Author: Darth

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Album Review Staff Review

Floor Jansen – Paragon (Review)

When you think about Floor Jansen, “pop singer” is probably the last notion that springs to mind. However, “Paragon” seeks to change all that. Her first solo album follows in the same footsteps as her Nightwish predecessor, Anette Olzon, whose debut “Shine” was a similar commercial venture — although it arguably had a darker edge to it (in spite of the name). But with “Paragon”, Jansen dispels any pretense of attempting to appeal to her base, as if her sole consideration is to cater instead to an altogether different audience. And while she obviously has the artistic right to pursue another type of market – it does mean that fans of her previous, more traditional work may want to sit this one out.

The album begins with the closely titled “My Paragon”, and to its credit this song does sound like the type of music that would sit comfortably in modern-day pop charts. The liberal use of ‘woah-oh’ sounds in the verses instead of actual words gives it that trendy indie vibe, which is seemingly all the rage these days in the mainstream music industry. It’s formulaic, and a little on the cheesy side, but I still found myself enjoying the piano parts and overall momentum of the song despite myself. The way Floor belts out the chorus lines is also a stark reminder of her raw, unadulterated power, and something which I have sorely missed hearing in recent years. She certainly sounds much more comfortable and natural in this setting than she has ever done in Nightwish, which is a sad indictment on how they have utilised her gifts so far. Or an indication that perhaps she is not the best fit for that band and is better suited elsewhere. Regardless, this material does seem to be a better showcase for her amazing voice.

And indeed, her crystalline vocals are the key selling point for the album. On the second track, “Daydream”, Jansen even goes as far as to draw attention to them specifically in the lyrics: “Do you hear that? // Do you hear me, my voice?”, and you cannot help but be encaptivated, not only by her singing but also her supreme confidence. This shines through again on “Invincible” which despite its meandering pace is still an empowering ditty. Jansen is clearly very passionate about this project, and it comes through consistently in her vocal delivery. If only she could have applied this to something more substantial than these simple (and ultimately disposable) pop songs, it wouldn’t feel like such a missed opportunity. But alas, we are merely given “Hope”, which chimes in with a melodious acoustic guitar; adding a much needed layer of warmth to an otherwise bare track that doesn’t have much else to reveal.

The opening seconds of “Come Full Circle” are a subtle reminder of the intro to Evergrey’s “In Orbit”, a song which also includes a guest vocal appearance by Jansen. The similarity in the two song titles leads me to believe that this could be an intentional Easter egg, but it could also just be a coincidence, or my ears playing tricks on me. Either way the comparison is short-lived, and the song moves on to very much develop its own persona. The jaunty keyboards giving it more liveliness than past tracks. “Storm” is next, and like the calm that precedes it, this one has a torturously slow buildup before the sparse instrumentation is finally replaced with something much fuller sounding, and Jansen can let loose with her high notes. “Me Without You” and “The Calm”, on the other hand, are two rather forgettable, ho-hum additions in contrast (at least for this metalhead). Things do get a little more interesting with “Armoured Wings”, a more traditional pop-rock ballad, but it still feels like a song that is searching for a hook, and the recurring lyrics and themes which were already cliché beforehand are now starting to sound a little too repetitive and uninspired.

And I will keep you up through the storm,
The storm that surrounds you,
Surrounds you,
Surrounds you

Floor Jansen – Armoured Wings

The album does end on a stronger note with “Fire”, but once again it’s a slow burn. Like the songs preceding it, this will be a test of endurance. And given that each track here has a radio-friendly length of less than 4 minutes, that is quite the statement. In saying that, this album was clearly not made for the likes of myself; someone who doesn’t typically listen to this genre. And that is really the crux of the problem. It feels like it was created for more personal reasons, and not necessarily to entice the existing fanbase. However, my sincere hope is that this album still finds an audience of listeners and proves to be successful for Jansen, because her talent is far too precious a commodity to waste in any setting.

Verdict: Jansen’s debut solo outing might be titled “Paragon”, but perhaps “Renegade” would have been a more appropriate label, since releasing a pop album could be viewed as an act of betrayal for her long-time metal fans. And while her musical talent is never really in question, only the most die-hard of followers will end up appreciative of this radical departure from her heavy metal roots.

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Album Review Staff Review

Silent Utopia – My Human Nature (Review)

Belgian symphonic metal band Silent Utopia is destined for acclaim following the launch of “My Human Nature” on June 9, 2023. Despite being their first full-length album, and each of the band members rising up from relative obscurity, there is no denying that their output already matches the calibre of other high-end releases within the genre. The album was produced by the renowned Joost Van Den Broek, which is an obvious boon for the band, and no doubt a big contributing factor to its success. Few bands can boast working with such a recognised talent, especially so early in their career. By way of association, it places Silent Utopia in the same company as other esteemed metal acts such as Epica, Ayreon, Powerwolf, and Blind Guardian – and during the course of this 11-track debut, the group clearly establish why they are worthy of sharing such an affiliation.

As an introduction, the quartet is comprised of the following members:- Meggy Meyer (Vocals), Ignazio Di Salvo (Guitars, Keys, and Orchestras), Jonas Sanders (Drums), and Bo Waterchoot (Bass). Each person in the lineup performs their role to the highest standard. However, it would be remiss if we did not pay particular tribute to Meyer, who is simply exquisite in her part as the lead vocalist, and who exudes plenty of star power in her own right throughout the recording. Her singing consistently manages to strike the right balance between elegance and power, while blending seamlessly with the orchestration. She definitely has potential to become a metal icon.

