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Album Review Staff Review

Unleash The Archers – Phantoma (Review)

Unleash the AI. It’s been just shy of two months since Canadian power metal band Unleash the Archers came out with their latest studio album “Phantoma“. Long enough for any hype to have settled, and the surrounding AI controversies to have dissipated (…more on this later). Neither of these factors contributed to the delay in writing this review. But truth be told, I’ve found it harder to connect with this album than with past titles in the band’s discography. So it took more time than usual to fully evaluate this release.

“Phantoma” is the fourth conceptual album by Unleash The Archers. They first experimented with this format on 2011’s “Demons of the AstroWaste, but it was the connected saga of “Apex” (2017) and “Abyss” (2020) where it was undeniably perfected. With “Phantoma“, Unleash the Archers had the prescience to craft a fictional story around the topic of artificial intelligence, not knowing that the world was on the cusp of being changed forever with the arrival of ChatGPT. As you could likely imagine, this technology presented some unique opportunities for Unleash The Archers whilst they were in the midst of producing their album. Though you can rest assured, for it was only ever used very sparingly when it came to the songwriting process. Only a few AI-generated words (or phrases) were incorporated into one of their songs, and it was mostly added for the novelty value. The music and lyrics that you hear on “Phantoma” is still very much from the magnanimous minds of lead vocalist Brittney Slayes and company: Grant Truesdell (Guitars, Vocals), Andrew Saunders (Guitars, Vocals), Scott Buchanan (Drums), and Nick Miller (Bass).

With that disclaimer out of the way, let’s discuss the new album. As soon as “Human Era” starts, it’s obvious that Unleash The Archers are trying something a bit different this time around. It’s a slower start, easing you into the album with a mid-tempo, prog-rock number. The sci-fi influence is easily prominent, thanks to the electronic synth elements helping to give it a more futuristic vibe (in much the same vein as “Abyss” before it). As a means of setting up the tone and atmosphere for the album, it largely succeeds. However, you can also feel the narrative weight of this song. A burden which Slayes as the narrator does her best to carry, but it’s ultimately just too much at times. There is precious little in the way of memorability here as well, at least by typical UTA standards. The next track, “Ph4/NT0mA” fares somewhat better. Bringing us closer to the more “classic” Unleash The Archers style we all know and love, with the soaring vocals and fast drum beats leading listeners into the mammoth chorus: “I long to be free at last // Searching inside me to find // Phantoma“.

But third track “Buried In Code” is the first real highlight for me. It appeals to my inner programmer. Especially in the chorus. “Line by line // I’m working it overtime” are lyrics which I can definitely relate to during my day job. And it’s the only song on here with ample catchiness to get stuck in my head, even when I’m not listening to the album. “The Collective” is another high point, in large part due to its second half, and the repetitive loop of the lyric: “We are the collective“. It’s worth noting that Slayes also reaches a few satisfying high notes at the end, and it’s important to savour these kinds of moments if they occur, because they are less of a norm on this album.

Indeed, her vocals sound more subdued on the whole. They are still great – don’t get me wrong. But they’re lacking the same intensity that we’ve come to expect from her over the years. This makes a nice segue for talking about the next track, “Green & Glass“. As this is where the problems I have with this album return, and the band starts to lose me again. I’ll be honest and just say that I really don’t like this song. It’s the weakest song on the album, which makes its promotion all the more perplexing. At any rate, it epitomises my previous criticisms. Slayes’ performance sounds very wishy-washy, and at times, effect-heavy. And it’s almost as if her role as narrator has taken precedence over her kick-ass singing duties.

The album really drops off in the second half too. “Gods in Decay“, for example, takes the commercialised approach introduced by prior album “Abyss“ to even greater depths. Plus, how about the rather clichéd 80’s power ballad, “Give it Up or Give It All“? All of these are troubling signs. That’s not to say that “Abyss” was a bad album by the way. It had lots of highlights. “Legacy“, in particular, will forever be one of my all-time favourite UTA songs. But I’m not sure that this style should be pushed any further. Even the likes of “Ghosts in the Mist“, which should be a fantastic tune in theory, falls disappointingly flat. There is an interesting enough guitar hook, but the rest of it sounds bland. And it doesn’t help that the band seemingly put little enthusiasm into the track. This is something of a recurring theme now. It all feels like a muted affair. The production does not help in this regard either. As the usually incendiary vocals of Slayes are sometimes extinguished by the rest of the mix. The sound engineer can’t take all the blame though, as there is a concerted effort on the part of Slayes to scale back her vocal intensity as well. One can only wonder why. And I admit it is likely a relative observation too. It’s probably much more striking to long-time fans who are more familiar with the band’s backlog. “Seeking Vengeance” at least restores some faith that the old UTA are still alive and well. Although it’s almost too little, too late at this point. And is immediately counteracted by the plodding energy of “Blood Empress” in any regard. Although I did appreciate the referential nod to Slayes‘ stage-name in this last song’s lyrics.

