glory“, and its harrowing prophecy of the demise of Western societies. With the subsequent need to travel East – not for conquest, but instead to find kinship and spiritual freedom. The music is suitably dramatic and reminiscent of early Tristania thanks to the vocal work (both clean and guttural) and cinematic string sections; the former aided by guest vocalist Clara Sorace. It’s this pursuit for salvation that leads us into “Chasing the Horizon“, a punchy anthem and one of the biggest highlights of the album. It benefits from the added growls of longtime collaborator Emiliano Pasquinelli, whose brutal interjections contrast beautifully with Rosellini’s softer approach. But the composition is empowering in its message as well: “We fight and fall, through the ever-changing tides of Time // Raising our gaze towards the horizon line. // Caught in the endless cycle of wars, we cope // Hanging on the unsteady wings of hope // On the wings of hope“.

“Freedom” is a pointed reminder of the invisible shackles of our modern-day existence, and is immediately attention-grabbing from a musical standpoint, due to its multi-layered vocal textures and interludes of classical guitar, lending an unpredictability to the song structure. A trait that is further driven home when it swiftly escalates to an epic emotional crescendo, thus matching the symbolic breakthrough of the narrator, who suggests refuge in your own thoughts: “I cherish freedom // the visions of dreamers // And all that rises in the madness of the wind“. While “Mother” plays out as a touching tribute to nature and the cosmos, as soft acoustics are punctuated with rich, saturated guitar tones, which seemingly hang in the air for an eternity, and the calm, nurturing vocals of Rosellini, while humanity “bows in silence” and willingly surrenders itself to technology.

“Towards Chang’an” is another attempt by Walk in Darkness to underscore the importance of spiritual enlightenment, and is expressed through a symbolic journey towards a mythical destination that promises wisdom and peace. The song is replete with all the elements you have come to expect from the band: from the conceptual gravity, contrasting vocalisations, and brooding ambience, to the juxtaposition of classical and heavy guitar rhythms. The last track, “You Who Dream“, ties everything together for us with its celebration of the dreamers and quiet thinkers who are resistant to humanity’s technological enslavement, and the final pleading call to its audience to hold onto that which is important – such as taking our time to look out onto the ocean, to dream, to effectively… “stay human“.

Walk in Darkness have clearly distinguished themselves from other metal acts during their career, pushing beyond the confines of the gothic metal genre with their thought-provoking lyrics and their unique fusion of sound and philosophy. As a refresher of the band’s notable origins, we are also treated to the spectacular bonus track “Last Siren (Revisited)“, which is a newly enhanced rendition of a beloved classic from their debut album “In the Shadows of Things” (2017). Its inclusion does feel like a “full-circle moment”, which hopefully does not indicate that “Gods Don’t Take Calls” is the last release we will see from Walk in Darkness. But if that is indeed the case, we could not have received a more perfect bookend.

Verdict: With “Gods Don’t Take Calls”, Walk in Darkness have refined this dystopian sound for which they are renowned to a fine art. The album takes you on a philosophical journey, where cautious undertones are ever present, but are also mercifully counterbalanced with sparks of light and optimism. A fully immersive and unmissable experience for any gothic metal fan – which will forever establish the legacy of Walk in Darkness as one of the most visionary and spiritually-invested metal bands of our generation.

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Single Review Staff Review

Gabriëlle Driessen – Deathly Waltz (Review)

Conventional wisdom suggests that it’s best to avoid a dance with death. However, in the case of “Deathly Waltz“, the debut single by Gabriëlle Driessen, one should certainly shirk that advice. Lest you miss out on one of the most promising new acts of the year. Especially if you are partial to the genres of symphonic or gothic metal – or more accurately, dark fantasy metal (according to Driessen herself). It’s quite hard to argue with this novel categorisation, given the fact that her music finds its inspiration in the dark cinematic soundtracks produced by Danny Elfman. If that makes you hyped, then you’re in the right place!

To emulate such an iconic film composer, one must be extremely talented. And as a singer, songwriter, composer, cellist, and musicologist, Driessen comfortably fits that description. She was born in Venezuela to an Italian heritage, and was raised in a musical household as her father is a lyrical tenor, while her brother is a pianist. At a young age, Driessen began to explore her vocal capabilities as well, and in the process discovered that she had a natural gift for singing in operatic high registers. Her formal classical training commenced at only eleven years old; a decision partly influenced by Epica’s “The Phantom Agony“. But as time progressed, her tastes grew to include other European symphonic and gothic metal bands, cinematic fantasy scores, and academic music – all of which she now masterfully weaves into her own sound and compositions.

Her experience also includes a degree in Musicology at the University of Oviedo, which she has this year successfully graduated. It was during this period of education when Driessen really dived into the study of orchestral composition, and started the journey of formulating her own debut solo album. A creative endeavour that found itself bolstered via the support and collaboration of producer Yamil Ladner (Abstracted Mind), who helped in moulding the overall focus and cohesion of her vision. While no official release date has been confirmed for the debut album, Beyond Our Endlessness, we’re told this is Driessen’s immediate goal, and that it will be released single by single, so we should not have to wait too long for more new material to drop.

In the meantime, we have the spectacular “Deathly Waltz” to hold us over. As the title of the song implies, this is a thrilling dance with the dead. And just because it’s a waltz, do not expect it to be a walk in the park. Or else you might be thrown off and lose your footing when the blast beats hit you. Don’t worry, the intensity is also matched by the symphonic bombast, which is in full force as well on this track. There is no shortage of energy with the frenetic guitar riffs, and the gothic piano keys add an elegant layer of intricacy. As Driessen’s haunting vocals fluctuate between a sweet, inviting sound, and then borderline scary with her growls. All the while, her sinister cello plays in the background and keeps us swaying in time to the dark, mischievous melody.