But make no mistake, Silent Utopia are really the complete package. And they quickly go about proving it, as the album kicks off fearlessly with “Invincible“. There are no signs of first album jitters here, only an aura of complete confidence. And they have every reason to feel this way as the band are all technically proficient, and never fail to bring the goods to the listener. The title track “My Human Nature” is next up on the list, with the lyrics exploring the conflict of inner- and outer-strength:

While the pain consumes my eyes
I will show my saddest smile
There’s no sorrow and no tears in my veins and blood

Silent Utopia – My Human Nature

This theme carries over into the powerful single “The Strength Within You“, which as expected is the most radio-friendly number of the whole album, and the logical teaser for new audiences. The breakdown at the near midway point is also nothing short of spectacular. A galloping, neo-classical symphony (à la Amberian Dawn) then introduces us to “The Beginning and the End“. But despite the opening pace the band are afforded some moments to breathe in this track, with slow-tempo sections emphasizing the contributions of the bassist and drummer, while placing a greater spotlight on Meyer’s stunning vocals. The accelerator is pushed down firmly again for “Book of Life“, which is a phenomenal highlight of the album. It benefits greatly from both clean and harsh male vocals added, even though the latter is mixed in quite a subtle manner. I can only assume this was done intentionally so as not to detract from the real superstar on this piece, as Meyer simply shines with her performance on this song – especially during the chorus.

“Under This Sky” is the first ballad-y track, and its simpler backing and stripped-back approach places the onus on Meyer to carry the number, and she does so beautifully. It really feels like a vehicle to display her talents again, and I’m all for this scenario. Di Salvo also delivers a sweeping guitar solo, which is slower and less frenetic than his past solos on the album, but suitable for the track, and no less epic in nature. This leads us into “Mechanical Doll” which bursts from the speakers with a beefier guitar groove, but one which frequently takes detours into faster and more fancy finger work. The track is strong evidence of the band’s more progressive leanings, with some riff progressions even drawing similarities to bands like Dream Theater. “Rise” and “My Portrait” only add further fuel to this observation. The clean jazzy sections of the former is unlike anything else on the album, and shows the band still have the capacity to throw in a few surprises this deep into the running time. “Your Echo” is less on the experimental side, but still noteworthy for its pleasant melody. While “Abyss of Lies” brings the album to a close with one last dose of energy and a recap on the band’s sound for its listeners.

In summary, fans of symphonic metal (especially After Forever or mid-late era Epica) will feel right at home with this release, but it should equally appeal to progressive metal fans, thanks in no small part to the aforementioned rapid-fire riffing of guitarist and founder Di Salvo, whose oft-aggressive and gusto playing style invokes natural comparisons to Symphony X and bands of that ilk. I’ll be interested to see how the band’s music evolves from here, but for now I’m very content with this starting point that has already been presented to us.

Verdict: With “My Human Nature”, Silent Utopia live up to the promise of their name by offering an astounding experience that will leave listeners in a state of quiet bliss. A thoroughly impressive debut that lays a solid foundation for their career.

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Album Review Staff Review

Edge of Paradise – Hologram (Review)

The fifth album “Hologram” by American hard rock/heavy metal band Edge of Paradise is coming in hot on July 14th, and is poised to surprise even diehard fans of the L.A. group. Following in the footsteps of 2021’s popular “The Unknown“, the latest release represents yet another significant step forward in the band’s musical evolution, as it once more sharpens their keen songwriting talents, and pushes the boundaries of their signature sound to new heights.

For those unfamiliar with the 5-piece outfit, Edge of Paradise have a reputation for conjuring up a masterful concoction of melodic, symphonic, and electro-industrial metal influences, with a hard rock groove serving as the foundational base for the overall recipe. But never before has the resulting blend tasted as exquisite as it does here. This new level of perfection is evident from the very first opening title track “Hologram”. The song hits all the right notes from the get-go, with a heart-pounding rhythm that fittingly ramps up the excitement level, and simultaneously sets the stage for the ensuing space opera. Without giving too much away, the plot centres around a precious artifact which belongs to a mysterious race known as The Faceless. This object is also highly sought after by an elite species of aliens, who have enlisted soulless mercenaries to track it down at all costs – setting up the chorus: “We are never backing down // Cause we’re holograms // Hollow Holograms”. (On a side note, if you have not seen the stellar music video for this track, do yourself a favour and watch it now).

The momentum continues with “This is Personal“, featuring the deadly combo of hard-hitting twin guitar riffs, and the razor-sharp, edgy vocals of frontwoman Margarita Monet, who brings an intensity in her singing that is almost unparalleled. As far as fight songs go, this is one for the ages. The instrumental breakdown woven into the midway point is also legendary. With barely a moment’s pause, the band then unleashes into the next track (and second single) “Soldiers of Danger“, and this beast of a tune has an absolutely monstrous guitar hook up its sleeve. A killer groove that sounds hefty and momentous, and helps bestow the song with the status of instant classic. Monet also adds some nice touches to her vocals here, making the overall effect sound even sweeter. After the opening salvo of the first three songs, the album takes a softer turn with “The Faceless”, a heartfelt ballad which appears to provide a commentary on the futility of war and conflict, as neither side ends up being victorious in the end.

Who is the victor
Who is the victim
I am the faceless
And it’s not me or you

Edge of Paradise – The Faceless

Where “Dark” serves as a true showcase for the impressive Monet, a somber, moodier number that exposes her versatile range, and allows each side of her voice to shine – from her breathier, sultrier low notes all the way to the powerful resonance of her high register. “Unbeatable” then flips the tone entirely, layering an uplifting and empowering chorus on top of Moreno’s dance-beat drum tempo: “You can try and break me down // I carry many scars // Go and break me down // I’m unbeatable“. The song also gives more freedom to lead guitarist Dave Bates, who is able to break out into a longer-than-usual guitar solo, and show off his quick shredding ability. “Don’t Give Up on Me” pleads Monet on the next track (which is also its title) and at this point it’s hard to imagine a scenario in which we would ever contemplate this in the first place. But nonetheless, Monet pours her heart and soul into this request, delivering a truly impassioned and emotive appeal – proving yet again why she is considered to be one of the most talented and expressive singers in metal right now.