I stand before my people, fresh out of the fight
I’ve taken every step to put wrongs to right
And though at times I may have lost sight of the way
With no one there to stop me, I came to slay

Unleash the Archers – Blood Empress

Despite this proclamation, it still feels like that killer instinct is missing somewhat. They no longer sound hungry. Everything is a bit more rote, like a band that is just going through the motions. Perhaps that’s unfair to say, but I cannot help but to compare this release to their past work, and the difference is palpable. It may simply be a reflection of where they are at in their lives right now. And maybe this change is an inevitable part of their evolution. But I still wish that Unleash The Archers would show us a bit more fire in their belly. After all, it was this type of energy that initially attracted me to the band. And I’m just not getting that vibe this time around. At least not consistently. Slayes, for her part, sounds like she could be running on low power mode at points. Here’s hoping that they can still regain some of that original vitality, and put out another record to rival the exuberance of “Apex“ or “Time Stands Still“.

Verdict: The archers have been unleashed, but it seems that they could be running low on ammunition, as this album rarely fires. Though when it does, it usually hits the mark. Still, as a longtime admirer of this band, I just can’t shake the feeling that Unleash the Archers, with “Phantoma”, are becoming a ghostly apparition of their past glory.

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Album Review Staff Review

Ammify – Lost, Not Hiding (Review)

When WormHoleDeath announced the signing of Australian-based duo Ammify last month, I’ll admit that I was immediately intrigued by it. Not least because of the Italian label’s proven track record when it comes to finding superb artists (especially from Australia), but also because of the uniqueness and scale promised by this new musical endeavour. The debut album, “Lost, Not Hiding“, which is set to be released on June 14, represents the cumulative expertise of Ammy Phoenix (vocals/lyrics), who no doubt inspired the band’s name, along with her counterpart, Pete Renzullo (music/production).

The latter, recalls the response from the label when they first heard their music: “They said it was a very powerful album and they mentioned Ammy’s voice, of course. They were just very impressed that the style was quite unique. One of the guys said that we’ve managed to find our own universe and that of the artists they’ve previously signed, nothing like this has come across before.” And that analysis is spot on. This is something quite different. But if you had to categorise the production somehow, then it would broadly fall under the banner of cinematic metal (or CineMetal as the band themselves have affectionately coined).

And while this makes the third album of this style that I’m reviewing in as many months, I’m too far down this rabbit hole to stop now. Particularly when “Lost, Not Hiding” seems to be pushing the boundaries of this new trend more than ever before. There are times when I’m not even sure what I’m listening to, or if it even really qualifies as metal. But one thing that I do know for certain is that it’s constantly engaging. And considering the album itself is just shy of 60 minutes long, that could be considered an achievement on its own. One reason is because of the strong storytelling, which seems to be synonymous with this genre. Even if the thematic content here trends towards darker and more intense topics. Such as on first single, “Cowards Way Out“, which sounds like the recital of a suicide note by Ammy, ending on the weighty, and chilling lyric “I had no choice“.

In fact, much of the album follows this sadder tone. But it is also coupled with a feeling of resilience, and resolving to find the inner strength to overcome one’s struggles. As seen on “Canary“, where Ammy musters up the will to go on: “Even though you clipped my wings // Nothing can keep me from the sky // I’ll never stop until I rise // I’ll never hide away // I can reach the far horizon“. A message that is overwhelmingly positive. So it comes down to how you’re willing to interpret the atmosphere at the end of the day. Just be prepared for an emotionally-affecting journey either way. Other hard-hitting moments include the song “Grief“, featuring a clearly distraught Ammy, which she expresses through her mournful (verging on wailing) vocal work. No words are spoken, but neither are they needed. The message and associated feelings are powerfully received all the same.

