EP Review – Shieldmaidens of Metal

Malevolent is the newest band to join the ranks of the so-called ‘cinematic metal’ trend, with its debut self-titled EP released on 21st December 2023, courtesy of Necktwister Records. Mostly an offshoot of symphonic metal, which has also been merged with components of gothic metal, fans can expect the usual dark undertones, epic harmonies, and rich orchestral arrangements of these styles to be at the core of their identity.

You might think ‘Malevolent‘ is a rather strange choice for the band’s moniker at first, given the symphonious nature and overall pleasantness of their music. It feels like it is perhaps more befitting of a technical death metal band (or something to that effect). But it starts to make a little more sense when you take into account the basic underlying theme for this release, with the lyrics of each song revolving around a “post-apocalyptic malevolent world”. Even more of a surprise though is that at the heart of Malevolent’s line-up lies just two integral band members: the veteran Belgian composer, guitarist, and producer, Nikolaas Van Riet, and Spanish lead vocalist Celica Soldream.

However, they are helped out in the studio by a few session musicians, and you can easily imagine this needing to be the case considering the sheer size and scale of their sonority. Amongst the recruited talent is none other than Mark Jansen (guest vocals), who scarcely requires any type of introduction for fans of this style of metal, due to his highly influential work in After Forever/Epica. Also contributing to this project is Koen Herfst (drums), Jan Verschueren (lead guitar), and legendary producer/mixing engineer Joost Van den Broek (Powerwolf, Epica, Ayreon). Each of their qualifications ensures that the finished product embodies the highest possible standards, and has an extremely polished quality.

The EP has a total of 4 individual tracks (or more, if you are lucky enough to have access to the bonus song “The Awakening“). The first of these is “Gaze“, which commences with the sacred-sounding chants of a male choir, soon immaculately overlaid with the graceful, and angelic singing of Celica’s silky voice. As the number picks up momentum, so too does the fullness and heaviness of the created soundscape as the band swings into a full offensive. The Spanish-influence of Celica’s voice also becomes a little more noticeable, and at times is reminiscent of Mexican singer Marcela Bovio, though with a smoother, softer edge. As a peculiar sidenote, each of the song titles may seem a tad nondescript on their own, but one assumes this is because they are designed to be read in combination with the band’s name (i.e. Malevolent Gaze, Malevolent Ways, etc).

Wherever you look, a malevolent gaze
Whatever we try, a lost race
We are the last suffering against unholy ruthless kings
A rush of fear is taking control
Malevolent – “Gaze”

The introduction to “Ways” indulges in a more neo-classical sound palette, whereas “Light” is sprinkled with a healthy profusion of piano notes and catchy, vowel vocalisations atop a swirling symphony of orchestral strings and crunchy guitar distortion. It is easy to observe the Celtic/Medieval influences of Celica’s tonality throughout the EP, but especially so with songs such as these two. And she delivers a much needed calm and heroic atmosphere to the crafted compositions, particularly given the tense subject matter. The greatest song is saved for last in my humble opinion, as “Creations“ features both Celica and Mark singing the most memorable vocal melodies in unison over the heavy and ornate instrumentation. Despite this fact, I feel compelled to point out that the artistry is better consumed as whole package, rather than as individualised items. The songs are kind of lacking the commercial elements that are required for any one of them to be a sure-fire hit single. Malevolent may want to hone their efforts in this area to enhance their marketability, and have a chance at making a more immediate impact on potential listeners. But aside from this critical detail, this is still a highly absorbing first entry that is likely to leave you salivating to hear more.

Verdict: Malevolent’s eponymous EP is an ambitious new endeavour that already matches the industry benchmarks laid down by their more illustrious peers in the symphonic metal sub-genre. However, due to its brief running time, it shall only serve to whet your appetite, instead of truly satisfying it. Here’s hoping we get to experience a longer release from this promising band in the very near (and hopefully still apocalypse-free) future.