“One More Time“, on the other hand, comes across as more of an ambient, otherworldly piece of music, and acts to highlight Margarita’s magnificent contributions on keyboard. Despite the obvious heaviness of the guitars, it also still manages to maintain a very serene-like atmospheric quality. The penultimate track “Basilisk” is another sure-fire hit, with Monet introducing some vocal fry on this one to give it a slightly more sinister vibe. While “Another Life” makes it clear that the band intend to stick the landing for this album. Starting with a brief reprise of the lyrics from earlier track “The Faceless“, the group bring it home with this beautifully constructed epic finale, which manages to pack in plenty of breathtaking moments despite its surprisingly short-running time. More importantly, it re-establishes the sense that while all the ingredients of past Edge of Paradise albums are still here, this time around they have truly managed to perfect the formula, and lift their art form even higher.

Verdict: Edge of Paradise’s “Hologram” is no mirage or optical illusion. The band, with Margarita Monet at the creative helm, have prepared a genuine oasis of sumptuous and rewarding compositions. The album is overflowing with lush melodies and hooks, and like the fictional artifact in its narrative, is surely destined to be treasured by fans.

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Album Review Staff Review

Liv Kristine – River of Diamonds (Review)

It has been a long time between studio albums in Liv Kristine’s solo career, with “River of Diamonds” arriving roughly 9 years after 2014’s “Vervain“. It is the longest release gap since her solo project began, and one has to question whether her professional and personal split with previous band Leaves’ Eyes and co-founder husband Alexander Krull in 2016 could have been a factor. Whatever the reason for the delay, we are grateful to once again see a new album from this pioneer of gothic metal.

Even more grateful that this album follows more in the tradition of Kristine’s early goth days, and less so – her foray into the realm of pop music. While it is true that “River of Diamonds” still has more in common with pop/rock than metal per se, it is easier to overlook this fact thanks to the darker vibe and more palatable song writing. On that note, it is worth mentioning that Kristine worked with Tommy Olsen (songwriter and old ex-Theatre of Tragedy bandmate) for each of the tracks on this record. And there are moments where they do an admirable job of paying tribute to their glory days.

This is especially true with the opening song “Our Immortal Day“, which features a duet with ex-Tristania vocalist Østen Bergø – whose deep baritone singing adds the sort of “Beauty and the Beast” staple dynamic that Kristine is known to have popularised. If it wasn’t for the overall softness, you could almost imagine you were listening to early Theatre of Tragedy. But instead, it is more comparable to something from an 80’s goth band like The Cure or Sisters of Mercy. “No Makeup” ditches the male vocals but maintains the romanticism in its lyrics.

The love that we do
Needs no makeup
Because it’s perfect

Liv Kristine – No Makeup

Ironically, this is followed up with “Maligna” which sounds more like a break-up song, and is rather shocking as I believe this is the first time I’ve ever heard Kristine swear (let alone drop the F-bomb). It raises questions again about whether some of these tracks are self-biographical, and inspired by some of the turmoil in Kristine’s life in the intervening years. The album proceeds with the minimalist “Gravity”, and this time the airy, high-pitched vocal delivery of Kristine is appropriately untethered and floating above the rest of the band. Whereas “In Your Blue Eyes” sees the guitar take a more prominent role, as it picks up the pace slightly, but ultimately drives forward what could be considered a somewhat saccharine mid-tempo number.

Then we are introduced to the title track “River of Diamonds“, and here Kristine drops all pre-tense of subtlety: “Undress me now // Open my soul // My desire is your desire // Hungry and pure“. The song also includes guest vocals from Frenando Ribeiro (Moonspell). But the most surprising guest on the album is perhaps reserved for the subsequent track “Pictured Within“, a Deep Purple cover which stars Kristine’s husband Michael Espenaes making his first ever debut as a vocalist. As the album proceeds, however, the initial excitement begins to fade, as that early Theatre of Tragedy sound becomes more and more difficult to hear. “Shaolin Me” and “Love Me High” make an effort to get us back to this point, but neither one succeeds entirely. The latter track is at least notable for its inclusion of Kristine’s sister Carmen Elise Espenaes (Savn, Midnattsol) on vocals. “Serenity” and “If I Am Dreaming” are much stronger compositions, as both satisfy that itch for something more traditional. But if you took this as an indication that perhaps the album would finish on a solid footing, you might be disappointed as the last track is a somewhat unnecessary cover of Cyndi Lauper’s “True Colours“. Nothing against the song or Kristine’s interpretation of it, but it simply feels a bit out of place (and not terribly goth).

There is no question that “River of Diamonds” has a number of great songs. But it’s not exactly the return to form that some may have hoped. There are glimpses of excellence, and nothing beats that early goth nostalgia hit, but the feeling is short-lived. It also lacks the heaviness that these songs are desperately crying out for, and while this doesn’t detract from the experience for the most part, it still makes it difficult to recommend this one to metal fans.

Verdict: River of Diamonds promises plenty for old-time fans, and while it does deliver on occasion, the album still falls short of past works. It remains a heartening attempt to return to the darker heritage of Liv Kristine’s music, but it’s one that is plagued by the lack of a harder sound, and an inconsistency in both quality and tone.

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Album Review Staff Review

Morana’s Curse – Morana’s Curse (Review)

It is difficult to ignore the high standard of metal releases emanating from Australia these days, and self-titled debut EP from Morana’s Curse looks set to maintain this trend. Hailing from Brisbane, Queensland, the four-piece outfit deliver a 7-track production which already demonstrates a level of confidence and maturity that belies their youthful tenure. They do not shy away from the concept of experimentation either, nor the melding of various styles and influences, in an effort to forge original-sounding compositions.