Thematically, the track draws upon the historied motif of the Danse Macabre (or Dance of Death). A reminder of our own mortality, but also the grief and torment which accompanies the loss of a loved one. As told by the portrayal of two lovers, and their desperate attempts to be reunited after a death resulted in their separation: “Let me dance with you once again // As we did the night we fell apart // Before your life vanished like a misty whisper // Oh, my love, how I wish to kiss you once again“. I’m excited to report that this piece works equally well on a literary level. And so it should come as no surprise that Driessen is also working on a trilogy of books to act as a counterpart to her music. It is almost as if she is building her own dark fantasy universe, one which you can experience in multiple ways. And if this is the plan, then you can absolutely count me in!

As a final note, be sure to check out the video for “Deathly Waltz” when it premieres on the official YouTube channel at 22:00 CET on November 28th (link below). We’ll see you there!

Verdict: Gabriëlle Driessen’s “Deathly Waltz” is a mini-masterpiece, and an absolute must for those who like dark, theatrical soundtracks (a la Danny Elfman), with the added bonus of a heavy metal backing. It’s tragically romantic and macabre in all the right doses, while simultaneously pulsating with life, thanks to the enchanting new frontwoman in Driessen.

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Featured News News

End of an Era: Arch Enemy and Alissa White-Gluz Part Ways, Solo Career Announced

In a shock announcement that has left the metal community reeling, Swedish melodic death metal band Arch Enemy have officially split with Canadian vocalist Alissa White-Gluz after a 12-year working relationship. Thus, closing the chapter on the third singer in the band’s history.

Both parties released synchronised statements about the breakup that were brief, amicable, and set an optimistic tone about future plans.

Arch Enemy’s message:

Arch Enemy have parted ways with singer Alissa White-Gluz. We’re thankful for the time and music we’ve shared and wish her all the best. Wherever there is an ending, there is also a beginning. See you in 2026.

Alissa White-Gluz

Alissa White-Gluz’s message:

After 12 years in Arch Enemy, we have parted ways. I am forever thankful to the thousands of amazing fans I have met along the way. I can’t wait to share what I have been working on with you all. Stay tuned for big news in 2026 and see you very soon.

Arch Enemy

Interestingly, in the case of Alissa White-Gluz we did not have to wait long to get a glimpse of what was in store. With the singer almost immediately declaring the upcoming release of her solo album, and sharing a new song and accompanying video for “The Room Where She Died”.

Alissa on the new track:

The Room Where She Died” is a song that feels truly satisfying to me; like I get to express myself in so many ways that have been dormant for years. This upcoming album is diverse; and I love the idea of opening up this new chapter with this song and video, which I wrote the script for.

Can’t wait to share more with you!

Alissa White-Gluz

The track certainly marks a new direction for Alissa White-Gluz creatively, and just shows the breadth of her versatility. We’ll keep you posted as more developments unfold with her new solo album, and equally, the upcoming plans for Arch Enemy and their new vocalist.

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Single Review Staff Review

Juli Hope – Imaginary Enemies (Review)

While our focus on this website is normally to review full-length album releases, we realised we simply couldn’t pass up the opportunity to check out the first solo single by Juli Hope. If you’re an afficionado of the symphonic metal genre, then you might already be familiar with Hope’s previous work. But it’s possible you are less aware of her effortless capacity to switch to other genres, unless you’re one of her many followers on YouTube. This all means you may be in for a surprise with “Imaginary Enemies“; our first taste of Hope’s upcoming solo debut album, due to be released next year.

For those who are completely new to the artist, Juli Hope is a highly talented singer, vocal coach, and multi-instrumentalist from Argentina. She started her musical development at the early age of 10, when she joined the school choir and discovered a love for vocals and contributing to music production as part of an ensemble. Her dedication grew at 13, when she decided to improve her technique and undergo classical voice training. This rewarded her with a solid foundation, along with the confidence to start exploring and experimenting with different styles of music during her adolescent years. She began to study the piano at the age of 18, and this would later lead to her graduation from the National Conservatory of Buenos Aires (where her educational studies also included the flute and cello). Her interest in rock and metal finally led her to the bass, and the start of her professional career as she began engaging in various projects that helped to broaden her experience with songwriting and live stage performances – turning her into the formidable musician she is today.

Her list of career accomplishments is impressive. In her home country, she was a member of the electro-infused Moonlight Asylum (2013-2018), accepting the duties of both bassist and vocalist on the studio album “Death is Coming” (2017). At around the same time, Hope also formed the alternative/nu metal band Breikdaun (2014-2017), which led to the release of two EPs, “Errores” (2015) and “Otro Lugar” (2016), and Hope taking on the roles of lead singer, bassist, and chief songwriter. After a brief stint in melodic death metal band Unfear, where she contributed as a vocalist to the “Chronicles of a Broken Mind” album, she found a new home in the Netherlands in 2021, and became the current singer and co-songwriter for the Argentine-Dutch symphonic metal band Abstracted Mind – who have since put out the EP “Where It Begins” EP (2025), and their debut album is set to drop in 2026.