You can’t help but wonder how much of this might be autobiographical. The phoenix tattoo on Ammy’s shoulder suggests that she has been through some of life’s ordeals. And she is clearly able to tap into some raw emotions. Though her singing always possesses a serene tranquility, despite what she might be feeling at the time. And again, the implied notion is to keep holding one’s head above water, much like the album’s illustrated cover. This leads me to another point that is worth discussing, which is the attention to detail in the band’s visual presentation. The epitome being reached with their music video for “The Truth Will Set You Free“, which is a direct reflection of their cinematic aspirations, making use of green screen technology and cool props and costume designs so as to bring the medieval setting to life. These scenes are interspersed with performance clips of Ammy and Pete, who are joined by several other musicians. It does make me wonder how practical it will be for Ammify to tour, given the large contingent apparently required to replicate their sound in a live setting.

It’s entirely understandable though. There is a lot going on in their music. And the truth is that there is a lot to dissect on this album. More than I can realistically cover in this review. Even if I could, doing so would probably deprive listeners of the gift of discovery, and that’s part of the appeal of this album. It is the type of release that encourages repeat listening, notwithstanding the allure of the high-quality musicianship. Each subsequent playthrough reveals something new that you maybe hadn’t noticed before. Ammy and Pete have surely packed a lot in here, and it’s obvious that they make a formidable team together. I haven’t even mentioned one of my favourite tracks yet, which for the record is “Hey! You! (Over and Over)“, with its laidback jazz-lounge infused passages. There’s even a hidden track in here. A concept which may seem foreign to most people brought up on streaming, but which I’m absolutely grateful to see supported again (and it’s definitely worth seeking out). As this is their very first album, you really couldn’t ask for anything more from Ammify. It sets up the band perfectly for the future, and highlights a creative freedom that already differentiates them from the rest of the competition.

Verdict: Ammify’s “Lost, Not Hiding” continues to establish the legitimacy of cinematic metal as a genre unto itself. The album brings listeners a truly unique soundscape and narrative structure, while simultaneously presenting it with an impactful honesty that’s bound to foster a deeper connection with the audience.

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Album Review Staff Review

Dál Riata – Dál Riata (Review)

Dál Riata is a band from Glasgow, Scotland that formed in 2017, and have just brought out their first full-length album on April 12, 2024. In case you were not aware, their name refers to an old Gaelic kingdom in the Middle Ages, that used to encompass north-eastern Ireland as well as the western seaboard of Scotland. It should come as no surprise to anyone then, that their songs are steeped in Celtic mythology and traditional folk-inspired melodies.

Their style of music could best be described as melodic death metal, while at the same time, it is heavily infused with robust power metal elements. This makes for quite an interesting combination, and bears some resemblance to Ensiferum if you need a near comparison. The band is spearheaded by Carys Serries, who is also not your stereotypical frontwoman. Wielding her six-string bass guitar like a trained warrior in the heat of combat – a lethality which is matched only by her blood-curdling death vocals – Serries definitely brings plenty of presence and personality to each of these compositions. Her pitch is much deeper than you might expect as well, almost in the same vicinity as the impressive low notes that she produces from her thunderous bass strings.

But there is one thing that I would care to mention while we’re on this particular subject. It’s probably intentional, but I would have preferred for her voice to have been higher in the mix. Not that it would have helped all that much in understanding what she is singing, but I just believe that it would have produced a far nicer balance overall. As it stands, the production tends to favour the lead guitar above everything else. It forces you to listen to the album at a slightly higher volume, which by itself is probably not a bad way to soak in the experience anyway. And this might have been a much bigger criticism were it not for the undisputable fact that guitarist Scott McLeod is simply great at what he does. It is difficult to complain, and really that’s not what I’m doing, but it might be something just worth considering as an improvement for any future releases. Meanwhile, guitar enthusiasts can sit back and enjoy.