The opening number, “Shadow Road“, starts to lead us down this path less travelled. With only the drummer disrupting the eerie tension initially, we eventually hear the following spoken lines from vocalist Skyah Lunar: “The brighter the light, the deeper the shadow“. At which juncture, the band fires up and Lunar’s nonchalant clean vocals can be heard drifting almost delicately over the throb of heavy distortion; her vocal style infused with interesting tonal inflections and changes in pitch, like a falling leaf riding the unpredictable currents of an Autumn wind. But underestimate Lunar at your own peril, for she hides this far more potent and intense persona that soon reveals itself with her harsh vocals – and will have you urgently looking for an exorcist.

The journey continues with the proggier (but no less aggressive) “Maslenitsa“, featuring only Lunar’s menacing vocals this time, along with plenty of offbeats and sonic dissonance thanks to the additional guitar parts, to further confront the listener and create a general sense of unease. This is followed by “Solstice“, which signals a departure again from the tracks preceding it, with the band switching to a more gothic/doom metal posture, and notably showcasing high-pitched angelic singing, verging on the operatic, during the key verse of the song:

Now’s the time of snow and ice
Long twilight and dark night
We’ve reached the still point of the sun
Yet look to future that’s to come

Morana’s Curse – Solstice

The listener is then introduced to next track “Fire“, with some gentle piano notes deceptively lulling you into a false sense of comfort during the intro, before the band erupts again like an awakened volcano, as if spitting out from the very depths of hell itself. Lunar, in particular, sounding like a demonic beast capable of spewing balls of flame in your direction. The clean vocals do make a return for the chorus, however, with the band submitting a defiant message in the lyrics: “We will not approach the pyre // We won’t let them set the world on fire“. Then we have the fifth track, and the band’s first ever single, “Infinite“, no doubt chosen not only for its immediacy, but also for the fact that it is the most concise representation of all the band’s core elements so far, making it the ideal introduction for new listeners.

Next up is “Blood Moon“, which succeeds in getting the adrenaline pumping with its heavy pounding of the drum skins and brutal guitar tone early on, before unexpectedly relinquishing to a softer, and more acoustic passage highlighting Lunar’s best, and most natural, clean vocals on the whole album. Whether rightfully or wrongfully, I can hear some shades of Spiritbox and Vintersea here. And with a deep hellish chuckle, we are greeted with the final track “As Above So Below“, and this too has some beautiful patches interspersed among the heaviness. The song as a whole feels a little more free-form and loosely structured, and ends rather abruptly leaving you wanting more, which all said and done is probably not a bad way to finish.

Verdict: Surprisingly, this release is more of a blessing than a curse. Though, make no mistake, there is certainly a persistent horror vibe throughout the brief runtime, and most of that credit goes to vocalist Skyah Lunar with her creepy possessed vocals. Overall, a strong first outing for this new band, and I look forward to following them closely to see how they evolve in the future.

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Album Review Staff Review

Frozen Crown – Call of the North (Review)

It’s hard to believe that “Call of the North” is the fourth album of Italian power metal band Frozen Crown. It feels like only yesterday since their 2018 debut “The Fallen King”, and they were considered the new kids on the block. But now it’s impossible to see them as anything but the veterans they are – and their new album clearly affirms this fact in the strongest possible terms.

The band kick off proceedings with the opening title track, and it is clear from the outset that they mean business with this record. After announcing their arrival with a suitably grandiose guitar-laden intro, they soon waste no time in ratcheting it up a few notches, and going full-bore at the listener. The energy on display here is thrilling, and still permeates even during a softer, more acoustic passage at the mid-way point. The ensuing track, “Fire in the Sky“, picks up even more speed and momentum – which you would scarcely think possible after the first track unless you heard it with your own ears. The band are clearly on fire at this point in their career, and the lyrics of the song imply a self-acknowledgement of this: “Can’t you see? // We burn like fire in the sky“.

Part of what makes Frozen Crown such a hot property is lead female vocalist Giada Etro, whose blazingly powerful vocals will forever burn a place in your heart. However, equally as impressive is Fabiola “Sheena” Bellomo on lead guitar, with her technical expertise responsible for many of the high points throughout the album. Next, we have the third-released single “Black Heart“, a more mid-paced song with a slightly darker edge to it. Some well-placed choral singing also adds to the drama. But even with this shadier aesthetic, the song can’t help but sound positive and uplifting, particularly if you’re paying close attention to the lyrics.

In these stormy times we’re standing strong
This fight will last forever
For blood and steel
Our flame still burns

Frozen Crown – Dark Heart

“Victorious“, on the other hand, takes some time out to showcase the band’s acoustic side, with some pleasantly fast tremolo picking. And while you’re listening, it’s easy to picture these bards huddled around a warm campfire. The image is fleeting, however, as the band forge ahead once more with their energetic trademark of heavy metal, and a renewed sense of urgency, as if they are charging off to wage combat in an epic battle. “In a Moment” sees that encounter arriving as Etro describes the scene: “A fight that never ends, as thunder strikes the land // Demon knights come from the gates of Hell // As evil’s getting in against the door we stand“. The fantastical nature of the songwriting here only serves to give more credence to this power metal offering, and the hard-hitting drums of Niso Tomasini are especially on-point. An observation which continues with the mechanical precision and rapid-fire drumming that introduces us to next track “Legion“, and sure enough, this one appears to be attempting to break the odometer with its sheer pace at various moments as well.

“Until the End” starts off deceptively slower, but quickly gains momentum, and we soon find ourselves swept up and taken on another ride. Both this and the subsequent number “Now or Never” see the band dropping much of their melo-death influences, and instead lean heavily into unadulterated power metal. While in “One For All“, the bards come out again with their acoustic guitars, and treat us to some impeccable vocals and finger-picking before the inevitable bait-and-switch, and return of the heavy distortion. As Etro is heard leading us into the closing moments of the album with what becomes a stirring call-to-arms: “All for one, one for all // We stand fiery in the dark // Till there’s blood within our hearts“. And with that we are left with the final track “Far Away” – a longer composition that is far and away the most unpredictable of the tracks that have preceded it. It’s a spectacular way to finish the album, and shows that even after nine tracks the band still have some tricks remaining up their sleeve. They are clearly a band bursting with a ton of individual talent, and it’s incredible they are able to contain it all and present it to us in such a unified, and coherent package.