As luck would have it, this is the same exact timeline as the planned release for Juli Hope’s debut album, which means that come next year we will be getting the best of both worlds if it all works out. Because as I hinted earlier, Hope’s solo material is a bit of a departure from her more widely-known projects. She has forgone the metal and full orchestration in favour of a more earnest and intimate approach. Musically, it is a different sound than we’re used to from Hope – more rock-focused and raw in its presentation. Yet still equally as powerful, perhaps due to the emotions expressed, which Hope states was a key motivator during the songwriting. “Imaginary Enemies” is an honest reflection on everyday challenges, and how living inside our own head can lead to a distorted perception of reality from outsiders. The idea that someone is distant or perhaps even hostile, because of their internal daydreamer tendencies, when the truth is actually the opposite. They are just struggling to be present in the moment: “I’m not staring, not even looking at you // I don’t even notice… // I’m imagining chaotic possibilities // It’s a hobby I can’t quit“. It’s an interesting examination of the social consequences of our cognitive behaviour, and the song will no doubt be quite relatable to creative personality types. As someone with an Honours degree in Psychology, this extra nuance is fascinating to me. And we can anticipate more introspective revelations on the upcoming album, as Hope has described it as “… a healing process. Transforming chaos, growth, and the long journey toward self-acceptance into music”. I can’t wait to hear it, but for now I’m more than content with this brilliant teaser. Go check it out!

Verdict: “Imaginary Enemies” heralds the start of a new chapter for Juli Hope. Fans should appreciate the edgier and more direct approach to the music this time. It is a different side of her capabilities, but certainly no less of a showcase. If this single is anything to go by, we should all keep an avid eye out for the upcoming debut album. There is lots of promise here, especially if you like rock music with a bit more depth.

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Album Review Staff Review

Elenion – The Symphony of the Night (Review)

The dark, symphonic grandeur of Elenion’s “The Symphony of the Night“, has just been released worldwide – and it seems perfectly timed for all lovers of Halloween. The band make their intent known with this first chapter, as they begin their heroic journey through the Music of the Spheres. A concept which is no doubt tied to their efforts to reimagine symphonic metal as ‘World Metal’. And it is clear from the international production of this album, that Elenion have earned the right to flaunt this proud new title.

The band are a diverse collection of individuals and cultures, with members originating from different geographic regions, including South and North America, Europe, and Asia. The project was initially founded in 2017 by vocalist and multi-instrumentalist, Berenice Piceda. Before later evolving, as Icaro Ravelo (drums), Kublia Kapsalis (guitar), and Eric Aguilar (keyboards) were introduced into the fold. With a mix of identities such as this in the band’s line-up, it is only natural that it feeds into the art itself, with the album’s lyrics spanning multiple languages and ethnic tapestries. But it still blends into a cohesive and highly immersive experience, which can be enjoyed universally.

The gentle ivories and haunting choirs in the opening moments of “Starborn“, escalate into a powerful melody with rich orchestrations and fierce metal riffs. But if a star is being born – then it is clearly Piceda. Her crystalline singing, and the pitch-perfect vocalisations in her operatic range is truly something to behold. She displays immense power and control with every note. What a fantastic introduction! “Carpe Noctem” is up next, which is a play on the more common Latin phrase (“Carpe Diem”) for in this case it is instead translated to “Seize the Night”. In this track, Piceda’s classical-inspired vocals are paired with the more modern styling of Juli Hope (Abstracted Mind). Vivaldi-like string sections also contribute much to the symphonic splendour, while still delivering plenty of unrelenting metal spirit.

Don’t be afraid, in this search together we will roam
The unknown is just an epiphany that waits for you alone

Elenion – Carpe Noctum

The band delves into Latin again for the lyrics of “Conqueror of the Sky”, which references the myth of Icarus (who flew too close to the sun) – stirring up themes of ambition, daring, and the typical heavy tradeoff between risk and reward. Perhaps on cue, “Invocation – The Ancient Devotion I“, showcases Elenion’s own willingness to take a few chances and try to pursue a higher course, as they look to elevate the cinematic atmosphere with a ritualistic chant of ancient goddesses. The second part, “The Wild Goddess – The Ancient Devotion II“, brings us Piceda singing epithets in Ancient Greek that would normally be attributed to the goddess Artemis, a nocturnal huntress – which very much stays on theme.

The versatility of Berenice throughout this album simply cannot be overstated. It is a point that is proven again and again. Take “Queen of the Night” as another example, the modern-day version of a classical aria composed by Mozart, and which appears in the second act of “The Magic Flute“. If ever you needed any evidence that Piceda belongs on her metal throne, then this is it. Such a number necessitates a very skillful and flexible type of singer, especially when punching out the lightning-fast cascade of high-pitch staccato notes. “A Sailor’s Tale” sees a shift to a lighter, softer tone, yet still possessing all of the gothic romance of an Anne Rice novel, in Piceda’s ballad-like duet with male guest, Drake Chrisdensen (Ruins of Elysium): “Through eternity memories haunt me // Across infinity I hear your heart pounding // And I fight, asking the Gods what horrors we must atone // For a twin flame agonizes burning alone“.

The Spanish-written “Himno a los Caidos“, continues in the vein of the dramatic and poetic, conjuring notions of sacrifice and eternal revenge in its theatrical narrative. Next, German-sung track, “An den Mond” (or “To The Moon“), contains a stanza from the famous poem of the same name, and deals in topics of solitude and dark inner journeys.

We finally have the finished version of “The Hunting” (previously released in demo form) in all its fast-paced neo-classical glory. And let’s not forget the radio-friendly new single, “The Last Dark“, with its harsh male vocals and infectious guitar harmonies. Yet the best is most certainly saved for last, with the 12-minute title track “The Symphony of the Night“. Broken down into multiple phases, the song is everything you could possibly want in an epic finale, and once again shows not only the remarkable skills of this young band, but their ambition.

While each song is different, they each have one commonality that binds them all together. They investigate a particular type of darkness or aspect of the nocturnal realm. As though the compositions fit neatly with each other; like pieces in a larger puzzle. Musically, there is also plenty of variation – with influences spanning across the wide geographic and cultural spectrum. Its foundation remains heavily rooted in the genre of symphonic metal, however, making it a very easy recommendation for fans of Epica, Nightwish, and Therion.