There are plenty of hooks in here for you to be caught on, and they show up early in the runtime. Take the opening track, “Hound of Culann”, which lures you in with its Maiden-esque guitar licks, before happily snagging you and stringing you along. Or the merry-sounding leads on “Destiny’s Cry“, which accurately replicate the precise feeling of charging off on a huge adventure. It’s also worth praising Scott McLeod again for lending clean vocals to the chorus along with Serries, adding a more classical feel. “Trial By Water” is yet further bait for your senses, with its instantly enticing riffs. Although one of the guitar solos in this song does end a little flatly in my opinion, and could have used a bigger exclamation point. It’s perhaps a small reminder that the band still have room for growth.

“Andraste’s Favour” introduces some acoustic elements, which also make a reappearance on later tracks too, such as “Nine Maidens of Dundee“. The contrast this provides is great, and endows the proceedings with a more naturalistic flavour. Halfway through the album, and the band are still slugging away with plenty of passion. “Light Blind Sorrow” is a total belter of a track, but my fondest feelings are reserved for “Otherworld“, given its thrashier approach, and throwing-down-the-gauntlet, “Come at me, bro!” attitude: “I will stand // I will fight // Until I wear the crown of all Mankind”.

After a few false starts in “Mag Tuired“, Dál Riata continue on their bloody march. And this time it is the gods they have in their sights within this mythical plain. Yet another powerful number, with some heavier riffing and light orchestral elements on display. “Nine Maidens of Dundee” brings the album to a close with another Celtic tale. The story here is about a farmer who loses all nine of his daughters to a dragon or snakelike creature after sending them to a well to fetch him some water. Perhaps linking back to the album artwork, which is fantastic too by the way. In summary, I really liked this first offering by Dál Riata. While I felt the production could have perhaps been done a little differently, it still doesn’t diminish from this very solid collection of tracks.

Verdict: Dál Riata’s self-titled debut album wears its Celtic heritage proudly, and succeeds in its cultural representation. An intriguing melting pot of mythology and varying styles of metal, it’s an impressive introduction for the band, and one that deserves to be heard by a wide audience of metalheads.

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Album Review Staff Review

AfterTime – Arcane Horizons (Review)

If you are not yet acquainted with Minneapolis-based symphonic metal band AfterTime, it is well past time to change that. And what better place to start then with their brand new studio album, “Arcane Horizons“, which just released following a successful crowdfunding campaign. This production promises to embark you on a thrilling adventure across uncharted territories and vibrant sonic landscapes. An invitation that is reflected not just in the album’s title, but also the picturesque cover art by Gogo Melone.

Your main companions on this mystical journey include the exceptional band line-up from 2021’s EP “Infinite Legacy. However, audiences will be pleased to know that members of the MPLS (imPulse) choir have also formed their entourage again. And rightfully so, as the 16-person choral ensemble brings an added layer of depth and gravitas to what is already an epic foundation. Combine all this talent with the sublime orchestrations of Vikram Shankar, together with the skillful mixing and mastering of Jack Kosto (Seven Spires), and AfterTime have all the necessary elements in place for a truly immersive, and blockbuster cinematic listening experience.

Which is exactly what this album delivers. At the very beginning, we are treated to a highly “visual” orchestral and instrumental intro titled “Ultra Terram“, so described because it will paint images in your imagination as the inspiring melodies resound in your mind. Acting as a prelude of things to come, it effectively grows your anticipation, and instils a heightened sense of drama. Featuring indigenous-sounding wind instruments and folksy percussion, which are then further adorned by angelic strings and glorious chants, your spirits cannot help but be lifted as you move into the ensuing number, “Arcane Horizons“. This is the title track of the album and our first taste of the music now that the entire band has entered the scene, and it instantly becomes clear that they are indeed deserving of the preceding hype. The vocals of AfterTime‘s fabulous frontwoman Sarah Wolf immediately catch your ear, as she wastes no time in showing off high notes unattainable by most other mortals. Though notably, it is a peaceful style of escalation, never feeling at all confronting or overpowering as can sometimes be the case with operatic singers. Instead she melds in nicely with the choir and orchestration. The same cannot be said for guitarist Brad Sturgis, on the other hand, who injects some much needed abrasiveness into the song with his throaty growls. Fans of Epica will no doubt enjoy this dynamic, as the energy is very similar.