Verdict: With “Call of the North”, Frozen Crown have practically ascended to royalty status within the power metal genre, and undoubtedly proven that they are worthy of the crown (frozen or not). It’s not only the best album they have ever produced, but it’s also one of the best in the entire business. A must-own for any power metal fan.

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Album Review Staff Review

Temtris – Khaos Divine (Review)

Fans of the Australian heavy metal group Temtris can expect something quite different with seventh album “Khaos Divine“, set to be released through WormHoleDeath on March 17th 2023. This time around we are presented not only with a setting and style that is more modern and futuristic (as made clear with the spectacular album artwork), but also an emotional concept album that explores various themes such as freedom, loss, betrayal, and salvation, in the context of a dystopian civilisation.

“The Grand Design” starts us on our journey with the epic chords and guitar melodies of Anthony Fox and Nadi Norouzian laying down the core foundation of this instrumental intro track. It all sounds superbly executed, and immediately sets your expectations high for what is to come next. And as luck would have it, that would be the blindingly awesome title track “Khaos Divine” (a song that easily made our list of top metal releases in January). If you have any familiarity with Temtris at all, then you will already know that frontwoman Genevieve Rodda is a downright dynamo on vocals. But even then you may find yourself surprised with her performance here, as she simply sounds on another level.

In fact, that sentiment could be applied to the rest of the band members as well. Everything feels like it has been jacked up a degree. Not that you could ever accuse this band of lacking energy or intensity in the past, but this could well be the most energised we have ever heard them. Maybe there is something in the water down in Australia that we don’t know about. Perhaps that is what makes it possible for Rodda to hit those insane high notes – who knows?

The following track is the second single “Eternal Death Machine“, which you might detect has something of a Queensrÿche vibe once you reach the opening verse, albeit with a significantly heavier sound. The comparison is partly due to Genevieve Rodda’s impressive vibrato, but also the characteristic bass lines and progressive movements that occur during the song. Regardless of the track’s inspiration, the end result is still mesmerising – and maintains the high-quality benchmark set earlier by the album. The chorus is especially catchy and must be fun to sing, even if the lyrics themselves paint a rather bleak picture for the album’s protagonists: “All they want // All they need // Is their Eternal Death Machine”.

The progressive elements persist in the subsequent number “Dreams or Reality“, which begins with the suitably psychedelic twin guitar harmonies of Fox and Norouzian (as if representative of a dream sequence – or in this case a nightmare), before ripping into a more grounded heavy metal assault. Although the track is occasionally accentuated by high-pitch guitar harmonics as well, as though to add a sense of unease and confusion as the character in the story grapples with her perception. This sets the stage for the more even-keeled “The Lies Become the Truth“, which comes blasting out of the speakers with a confident swagger, as if to signify resolution and intent, while Rodda attempts to draw the battle lines for the coming struggle:

Where do we stand?
Where do we fall?
Where do we find the strength to crawl?

Temtris – The Lies Become the Truth

The album then shifts gears a little with “The Path“, a lengthier song which takes on a stripped-back approach, and has Rodda’s vocals juxtaposed against a cleaner guitar sound. Once again, the likeness of her singing to that of Geoff Tate (ex-Queensrÿche) springs to mind – if only for a brief moment. The tune is a welcome change of tempo, and shows off the band’s versatility. The seventh track “Revenge” gets us back to a more heavy metal footing though, with some meaty guitar riffs and Rodda emptying her lungs out again with plenty of long sustained high notes. The single-ready “Evolution of Hate” is up next, which we estimate due to its instantly memorable chorus, and the huge payoff of its anthemic dual guitar solo near the midway point (think the Amott brothers). Finally, “Ground Zero” brings a close to this opus, with a pensive keyboard arrangement that becomes gradually more ominous, until the band enter the fray once more for the final word. And at this point, it feels very much like a victory lap – and given the strength of the previous songs, who could argue with that? Temtris are rightfully deserving of this encore performance.

Verdict: Khaos Divine is the most enticing Temtris album to date. If the dark and mysterious narrative is not enough to seduce you into its dystopian universe, then the high-calibre musicianship definitely will. Especially the immense vocal prowess of lead singer Genevieve Rodda, who stands in stark contrast stylistically to many of her peers.

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Album Review Staff Review

Delain – Dark Waters (Review)

It has been a big month for symphonic metal fans. Last week saw the release of the much anticipated The Wonders Still Awaiting with Xandria’s new vocalist Ambre Vourvahis, and in an eerily similar pattern, this week we are presented with Delain’s latest album Dark Waters with their new vocalist Diana Leah. If you read our review of the Xandria album, then you will already know that we were extremely impressed. So the question remains: can lightning strike twice in the same month?

The opening track “Hideaway Paradise” instantly begins to answer this in the affirmative. Starting off gently with Leah’s smooth vocals and a soft keyboard section, before firing off with a big, anthemic number that will be familiar to long-time fans, any doubts or concerns about this new iteration of the band become quickly erased. This is still very much the same group that we know and love, albeit with a different face.

“The Quest and the Curse” serves as even greater proof, and it’s easy to see why the band picked this song as the first single for the album. Blasting through the speakers with Ronald Landa’s revving guitar riffs, the truly astonishing feature here is Leah’s uncanny resemblance to previous singer Charlotte Wessels. The vocals match so closely to the same spirit and style, that casual followers may not instantly notice any difference, which is perhaps the intention. Regardless, it certainly serves as an effective bridge between both eras.