Verdict: Elenion’s “The Symphony of the Night” is an operatic triumph. The perfect treat for this year’s Halloween, but also representing a unique and exciting new chapter in the venerable history of symphonic metal. With a global focus and appeal, the band already has all the elements it needs to become an international phenomenon.

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Album Review Staff Review

Talia Hoit – Oceans (Review)

Talia Hoit may not be a name that you instantly recognise, but don’t let that fact deter you from approaching this release. Having been involved already in the production of two studio albums, with Colorado-based symphonic / gothic metal band Beyond Forgiveness, there is no question that Talia Hoit has the necessary credentials to embark on her own solo career. But setting that aside, such a change can still be formidable. So, does Hoit sink or swim on her maiden voyage?

Even with an assumedly smaller budget than a lot of her musical competitors, “Oceans” holds up remarkably well by modern standards. There is an obvious amount of polish when you listen to the album’s production quality. The “how” and “why” make perfect sense as soon as you learn that Frank Pitters assisted with the mixing and mastering (Visions of Atlantis, Deep Sun, Edenbridge). The rest of the line-up includes guitarist Mat Plekhanov (Dragony), drummer Roland Navratil (Atrocity, Leaves’ Eyes, Edenbridge), along with bass and rhythm guitarist, Max Stoner (who appears to be mostly famous for his dope name). But as stellar as this crew might be, the true shining star is none other than Hoit herself, who serves as a constant beacon in the night sky – guiding us through the mysterious seas that lie in wait.

Her vocal delivery is at once distinctive, while at the same time familiar. Most listeners will quickly find comfort and acclimatize to her angelic singing. But let’s not get too settled, as the opening tune, “Castaway“, has been designed to immediately test your sea legs. “How can I survive // When the rogue wave hits me from behind”. Touching on a feeling which I’m sure many of us have experienced at some point in our lives. Despite the sense of despair, the song’s steady pace and powerful choruses drive this more into the realms of an upbeat anthem. The music is just abundantly pleasant, in spite of the disheartening lyrics.

It’s like I’m stranded and forsaken in a world torn apart
Trying to face all the sorrows of silent wars
Been betrayed by a hope in my once awakened heart
Wrecked upon the shores
A Castaway

Talia Hoit – Castaway

The folksy melody of “Unanchored” brings a quiet sea change, and potential glimpse for an optimistic future: “I wonder what will come tomorrow, will I wash ashore“. Fans of metal with a more pirate-themed vibe should like this one especially. “Ocean” tries to keep this hopeful transition alive, with the promise of love now being floated as a saviour in this impassioned heavy metal ballad: “My waves will carry you // the tides will bring you in // I’ll take away your fears // and I’ll find you through the storms”.

At this point, it is obvious that Hoit is not only an amazing vocal talent (to rival some of the best the genre already has to offer) – but she is also a seriously accomplished songwriter and storyteller in her own right. I’m not entirely sure why her singing is at times so recognisable. It is possible I have unwittingly come across her work before. But what I do know is that this combining of dark, introspective lyrics, and her sweet soprano voice is an absolute auditory treat. I can’t really explain it. All I can say is that it just works. And I suppose, that is the main conceit of the album. The rest of the band still do their part admirably, but their efforts ultimately fade into the background when placed next to the powerful duo of Hoit’s compositional and vocal sensibilities.

“Beautiful” is another terrific highlight on the album, and a personal favourite. Once again, an aesthetically pleasing exterior belies the gloomier undertones of the song. Perhaps not unlike the ocean itself, and the mysterious dangers that lurk beneath the calm beauty of its surface. It is this dichotomy that permeates throughout the songs, which not only matches the multi-layered themes, but makes for an intriguing fusion overall.

“Stolen” introduces the familiar sirens in Greek mythology to warn of deception, and how we must all live with the consequences of our choices in the future. While “Abyss” details the experience of falling deeply in love, to the point of almost losing oneself. There is still plenty of air left in the sails as we journey through the “Vastdeep“, a fast-paced song with an abundance of glittery keyboard notes which could be representative of: “The Ocean in the dawning light // Satin shimmering gold“. An energetic song this deep in the playtime is much appreciated and helps maintain interest. Epitomising the idea of remaining positive against all odds is “Island of Hope“, where a keyboard-laden intro safely navigates us into buoyant riffs and beats, and a superlative breakout guitar solo during the mid-section.

“Infinity” is Hoit’s moment to shine again, steering the ship by herself at the beginning until the band eventually accompanies her again – and in a rare moment have their own time to bask in the sunlight as well. The final song even shakes up the formula a bit, with the ever-shifting nature of “Significance“, a possible symbolic backdrop which is used to depict the constancy of our memories within a forever changing world. And on the topic of long-term retention, it is conceivable that Hoit’s “Oceans” will also be successful in forging treasured memories for its listeners. It surely marks a strong early showcase for Hoit’s solo career.

Verdict: While the seas are not entirely uncharted in Talia Hoit’s LP “Oceans”, there is still plenty of bounty to be found. It is a more serene voyage than you might be expecting too, with Hoit’s soothing voice instilling a comforting ambience and lighter tone, regardless of the turmoil in the lyrics. But if you’re looking for a pleasing listening experience that won’t rock the boat too much, you should definitely set sail with this symphonic debut.

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News

Edge of Paradise Unveil Cinematic Cover of “Requiem for a Dream”

Los Angeles, CA — International cinematic rock band Edge of Paradise have released their powerful reimagining of the iconic Requiem for a Dream theme. Known for fusing soaring vocals, heavy riffs, and immersive soundscapes, the band takes the haunting score into new depths, transforming it into a massive, larger-than-life experience that bridges the worlds of film and metal.