Whereas the next guaranteed hit, “Sons of Fenrir“, is bound to prick the ears of many Xandria fans, particularly those fond of the Dianne van Giersbergen-era albums. The MPLS choir prove their worth once again, with a truly astounding performance that will blow you away with its magnificence. They still fail to overshadow Wolf though, who somehow manages to ensnare your focus at all times. Except maybe during Chris Radke’s majestic guitar solo in the final moments. While on the topic of show-stealing appearances, the track “Lust and Rust” is definitely that for Wolf, who briefly splits off from the rest of the group so as to deliver what is essentially a heartfelt soliloquy, showcasing her theatrical side while also deepening her connection with the listener in a more direct manner.

This raises another important aspect of the album. The immersion you feel while listening is largely aided by the fact that AfterTime are not just esteemed musicians, but also great storytellers. Many compositions on “Arcane Horizons” guide the listener through common folklore and mythology, but they are also complemented by some original stories that have been written by the band as well, such as on “Armored Heart“, and my personal favourite “Goddess of Dark Horizons“. The latter tells the tale of a powerful goddess who rescues a tribe of warriors caught in a dangerous storm at sea, and features some truly well-narrated, and addictive verses by Wolf, who makes the act of story-time look easy. And the song is a most welcome sea change from the well-treaded mythology of Homer’s sirens.

As she looks out across the horizon
The gray clouds appear and the high waves ascend
A battle of will is upon them
Their sanity tested through these endless times
They’re watching the sun disappear!

AfterTime – Goddess of Dark Horizons

But if the lyrics don’t keep you glued to your speakers, then the music is sure to maintain your engagement level. Especially when it comes at you as energetically as “Amongst the Trees“, and full credit to drummer AJ Blakesley for his concussive pounding of the drums, which are likely to leave you feeling a little battered by the end. Especially when combined with the menacingly harsh vocal assault. (The trauma is real). But in all seriousness, I really enjoyed the heavier shift. And given that most of this album strikes a more serene vibe, it definitely stands out to me as a particular highlight. But it’s not the last surprise AfterTime have up their sleeve before the curtain falls, because “Verdant Siren” reveals another, much bigger revelation with the very special contribution of guest vocalist Lara Mordian (Shield of Wings, Mordian). A fact that until recently had been kept a closely guarded secret. Both singers pair wonderfully together, and the beautifully shot music video is a sight to behold.

It’s no wonder that we join next track, “Druid’s Dance“, in such a jubilant mood: “Come, let’s dance with the druids // The equinox is here // Join in the celebration“. If this number doesn’t convince you to get up and move, it will at least put a big smile on your face. Besides, you’ll get another chance to burn off some calories with “Under A Midnight Sun“, which presents itself as a light instrumental jig. I particularly appreciated the fiddle sections. Although just make sure you have some energy left in reserve, because next up is the absolute marathon of “A Prophecy of Realms“. Over a whopping 11 minutes long, it’s divided up into 3 distinct parts and takes several interesting turns, while still interconnected and linked by a recurring melody that pulses like a heartbeat at various occasions. It’s all impressively cohesive, and proves that AfterTime have no problems at all when turning their efforts to much lengthier compositions. There is one last track on the album, and one wonders at this point how they can possibly top what has already been served up. And yet, the band manages to pull it off with “By The Tavern’s Light“, a cheerful drinking song which produces a rather unexpected ending. As we find out that the previous songs of the album were all stories shared among a group of travellers, regaling each other at a tavern on a cold winter’s night. It makes for a brilliant closure to the album, and will have you wanting to raise your drink in solidarity and toast to the band’s success. They have unquestionably earned it.

Verdict: “Arcane Horizons” shows that AfterTime are a cut above the rest, and capable of matching the finest European symphonic metal, in both their production and songwriting. The album is an enchanting experience from start to finish, and wholeheartedly deserves to elevate the band’s stature and recognition amongst fans of the genre.

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Album Review Staff Review

Mayan – Dhyana (Review)

While Mark Jansen and Arièn van Weesenbeek are mainly known for being members of Epica, their other band Mayan certainly has its own take on bombastic symphonic metal and shouldn’t be overshadowed by bigger names in the genre. This is my very first review on the site so I want to start with a release that is very special to me. Dhyana, Mayan‘s third full length album is nothing short of phenomenal and an absolute game changer for what metal music can be. I discovered it when it was released in 2018 and have been continuously coming back to it ever since. The first big surprise about Dhyana is the amount of band members involved which adds up to eleven people, six of which are vocalists! You could say that Mayan is kind of a supergroup considering that all of its members were previously in other bands. On top of that they’ve managed to hire the City of Prague philharmonic orchestra to perform all of the classical instrumentation which adds a lot of production value to the music.