Leah does an equally astounding job of emulating Wessels on “Beneath“, and at this point it becomes clear that this can be no mere coincidence – she has clearly studied her predecessor closely. The track sounds like it could have been lifted from any of the band’s previous catalogue (which is in no way a criticism). At the same time, we see that this respect of the past is not always necessary, as the act is dropped a little in “Mirror of Night“, in favour of more natural sounding vocals. But the fact that Leah has the ability to pull off this close imitation whenever it suits is definitely a credit to her diverse talent.

Next track “Tainted Hearts” begins with Sander Zoer leading us quietly in on drums, before the full weight of the band suddenly drops like a heavy anvil. The lyrics of the song hint at a not-so-subtle dig to previous band members who departed Delain (leaving only keyboardist Martijn Westerholt as part of the lineup).

The kingdom you’ve torn down
I swear to you now, will be rebuilt larger
Than the one you chose to destroy now

Delain – Tainted Hearts

And if this is the true meaning, one can hardly argue with the sentiment. Westerholt has not only been able to miraculously rebuild the band, but has maybe even managed to build it back better (to borrow a contemporary political phrase). Up next is “The Cold“, which is introduced to us with an almost imperial sounding symphony, before breaking off to allow Leah’s bright and crisp vocals to once again become the highlight. Whereas “Moth to a Flame” gives sole focus to Leah at the beginning of the track, and invokes more of a pop/dance music vibe, which perhaps should not be that surprising given her prior background as a trance vocalist.

As the album begins to draw to a close, we are treated with the final single “Queen of Shadow“, which according to the band is about “someone who is living stuck in the past and can’t seem to break free of it”. This track embodies the classic sound that Delain have become renowned for amongst fans, and features strong powerhouse vocals from both Leah as well as guest vocalist Paolo Ribaldini. Leah certainly sounds just as comfortable firing off her vocals in the higher range as she does in any other. And speaking of tradition and special appearances, it almost wouldn’t be a Delain album without the contribution of ex-Nightwish bassist Marko Hietala. Thankfully he has not cut ties with the band despite its changed makeup, and lends his unmistakable vocal chords to penultimate track “Invictus“. As always, his inclusion is more than welcome. Last but not least, “Underland” wraps up the musical journey with a suitably dark and epic piece, which sees the band still giving it their all as the volume fades out in the dying moments. It’s the perfect ending in many ways, as you get the sense that they could have continued for several more songs, but instead showed restraint in the editing room, leaving us with a more tightly focused production. But above all, one that manages to sound distinctly like the Delain to which we have all grown accustomed, despite now having a fraction of the original members.

Verdict: The waters may be dark, but they are still familiar. With “Dark Waters”, Delain have wondrously (and seamlessly) transitioned to the next chapter in their career. Moreover, Diana Leah is a star in the making, capable of effortlessly carrying on the legacy of her predecessor, while also establishing that she doesn’t need to walk in her footsteps – fans have every reason to rejoice and be confident about the future.

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Album Review Staff Review

Xandria – The Wonders Still Awaiting (Review)

The Wonders Still Awaiting marks a fresh start for Xandria, following the highly publicised (and messy) break-up with previous singer Dianne van Giersbergen. In some respects, it is a wonder this album has seen the light of day. But after six long years since releasing “A Theater of Dimensions“, Xandria are finally back. And you could perhaps reason, seemingly undeterred by the behind-the-scenes drama, if the quality of this new venture is any measure to go by.

The album starts with the opening salvo of “Two Worlds“, which will be immediately welcoming to any fan of symphonic metal. Clocking in at over seven minutes, it is clearly a bold statement, and while there are some perceptible nods to other bands within its composition, there is still plenty of the band’s unique DNA in the song. It is also a powerful introduction for new vocalist Ambre Vourvahis, who proves she can more than capably fill the void that was left by the previous singer. And even brings something new to the table, with her impressive growls (as evidenced in the second half of this track).

Second track “Reborn” is likely one that most fans will already be familiar with, since it was the first single from the album, and was used as an effective vehicle for announcing the new lineup. It is quickly backed up by another hit single, “You Will Never Be Our God“, which guest stars male vocalist Ralf Scheepers (Primal Fear). Both songs have already been doing the rounds on radio and streaming platforms in the lead up to the album’s release, and with good reason. The title track for the album “The Wonders Still Awaiting” is suitably upbeat, and appears destined to be a crowd favourite at live concerts due to its lively pace and ‘sing-along’ nature. While next track “Ghosts“, accelerates the tempo even more, and is blessed with angelic choirs along with some juicy guitar shredding (the riffs are practically turgid on this one).

Afterwards, the band mercifully take their foot off the pedal with the first of the album’s three ballads, and possibly the strongest: “Your Stories I’ll Remember“. As the song’s title implies, the theme of this one is about coping with loss, and Vourvahis delivers the much-needed emotional weight that is a prerequisite for the lyrics:

All these moments I remember
All these stories that you shared with me
I will never get to hear your voice again
but they’ll stay with me

Xandria – Your Stories I’ll Remember

“My Curse is Your Redemption” has an interesting intro which starts off softly and continues to pick up momentum, eventually morphing into a mid-tempo power metal tune. “Illusion is their Name” has some equally intriguing moments at the beginning, building anticipation for the strong double-kick drum beat which powers the song, and the re-emergence of Vourvahis‘ demonic sounding harsh vocals. “Paradise” brings us back to power ballad territory, with some empowering hooks and a euphoric guitar solo to close out the final moments. Whereas “Mirror of Time” has plenty of contrast and duality, with the almost schizophrenic switching back and forth between the softer and harsher dynamics of the band’s sound until eventually reaching a dramatic crescendo – punctuated by high notes in both Ambre Vourvahis’ vocal range and the stellar lead guitar work.