Following the success of their latest album Prophecy (Napalm), the band continues to expand their multimedia universe, accompanying this powerful composition with a striking visual counterpart, a music video that immerses viewers in Edge of Paradise’s signature fusion of sound, story, and atmosphere.

“This theme has always resonated deep within and inspired me to see how a simple melody can open entire worlds” says vocalist Margarita Monet. “With our version we wanted to amplify that emotion, the darkness, the light, and everything in between, and we’re excited to experience it with you through our dimension, on the stages and beyond.”

The artwork created by Margarita was unveiled at the NoHo CineFest in Hollywood, where she received the Outstanding Artist Award for her visual work and storytelling. Her graphic novel’s narrative extends Edge of Paradise’s cinematic universe, seamlessly connecting the band’s music, imagery, and philosophy through art. Additionally, the band’s song “The Unknown” will be featured in the upcoming feature film The Complete Course of Howard French, directed by Gustavo Sampaio,  expanding their presence across both the music and film landscapes.

Margarita adds: “What also makes this so special to me is how everything I love intertwines — making the art, the music, the visuals. From painting the cover and crafting the crown to shaping the story through dance and direction, every moment reflects a piece of my soul.”

This release follows a remarkable year for the band, supporting PROPHECY with North America and European tours. Edge of Paradise will also embark on a string of dates alongside Love Bites to bring their show to audiences worldwide:

Tickets and VIP upgrades: 
https://www.national-acts.com/edgeofparadise
Nov 4 – New York City, NY – The Gramercy Theatre
Nov 5 – Baltimore, MD – Baltimore Soundstage
Nov 7 – Lakewood, OH – The Winchester
Nov 8 – West Dundee, IL – Rookies Rochaus
Nov 10 – Lawrence, KS – The Granada Theater
Nov 11 – Dallas, TX – Trees Dallas
Nov 12 – Austin, TX – Come and Take It Live
Nov 14 – San Luis Obispo, CA Freemont
Nov 15 – Los Angeles, CA – The Vermont Hollywood

The “Requiem for a Dream” cover is now available worldwide on all streaming platforms https://ffm.to/2d1gqpw

“Requiem for a Dream (and the Angels of Static) is mixed and mastered by Jacob Hansen, and engineered by Mike Plotnikoff and Rob Black. The music video was directed by Margarita Monet and Julian Oyanedel Santiesteban.

The music video was directed by Margarita Monet and Julian
Oyanedel Santiesteban.
Photography by Jack Lue

Edge of Paradise – Online:

Website: https://www.edgeofparadiseband.com
Instagram: https://www.instagram.com/edgeofparadise
Facebook: https://www.facebook.com/EdgeOfParadiseBand
YouTube: https://www.youtube.com/@edgeofparadiseband
TikTok: https://www.tiktok.com/@edgeofparadiseband
Twitter / X: https://twitter.com/edgeofparadise
Spotify: https://open.spotify.com/artist/45MvWoWLKlKglPHeKiVlJY
Merch store: https://edgeofparadisestore.com


Categories
Album Review Staff Review

Marble – T.I.M.E. (Review)

If you’ve ever been drawn to the theatrical side of metal, then you’ll find a lot to appreciate with “T.I.M.E.” – especially during its early moments. The third album release from Marble, wastes no time recreating that special feeling of being at a live production. “Welcome to the Theater…”, the flamboyant announcer exclaims in the intro of “Through the Veil” (the round of applause from the audience adding to the general immersion): “…where everything is fake, but nothing is false“. And with this shared paradox, the show begins.

Though the cast may be unbeknownst to some listeners, it is fairly obvious that all of them are ‘old stagehands’. The technical proficiency of each band member shines through from the very first act. The Italian sextext play a mix of symphonic metal that has strong progressive elements incorporated and showcases a penchant for a more aggressive performance style than is usually standard for the genre. The leading lady, Eleonora Travaglino, is not excluded from this observation either, as she hits every note with a raw power and emotive impact. An impressive feat considering the combined decibel output of her artistic companions, a roster which includes: Paul Beretta (Lead Guitars), Omar Gornati (Guitars), Daniel Fleba (Bass), Jacopo Marchesi (Keyboards), and Norman Ceriotti (Drums).

“Through The Veil” sets the expectation bar even higher as the music steps in – the band clearly indulging in some fun early on with its Dream Theater-esque instrumental groove, before yielding to the presence of Travaglino and her commanding vocalism. As a fitting context, the lyrics recite a tale of guilt and tragedy. But the mood is lightened considerably with a dash of 70s-inspired synth sounds towards the end. “The Jester Duplicity” gives no such reprieve for the audience – bolting out of the gates with a blisteringly inhuman speed and intensity (especially on the part of Ceriotti). Ivan Adami (Stranger Vision) also enters the stage to join in a duet; his gravelly tone providing a strong counterweight to Travaglino.

Eleonora Travaglino holding white mask next to her face

While most of the songs on the album are inspired by female figures (as depicted by their theatrical playwrights), the one which most people will recognise appears in “The Sleepless King“. Based on Shakespeare’s Macbeth, Travaglino is naturally acting the role of Lady Macbeth in this number. It has that instant “single” quality; very accessible and catchy. Although this piece still finds ample time to unleash a slick torrent of solo guitar and synth melodies, despite it being a little more streamlined for radio.