Now having a metal band with six singers and an orchestra might sound like a difficult or even impossible project to manage without it being a complete mess, right? Well fear not because the technicians in charge of the engineering, mixing and mastering are professionals and knew exactly what they were doing. They’ve done a splendid job at mixing all of these elements together with each band member (and the orchestra) having their moments to shine without getting in the way of one another. The music is composed in such a way that the different instruments and voices interact and answer to each other, thus pulling the listener into a jaw-dropping and hair-raising musical journey that demands full attention.

Beyond the huge sound and production value, Dhyana contains a lot of diversity within its songs taking you through symphonic metal, death metal, power metal and more. The vocals shift between operatic soprano vocals (Laura Macrì), clean male singing (Henning Basse, Adam Denlinger) and female singing (Marcela Bovio) as well as death growls (Mark Jansen, George Oosthoek). Having all of those characters in just one album makes for a delightfully entertaining musical experience. As soon as “The Rhythm of Freedom” begins, you are assaulted with blast beats, fast guitar riffs, massive keys and orchestration before the different vocalists arrive one by one. This song sends you straight into the overall mood of the album which induces a mixed feeling between triumph and apocalypse. As soon as Henning starts to sing, you will lose all sense of reality and find yourself chanting with him while raising your fist in the air. “Saints Don’t Die” is another great example of his impactful presence. Despite him leaving the band the same year this album was released, Adam does a good job at filling in for him live and brings his own potent voice in tracks like “Tornado of Thoughts (I Don’t Think, Therefore I Am)”. This song will thrust you into a twirling dance of varied tones and vocal styles all complementing each other (as they do throughout the whole album).

While the album is generally intense and bombastic, it does have its calmer moments when Laura will often take the spotlight with her spine-chilling performances like on the title track or the soft moments in “The Illusory Self”. She also increases the dramatic tone of the orchestra in heavier sections like in “Rebirth from Despair”. As for Marcela, every appearance that she makes is awe-inspiring, just listen to her choruses in “The Power Process”, “Saints Don’t Die” and “The Illusory Self”. After watching some live videos of the band I realised that she even throws in some harsh vocals in “Rebirth from Despair”. Wow! These last three tracks are great examples of how all the elements on the record contribute in building up a perfect climax with each vocalist making an entrance. With that being said, the foundation of the band’s sound is actually death metal and I must give praise to Arièn‘s drumming since he provides precise and heavy drum beats that will make your neck snap and that somehow fit hand in hand with the symphonic bombast. The guitars and base add to the intensity of the drums and turn the beats into tasteful headbang-worthy grooves. We even get some guitar solos in “The Flaming Rage of God” and “The Power Process” and a base solo in “Rebirth from Despair”. In this song we have a fantastic duel between Mark and George who reinforce the weight of the music with their crushing harsh vocals especially on the apocalyptic-sounding “Maya (The Veil of Delusion)”. I should also add that each song is memorable and has new details to pick up on with each subsequent listen. With the music being so well fashioned, it’s good to also have meaningful lyrics which I believe evoke psychology, spirituality and religion.

In conclusion, Mayan have put together one of the most thrilling albums I’ve ever had the pleasure of hearing by successfully unifying different genres of music and doing so in a classy way. It’s a complex yet extremely moving musical experience that resonates deep within my soul. If you enjoy metal music that’s ambitious and, like me, agree with the “more is more” philosophy, then I think Dhyana will make the same impression on you as it did on me. With all the efforts put into its masterful execution, I can’t give it anything less than the maximum score. I eagerly await this project’s next output and I shall continue to return to this album as I’m sure that it will keep renewing itself. By writing this review I can only etch the surface of this album, but that’s why it has endless replay value.

Rating: 10/10

10 of 10 stars
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EP Review Staff Review

Malevolent – Malevolent (Review)

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.