At this point we have passed the one hour mark as an ominous symphonic melody leads us into the light orchestral “Scars“, which is somewhat reminiscent of Within Temptation’s goth classic “The Other Half of Me” – although the heavy backing of the band and the harsh vocals do not appear until around the mid-way section. It is still a beautiful track overall. In “The Maiden and the Child“, epic choirs and chunky guitars take the front seat again. This one is mostly all about the blast beats and driving guitars, but Vourvahis‘ impeccable vocals keeps it accessible. “Astèria” is the final track on the album, and is yet another lengthy epic to bookend the album. The band have plenty of time to indulge in the more than nine minutes of this song, and as you would no doubt expect there are plenty of shifts and changes throughout. The longer format very much works in the band’s favour, and showcases their refined songwriting and arrangement skills. It may be a test for some listeners, however, given the already long lead-up.

If the album suffers at all, it is only because of its length. Perhaps a result of the long gestation, or maybe the band feeling the need to prove itself, but it does feel a little overbaked. A shorter running time may have alleviated this. There are no significant weak points in the album so it really just comes down to your endurance levels if you intend to enjoy in one sitting.

Verdict: As their eighth album, you might be asking yourself what wonders could there possibly be left to discover at this point in the band’s career? Surprisingly the answer is – quite a lot. Particularly with the newly discovered talent of Vourvahis. Against all the odds, Xandria are a band that continue to deliver fresh & exciting symphonic metal, and “The Wonders Still Awaiting” is definitive proof.

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Walk in Darkness – Leaves Rolling in Time (Review)

“Leaves Rolling in Time” marks the fourth studio album from the Italian symphonic / gothic metal band Walk in Darkness. Released physically today, after being available on digital platforms since Nov 2022, the concept and setting for the album is that of humanity’s demise. A post-apocalyptic scenario where nearly everything about our world has been lost, save for the distant sounds of voices that hold the key to our awakening – a role that is played by the band itself. It is an interesting backdrop, and one that has more relevance given recent times.

The album commences in a majestic fashion with “Ships to Atlantis“, which features a heavily symphonic, choral intro that soon paves the way for heavy guitar distortion and powerful lead vocals. As an opening track, the song perfectly sets the stage and overall tone of the album. It also features a guest female opera singer, though we know little about her identity.

On that note, you could be forgiven for not knowing too many details about the band. Indeed, Walk in Darkness all but pride themselves on their mysteriousness, which is perhaps fitting for their musical style. With most of the band members maintaining their anonymity and donning black hoods, it certainly adds to the dark vibe and aesthetic. It also naturally places the focus on frontwoman Nicoletta Rosellini, who for her part is simply incredible, and absolutely worthy of the spotlight.

Up next is title track “Leaves Rolling in Time“, a song which quickly ventures into doom metal, with the slow-tempo heaviness of Shaman’s riffs blending seamlessly with the harsh growling of guest male vocalist Emiliano Pasquinelli. While the music is tonally bleak, Rosellini’s voice has a comforting warmth, which not only adds a layered contrast to proceedings, but helps to reflect the wisdom and hope that is required in her narrative portrayal. Her vocals adapt depending on the lyrics and story as well, with certain passages demanding the use of her rich lower pitch and others her hard-hitting belting range. The piano-laden “Bent by Storms and Dreams” is moody but at the same time uplifting, with Rosellini encouraging us “…this will not be the last day // Let’s look around // Somewhere, the sun will rise again“.

The song sets up “Get Away“, which is perhaps the catchiest track on the whole album, and a personal favourite of mine. You’ll know what I mean as soon as you hear Rosellini singing the first line: “Just another ride between laughs, between tears, on the abyss“. And Shaman’s guitar work is equally sublime. I’ll be surprised if this one does not become a music video or single in future. One song that has already had this treatment is next track “Walk Close to Me”, and it’s easy to see why. Shaman and Organus (on keyboards) are the stars early on in this composition, both laying down luscious melodies on what is a resplendent track overall.

“No Oxygen in the West” could well be the highlight, however, and perhaps recognising this Walk in Darkness have also treated us to an alternate version on the album (with Shaman on vocals). The bass and drums deserve a particular mention as they really drive this song along, especially in its closing moments. “The Last Glow of the Day” notches up the heaviness a bit, but still has plenty of light and touching moments. While closing track “Elizabeth” cements their reputation as one of the best gothic metal outfits around right now.

Verdict: “Leaves Rolling in Time” is a beautifully crafted concept album that depicts mankind on the brink of collapse and facing a choice – a commentary on our current situation but one that never feels heavy-handed. Each track on the album is fabulous, but together they are elevated. A must for any gothic metal fan.

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Spiritbox – Eternal Blue (Review)

The wait is finally over. For those who have been following Spiritbox since the release of their self-titled EP in 2017, Eternal Blue feels well overdue. There has been a huge lead up to this album, and during that time the interest around the band has only skyrocketed. There is a good reason for this.

For many, it’s Courtney LaPlante. No stranger to the metal scene (though one could argue that her stature has improved significantly in recent years), LaPlante comes across as an absolute powerhouse on this record – switching between clean vocals & screaming vocals with such ease that one can only sit back and marvel. Thankfully both aspects of her voice are impressive in their own right. (A feat in itself given the stark difference between styles). But one should not discount the talent and musicianship of the rest of the band either.

The music as a whole displays a level of confidence and cohesion that is rarely (if ever) witnessed on a debut album. The obvious chemistry that exists in the band could perhaps be explained by the history of two of its founding members (LaPlante and her husband Mike Stringer, both of whom are also ex-members of Iwrestledabearonce). But regardless of the underlying reasons, it is clear from the get-go that the band are an extremely tight unit.