Lovelorn Dolls – Beautiful Chaos (Review)

It is not a usual habit for us review EPs, but it was evident that we needed to make an exception once “Beautiful Chaos” graced our desks. This EP is the latest music to be released by Belgian electro-goth rock/metal group Lovelorn Dolls (due on the 19th January 2024), and is the perfect match for fans of glam melancholy and “cute but creepy” aesthetics. A fact that you may have gleaned for yourselves by simply glancing at the cover artwork, which evokes familiarity to Alice in Wonderland or the assorted works of Tim Burton.

And it would seem that I’m very late to the tea-party, because this is the first time that I’ve had the pleasure of listening to Lovelorn Dolls. You can imagine my disbelief when I uncovered that the band has been producing music for well over 10 years now. It is perhaps even more alarming when you consider that my pre-existing affinity for bands such as The Birthday Massacre and Lacuna Coil means I fall into the exact target audience for this type of music. So in case there are others out there like me (who have also been living under a rock for the past decade), we should probably start off with a quick band introduction. Originating from Brussels, Lovelorn Dolls is the consequence of the creative chemistry between the extravagant duo of Kristell (lyrics, vocals, arrangements) and Bernard (music, programming, guitars, production), with the two currently signed to the Belgian record label Alfa Matrix. To distil their sound down to but a few words – it’s an intoxicating mix of synth-heavy electro-pop, heavy guitars and mesmerising female vocals.

On the “Beautiful Chaos” EP, we are presented the radio edited version of the upcoming single (which bears the same name), along with 4 remixed interpretations of the song. Now I’ll be the first to admit that I’ve never been much into remixes, since my past experiences with them have always yielded little of value or interest. But here again, I find myself pleasantly surprised. Alas, we are getting ahead of ourselves though, because the original track and its expert mixing and mastering by Maxx Maryan (Helalyn Flowers, Im Judas) deserves our primary attention. This radio single feels like the perfect introduction to Lovelorn Dolls (which for us it technically is) as it showcases Kristell’s captivatingly characteristic voice, and the darkly intriguing ambience and melodies of their songwriting. The vocal lines occasionally do sound similar to Cristina Scabbia, and if anything, that’s a massive credit to Kristell. The sound successfully straddles the genres of gothic metal and synth-pop/darkwave. And while we are speaking from a position of not really knowing the band’s backlog, we still think we’re able to confidently predict that fans will not be disappointed with this new track. And if this merely serves as our first taste, we cannot wait to hear what else the band has in store for us (Ed – It’s possible that we know a few details of their future plans too but are not permitted to say!).

As alluded to earlier, we’re also surprised by how unoffended we were by the remixes on the rest of the EP. Perhaps having an electronic foundation to start with makes this song a more suitable canvas to manipulate and experiment with, but it definitely works and feels more natural here. The Restriction 9 remix introduces a clubbing vibe to the track, with thumping beat and plenty of hi-hat drum samples, but it never feels overdone or tiresome. While Absynthe of Faith puts a more industrial or cyberpunk spin on the song with their remix (and Kristell’s vocals adopting a more echoey quality as well), The Breath of Life remix goes a different tack and brings it back to basics a little, with an extra spacy and stripped-down rendition. Lastly, the Antidote for Annie remix rounds out the package by returning listeners to a much edgier sound, and some particularly razor-sharp guitar riffs. The fact that none of these remixes sacrifice or betray too much of the original composition while still providing a unique take is to be commended. The EP never felt repetitive either, an issue that could easily occur as a result of hearing the same song essentially repeated several times except for different mixing and arrangements. And while remix songs are still not my particular cup of tea (there’s that reference again!), they were still far better than I was expecting, and perhaps that is also a testament to the source material. Time will tell, but right now it feels like I may have just discovered a new favourite band.

Verdict: Lovelorn Doll’s “Beautiful Chaos” EP gives listeners an exquisite new single, showcasing its dark and distinctive blend of gothic rock/metal, laced with elements of darkwave and electro, which is then revisited and re-envisioned throughout its various remixed versions in genuinely interesting and compelling ways. Worthwhile checking out for fans of The Birthday Massacre, Lacuna Coil, or just goth music in general.