All hail the Sleepless King,
has been crowned by my own will
I can’t wash away the blood stains
on my hands remain
the burden of my pain

Marble – The Sleepless King

The standard continues to be upheld in solid entries like “Face of Deceit” and “Aftermath“, as the album now settles into its established formula. The latter culminating in a colossal breakdown of sorts, with weeping guitar notes sustained over blasts of double-bass kicks. While “Voice of Awareness” kicks things off a bit differently with its more tender keyboard arrangement. Travaglino adds more nuance and vulnerability to her singing as well, to pair with the lyrics: “I’ve become invisible // You have forgotten // In your eyes I’m incapable // To be a mother nor a spouse”. This softer side of Travaglino is appreciated, as is the increased visibility afforded Fleba, whose robust bass playing here is even responsible for connecting different phases of the composition.

“The Garden of Despair” adds a dash of neo-classical flair to the proceedings. Even for this decidedly slow- to mid-tempo affair, there are still a handful of instances where Ceriotti can be heard drumming his heart out on the bass drum. And I honestly love the lack of restraint and quick injections of energy. The brassy-rich sounds of a cathedral organ herald the start of “Heliosyncrasy” and this dynamic track introduces the growling phonics of Clode Tethra (who also returns for the final song). While “Smile In Decay” ups the epic levels further with plenty of orchestral strings and the inclusion of vocal ensemble Gruppo Vocale Calliride. It all coalesces to the final climax that is presented in “Theater Is My Essence” (revealing the mystery behind the acronym of the album’s title). The statement is undoubtedly true, given everything that we have already witnessed on this album. But Marble still demonstrate this one last time – delivering an ending to a body of work that is truly deserving of a rapturous curtain call.

Verdict: With T.I.M.E., Italian-based Symphonic Metal band Marble have proven once and for all that they are masters of theatricality. While not quite reaching the same heights of the classic works that so inspired them, it is nevertheless a highly entertaining show, and one that will almost certainly leave you wanting an encore.

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News Press Release

Belle Morte Proudly Introduce New Album “Pearl Hunting”

Emerging as one of symphonic metal’s most innovative acts, Belle Morte returns with their highly anticipated album, Pearl Hunting, set for release on January 24, 2025, through Wormholedeath Records. Known for their dark, gothic edge and symphonic depth, Belle Morte ventures into bold new territory with Pearl Hunting, merging symphonic metal with a global array of traditional instruments that beckon listeners on a unique sonic journey.

Pearl Hunting – A Global Collaboration of Sound and Spirit

Just as pearl divers plunge deep into mysterious waters in search of rare treasures, Belle Morte has delved into diverse musical traditions to craft Pearl Hunting. This ambitious album features 11 meticulously crafted tracks, each produced in collaboration with a lineup of guest musicians from across the globe. Recorded across continents, the album combines symphonic metal’s majesty with traditional sounds from countries as far-reaching as Mongolia, Japan, and Peru, blending Eastern, Celtic, and Latin influences into a transcendent fusion.

A Rich Musical Tapestry Woven with Rare Ethnic Instruments

Pearl Hunting stands out for its bold use of ethnic instrumentation, drawing from Belarusian, Celtic, Mongolian, Japanese, and Andean music. The band incorporates an impressive range of instruments, including the Belarusian duda, Ukrainian sopilka, Celtic bouzouki, and Armenian duduk, alongside the Peruvian pan pipes, Indonesian suling and gamelan, and Japanese shamisen, koto, and shakuhachi. Each track offers its auditory landscape, pairing symphonic metal’s intensity with the haunting allure of the Trinity College harp or the guttural, earthy tones of the morin khuur.

Stories as Profound as the Music

Beyond the instrumental richness, Pearl Hunting is also lyrically profound. The album explores themes of love, lust, inner conflict, and resilience. Belle Morte seamlessly intertwines these personal journeys with vivid storytelling, conjuring tales of supernatural beings, vampires, and ancient folklore. Listeners are invited to journey alongside the band into an otherworldly realm where music transcends conventional metal fusions.

Watch the Official Lyric Video for Pearl Hunting BELOW:

With the soul-stirring beauty of global folk traditions intertwined with an atmospheric sound, this track gracefully beckons listeners to step into Belle Morte’s journey.

About Belle Morte

Founded in Minsk, Belle Morte burst onto the scene with their debut EP Game On in 2018, establishing themselves with a haunting blend of dark, melancholic symphonic metal. Their first full-length album, Crime of Passion (2021), signed under Wormholedeath Records, solidified their reputation with a conceptual journey inspired by John Fowles’ The Collector. Crime of Passion narrated a twisted, layered tale of obsession and tragedy, while the band’s latest work, Pearl Hunting, showcases their evolution into global musical storytelling.

With their second album, Belle Morte takes symphonic metal to a new frontier, blending haunting melodies, progressive and gothic elements, and an unmistakable melancholic vibe. Each track on Pearl Hunting is a unique experience, promising fans a breathtaking ride through uncharted musical waters.

Tracklisting

01 Pearl Hunting Feat. Hunt Max Kerner, Caterina Castiglioni, Yanina Yakshevich, Ada Rusinkiewicz
02 Falling Idol Feat. Tero Kalliomäki
03 Exorcism feat. Ulziisaikhan Khoroldamba
04 Blame Me Feat. Lernik Khachatrian
05 Wintersleep Feat. Ella Zlotos, Marta Masciola
06 Losing Faith Feat. Carlos Carty
07 Black Waters Feat. Maulana Malik Ibrahim
08 Willow Feat. Emma Spinelli, Rúben Monteiro
09 September Feat. Rúben Monteiro, Ada Rusinkiewicz
10 Jorōgumo Feat. Hisashi, Reigen Fujii, Souzan Kato
11 Krew Feat. Yaroslav Dzhus, Alex Pilkevych, Ada Rusinkiewicz
12 Exorcism (Acoustic Version)

Belle Morte online:
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Source: Wormholedeath

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Album Review Staff Review

Unbowed – Silent Weapons for a Quiet War (Review)

It is no secret that heavy metal has the ability to provoke feelings of empowerment and rebellion within its listeners. This psychological impact is perhaps no more powerfully demonstrated than with Unbowed’s debut LP, “Silent Weapons for a Quiet War“, set for independent release on 13th December, 2024. The album’s title might sound like something of a misnomer at first, since the auditory assault by this German band could be labelled as anything but muted. (On top of that, the sheer energy and capability on display is all the more impressive when you discover the line-up is comprised of just three musicians).