Opening with the staccato heartbeat-like rhythm of “Sun Killer” (which starts with LaPlante gently whispering and lulling the listener into a false sense of security before launching into a brutal breakdown), there is plenty of energy early on to get the adrenaline pumping. The next track, “Hurt You“, continues with the aggressive assault, before succumbing to another catchy chorus. Sam Cater from Architects joins LaPlante on the mic for “Yellowjacket“, in a duet that will no doubt please fans of both groups. Next track “The Summit” is a more cruisy number than the songs which have come before it, showing off the band’s versatility, and accentuating LaPlante’s clean vocals. “Secret Garden” continues this laid-back vibe with its grooving guitar parts, and includes one of the strongest choruses on the entire album.

This mellow reprieve is short-lived, as Spiritbox immediately fire up the canisters again for “Silk in the Strings“. LaPlante comes out of the gates swinging with some of her harshest singing yet, and doesn’t really let up for the whole song. It’s a great circuit-breaker, and an excellent way of separating two heavy-weight singles as “Holy Roller” appears hot on the heels to land the one-two punch. Title track “Eternal Blue” turns down the metal intensity again, and sets the stage for the more pop-heavy emphasis on “We Live In A Strange World“.

Both “Halcyon” and “Circle With Me” up the metal again, but there is a sense that the tempo is winding down now. A fact later confirmed as single “Constance” closes out the album. This is Spiritbox at its most pensive and atmospheric-sounding; succeeding not only as a parting wave to listeners, but as a lasting reminder that this band still has plenty of surprises left up its sleeve.

Overall it’s hard not to be extremely pleased with Eternal Blue. It might have been a long time in the making, but it’s clear that the band has used that time effectively. Spiritbox, with LaPlante at the helm, have proved without any shadow of doubt that they are deserving of all the praise and attention they have garnered recently, and if this first LP is any indication, one can safely assume that they both have a very bright future ahead.

Verdict: Given the immense anticipation, it would be easy to forgive Spiritbox if they had failed to live up to the hype of their first full-length album. Thankfully, this is not something we ever need to contemplate with Eternal Blue. Far from crumbling under pressure, Spiritbox have seemingly done the impossible: capitalising on the momentum behind them and rising to the challenge to produce a brave genre-defying masterpiece.

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Anette Olzon – Strong (Review)

Strong is a very different outing to 2014’s Shine. While Olzon’s first album was an introspective exercise that cast off the heavier elements that established her as a household name amongst metalheads, her second solo effort marks a strong (excuse the pun) return to more familiar territory.

The most direct comparison is her collaborative side-project, The Dark Element (featuring ex-Sonata Arctica guitarist Jani Liimatainen). This declaration on its own should deliver plenty of comfort to fans, given the high quality of that band’s output. And indeed, there is the impression that Strong is a natural continuation of Songs the Night Sings, albeit with a few twists and surprises added in for good measure.

Perhaps the biggest of these changes is the addition of growling vocals, delivered by her husband Johan Husgafvel, who is also credited with bass duties on the album. The use of distorted vocals is nothing ground-breaking or novel, but it was still unexpected to hear their inclusion. And the effect works nicely – matching the renewed focus on providing a heavier sound.

The album opens with “Bye Bye Bye“, which is an unmistakable reference to the similarly titled Nightwish single “Bye Bye Beautiful“. The latter was widely interpreted as being directed at the original singer of Nightwish, Tarja Turunen, who was unceremoniously fired from the band at the pinnacle of their popularity in 2005. “Bye Bye Bye” is the flip side of the coin, and feels very much like a rebuttal from Olzon when the same fate befell her during the middle of the North American tour in 2012.

Could I ever know what would come? // The day I got the call from you // Could anyone have told me before? // The end will be so cruel, I got screwed.

Bye Bye Bye – Anette Olzon

The track is sure to stir up age-old tensions amongst Olzon and Nightwish fans once again, but also serves as a potent reminder of her musical lineage. Supporters can take heart that there is a message of triumph within the lyrics as well: “The King is Dead!“, as Olzon exclaims. Next up is the hit single, “Sick of You“, with its catchy hooks and ABBA-esque melodies establishing it as an instant album highlight. The third track, “I Need to Stay“, harks back to Olzon’s symphonic metal roots, bringing back many of the familiar orchestral elements that we know and love from her previous work. This trend continues as we enter into the title track “Strong“, which perhaps non-surprisingly has one of the most powerful and confident intros of all the songs heard so far, and is backed up by an inspiring, anthemic chorus.

The album switches gears again with the fast-paced, and synth-heavy “Parasite“, the first single released for the album and another bona fide hit for Olzon. Before hitting a rather sombre note with “Sad Lullaby“, a touching tribute to Olzon’s father, who passed away during the COVID-19 pandemic. “Fantastic Fanatic” and “Who Can Save Them” subsequently lift the mood with familiar sounding riffs, and the usual catchy lyrics that by now have become par for the course. “Fantastic Fanatic“, in particular, feels like it could have been lifted from “Dark Passion Play“, with its Amaranth-sounding guitar riff. “Catcher of Dreams” on the other hand, kicks off with Olzon belting out a long high-pitched signature howl, which rightly or wrongly reminded me of Dani Filth’s modus operandi. “Hear Them Roar” maintains the high-octane tempo, while “Roll The Dice” closes out the album in epic fashion, with Olzon posturing: “Will I get to see the snake eyes, Do or die, the time is now”. One thing is clear, if the gamble is a reference to the making of her sophomore solo album, it is safe to conclude that the dice rolled in her favour.

Olzon has clearly learnt a lot since her last album, and while the signature sound of Nightwish still looms large over her music, she has definitely carved out her own version of it, and turned it into something that is uniquely her own. While the album is not perfect, especially when held up against some of her other projects, it is no exaggeration that Strong includes some of Olzon’s best work to date, and represents a major step forward in her own personal solo career.

Verdict: A personal highlight, if not a career highlight. Strong is a far more polished and confident solo album, and by returning to what she does best, Anette Olzon has laid down a solid foundation for the future.