However, delve a little bit deeper into the lyrics and themes of each song and you’ll begin to understand its relation to the over-arching message – that systems of control are stealthily engaged in a war on our society. A statement that you would be hard-pressed to find much disagreement with, especially with the events of recent times. But far from surrendering to this sad reality, Unbowed are living up to their namesake, and fighting back. Taking position on the frontlines of this battle are the ever versatile band members: Vox Infernum (vocals / lyrics), Aetherius (guitar / synth / production) and Percival Drakon (bass / drums).

Their rebellious sentiments perfectly encapsulated in the band’s output, which is a mixture of melodic death metal, along with various elements of thrash, punk, and power metal. An inevitable comparison can be made to the likes of Arch Enemy, and while there are clearly similarities in approach, Unbowed do enough with their brand to successfully differentiate themselves, and stamp out their own patch of territory. Plus, the trio are united by a shared purpose, and strive to do more than just entertain listeners. As proponents with a steadfast dedication to social justice, feminism, and anti-capitalism, they all aspire to see their music used for education, and ultimately, a tool of resistance against the status quo.

The pen can’t topple thrones alone,
We need more than words, we need the stone.
From thought to deed, the spark is cast,
Revolution born, breaking free at last.

Unbowed – The Stone

Every resistance needs that initial spark, and this is exactly what occurs when agitating opener, “We Need A Stone“, comes crashing in through the speakers – an urgent call to action, and a rallying battle cry for all who are seeking to effect social change. Unbowed exhibit their distinct passion for this project by virtue of their unrestrained performances. Vox Infernum pushes her vocals to near breaking point on subsequent title track, “Silent Weapons For A Quiet War“, for instance; her sustained screams sharing the same sonic quality as white-noise at various points. That’s no real exaggeration either. The pitch she achieves is nothing short of mind-blowing during these exhilarating moments, and more resembling what you would expect to hear from a black metal singer.

Unbowed have no qualms about shifting the pace into a higher gear either, such as with the neck-breakingly kinetic, “General Energy Concepts“. Here Vox shows off a different aspect of her voice again, with a pronounced clean-style providing a sharp contrast to her aggressive default setting. Aetherius is given a little more room in the song to make his presence known as well, and showcase his sharp technical abilities as he chimes in more frequently with rich-sounding melodies. If I had to pick an early contender for hit single, this one would be up there as it has all the obvious hallmarks.

“4th Law of Motion” took me by surprise again with its unpredictability and Vox’s spoken-word passages, giving off a definite hip-hop vibe early on. Yet this was nothing compared to the ecstatic melding of Vox’s epic screams and the heavenly crescendos of Aetherius‘ weeping guitar solos that would appear later on in the track. There are several such high-points like this on the album, which is a good thing when you take into account its 14-track runtime, not to mention its unwavering focus on political and social issues. Yet thankfully the album never makes you feel as though you are being lectured, which can sometimes be a danger when advocacy collides with art. Here at least, it feels natural and organic.

“Hidden Hand” and “Programmed Consent” highlight the efficacy of propaganda and lack of education in controlling the masses, while injecting some cleaner guitar harmonies for the first time. Whereas the pulsing chaos and intensity of the aptly-named “Confused and Amused” will no doubt ensure that it becomes a crowd-favourite in the pit, and all the while simultaneously serving its more meaningful purpose as an allegory for an oppressed and ignorant society: “Keep them confused // Keep them amused“. Aetherius is heard igniting the tension in the air with his flaming hot guitar licks in the opening of “Between Knowing and Disbelief“, as Vox matter-of-factly and somewhat defeatedly expresses the massive mental hurdle that consistently has to be overcome in order to accept the overwhelming truth of our reality: “Blinded by disbelief // We stand paralysed // A conspiracy so vast // It defies our eyes“. Before calling attention to the importance of what is at stake with “Won’t Someone Think of the Children“. With all of this doom, you may not be expecting the shift back to a more positive and inspiring tone, but it arrives with “99 Percent“, emphasising the strength of the silent majority, and how much power lies with the people. You can just feel the winds of change propelling Unbowed to the album’s conclusion, and the group is likely hoping this same momentous energy reverberates with listeners even after the last note is played. Their brave defiance and determination, and the way it has been expertly delivered in such premium musical fashion, is definitely persuasive enough to believe it might!

Verdict: Female-led melodic death metal bands are few and far between, so it is always a welcome occasion to discover another, particularly when they are of such high quality as Germany’s Unbowed. Their debut LP, “Silent Weapons for a Silent War”, establishes them as a force to be reckoned with, and one that is motivated by noble causes. It’s hard not to imagine them attracting a wide legion of followers as a result.

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News Press Release

MYSTERY BLUE presents “Rebel At Heart” Music Video From Brand New Album “Night Demon”

Today, French heavy metal veterans MYSTERY BLUE are celebrating the release of their brand new studio album, “Night Demon“, that is out now on Massacre Records! Available as CD Digipak and Digital formats, visit https://lnk.to/nightdemon to order your album copy.

In support of “Night Demon“, the band is now premiering a music video for “Rebel At Heart“. “The song gives an insight into childhood, when you start building your own identity and discover your adventurous spirit and strive for difference,” the band comments.

Watch the Official Video for “Rebel At Heart” BELOW:

MYSTERY BLUE’s “Night Demon” offers 12 new and pure heavy metal tracks as well as a cover version of Accept’s classic “Restless And Wild”. The band’s ninth studio offering was mixed and mastered by Vince Koehler at V.I.P. Studios, the cover art was designed by Jean Linhoff.

Alongside a guest feature from Andreas “Buschi” Babuschkin of label mates PARAGON, MYSTERY BLUE, who formed back in the 80’s, invite you to travel from song to song, carried by the passion and energy which transpires through this incredibly rich album. Get ready for a blend of sheer power and melodic parts, and order your album copy now.

“Night Demon” Track Listing:

1. End Of The World
2. Colours Of Life
3. Burning Souls
4. Night Demon
5. Human Again
6. Pandemic Metal Virus
7. Rebel At Heart
8. Undertakers (feat. Andreas “Buschi” Babuschkin)
9. Skulls From Hell
10. Where Metal Rules
11. Wild Fire
12. Forever Hand In Hand
13. Restless And Wild

MYSTERY BLUE is:
Nathalie Geyer – Vocals
Frenzy Philippon – Guitars
Erik Lothaire – Guitars
Julien “Ted” Weibel – Bass
Vince Koehler – Drums

MYSTERY BLUE online:
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Album Review Staff Review

Lay of the Autumn – Of Love And Sorrow (Review)

Whilst I have a healthy appreciation for all sub-genres of metal, if you have been following my reviews on this site for any length of time, then it is likely you will have noticed my predilection to power metal in particular (more so when it is symphonic). So you can imagine my happiness when “Of Love And Sorrow”, newly released on October 25, 2024 thanks to Rockshots Records, promised to deliver an experience which harked back to the golden era of bands such as Sonata Artica, Stratovarius, and Nightwish.

The album marks the debut of the rising Italian force known as Lay of the Autumn, whose name may sound familiar to Insomnium fans (if you don’t know the reference, do yourself a favour and investigate “Across The Dark”). Like that band’s music, “Of Love And Sorrow” possesses a similar melancholy, but this is where the sonic comparisons really end. Despite their newcomer status, the line-up also consists of a strong pedigree of musicians, including Davide Scuteri (Ravenword, Choirs of Veritas) as the keyboardist and sole lyricist/composer, and Michele Olmi (Chronosfear, Embrace of Souls) on drums. But the real prize for me was with the surprise reveal of Ukranian vocalist Iryna ‘ERIA’ Boyarkina, whom I have always admired in other projects – even her brief stint in the oft-maligned pop-metal band SEMARGL.

Indeed, if ever there was a singer deserving of greater breakout success, it would be Iryna. And with Lay of The Autumn, that may finally be a real possibility. When the band had first showcased their music, it was with the initially promising instrumental track “Si Sta Come D’Autunno Sugli Alberi Le Foglie”. Although it was pleasant and gave a strong indication of their virtuosity, it did feel as though a big component was still missing. And now we realise how true a statement that was. As good as the rest of the band are, Iryna simply lifts them to an all-new level. Our first taste of her vocals is on the spectacular “Flowing Tears“, which picks up steam after the beautiful piano-laden intro “When It Rains“. The track’s symphonic grandeur transitioning to a breakneck mid-way section, featuring plenty of resplendent keys and quick guitar notes, thus fulfilling their pledge early on to bring a fast, melodic intensity.

The band does borrow heavily from the established staples of both symphonic metal and power metal. But if anything, that proves to be a positive instead of a negative here. “Lost In Your Eyes” is another banger, with its synth-heavy start, steady tempo, and romantically catchy chorus: “In an instant I saw // the cosmos enclosed in a glance // In your eyes“. With Iryna’s convincing performance successfully preventing it from sounding contrived, which could have easily transpired. “After All This Time? Always“ carries on this epic love-letter, with a tale of unrequited love that is inspired by Professor Snape in the Harry Potter series (the song’s title is even a direct quote from the franchise). And it is with this outpouring of emotion that Iryna’s warmth of character is allowed to truly resonate with listeners.

I’ll love you forever and ever
Death cannot erase my feelings
After all this time? Always
I’ll never deny my love

Lay of the Autumn – After All This time? Always

“Thrown Away“, contrary to its title, is anything but a disposable composition, as a result of its heavy bombasts, thundering beats, and goth-tinged arpeggios fostering plenty of energy and excitement. Additional ferocity is injected by Andrea Gambaro, whose very impressive growling capabilities not only make an appearance here, but also later for the title track “Of Love And Sorrow“. The momentum doesn’t slow with next song “Undergo Deconstruction“, a philosophical piece which attempts to unravel the truth of reality, and the concept of self: “You don’t have a soul // you are a soul //you have nothing else // you are nothing else“. Iryna appropriately using more of her angelic, high-pitched ‘head’ voice as a way to perhaps drive this point home. While “Love You To Death” has that pure Rock Opera-feel about it; you can almost picture it being performed as a powerful solo number in a Broadway musical. “Who Is To Blame“, on the other hand, is a decidedly bleak commentary on the state of the world and the wars being waged for your mind: “The wolf disguised himself as a lamb // to devour your sense of justice // The essence of the world has been lost // in this endless war to catch your soul“. But rather than looking to assign fault as the album comes to a close, I’m simply left wondering who to congratulate for this incredible feat of a debut. The answer of course is: Lay of the Autumn. So to them I say, bravo!

Verdict: “Of Love And Sorrow” by Italian newcomers Lay of the Autumn lives up to its title and potential, offering a celebration of life and death expressed via a humble imitation of their biggest peers (back in a bygone age when they were still at their peak). The album is a commendable and thought-provoking initial effort, and one that I hope will be rewarded with an equally good follow-up in the not-too-distant future.