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Album Review Staff Review

Alterium – Of War and Flames (Review)

A lot of fans were naturally disappointed when Kalidia, one of Italy’s best power metal groups, announced they were splitting up in 2023. But change can sometimes be a positive thing, and looking back on the news now, it is difficult not to view it as anything but a blessing in disguise. Seeing as the former members have now risen up from the ashes, brushed themselves off, and forged ahead with separate metal acts. One of these ventures is the recently revealed Xeneris, featuring ex-Kalidia members Frederico Paolini (co-founder, composer/guitarist) and Roberto Donati (co-founder, bassist). While the other is Nicoletta Rosellini’s (vocals) very own Alterium project, accompanied by former bandmate Dario Gozzi (drums), which just released its first full-length album “Of War and Flames” on March 8th, 2024 via AFM Records/Soulfood Music.

This ‘two for the price of one’ deal is not the only happy side-effect, since the breakup also seems to have given both parties a revitalised purpose and vigour. That’s certainly the case when judging Alterium‘s debut album, but one could also make the same early inference from Xerenis’ first single “Eternal Rising“. With regards to Alterium in particular, it seems as though the new setting has done a world of good for frontwoman Rosellini, who sings like she has been given a whole new lease on life. Rounding out the band roster is: Paolo Campitelli (guitars), Alessandro Mammola (guitars) and Luca Scalabrin (bass). Each of whom brings their past experience of working with other bands in the power metal genre (e.g. Draconicon, Kaledon, and Altair). And like the mathematical summation symbol (Σ) present in the band’s logo, Alterium benefits substantially from the accumulation of this combined wisdom. Because the end outcome is a highly cohesive and formidable new quintet, equipped with a near limitless amount of energy and creativity at its disposal.

A fact apparent from the beginning, with opening gambit “Drag Me To Hell” immediately breathing new life into the genre. The flying pace and boundless exuberance of the track will definitely get a few hearts racing, while it barrels through your speakers and stealthily earworms its way into your head. Those of a geekier persuasion may also pick up on the references to Warcraft lore in the lyrics, which describes the crowning of a new Lich King. It’s not the last time Rosellini exposes some of her gaming interests on the album. Another example later on is “Crossroads Inn“, which serves as a fun, light-hearted metal tribute to a management video game bearing the same name. Only in the power metal genre could a game simulating a medieval tavern be conveyed so earnestly, and the Italian group spare no effort or detail in recreating the atmosphere in an accompanying music video as well.

In earlier moments of the album, Rosellini lends her enchanting vocals to “Siren’s Call“, where she makes a truly compelling appeal: “Hear my cry // Flowing with the winds and storms // Once you’re mine, forever you will be“. The song is of course inspired by the scene in Homer’s “The Odyssey“, where Odysseus is forced to tie himself to the mast of his ship in order to resist the dangers of the siren’s call. Honestly if the sounds he heard were even remotely close to Rosellini’s enticing performance here, then I could fully understand the necessity of this measure. The following track “Of War And Flames” takes us from Greek mythology to Egyptian mythology. The song shares the same title as the album, and once you hear it you’ll understand why, as it’s definitely the main highlight. The tune focuses on the story of Sekhmet, a goddess of war who embodied the powers of the sun god Ra, and was said to be capable of vanquishing her enemies with her fiery breath. If you need help visualising her, the album artwork also depicts Sekhmet as she is entering her temple. You could argue that she bears a likeness to Rosellini herself, who is similarly renowned for the characteristic warmth of her singing voice, and whose vocal delivery is regularly a force to be reckoned with as well. The track is further enhanced with regal choirs and symphonic parts, and blessed with a multitude of hooks and catchy vocal lines, including in the pre-chorus bridge showcasing Rosellini’s range and impressive ability to sustain notes:

Her bloodlust never ends
Not even after the revenge
Surrender to her rage

Alterium – Of War and Flames

Alterium continues to impress elsewhere on the album, turning up the heat and intensity again with “Firebringer“. In typical power metal fashion, it is a fast, robust track – but with some added symphonic flourishes to give it that richer dynamic. Rosellini’s melodious and powerful tones also fluctuate between a tight, lower register to a more open and airy pitch. “Shadowsong” guides us into the latter half of the album, introducing a plethora of intricate instrumentation, and mighty face-punching drum beats, whereas “Crystalline” finally slows down the tempo a bit, and gifts us with beautifully drawn-out, soaring guitar solos amidst a touching piano-laden ballad; a sound that admittedly has more in common with Rosellini’s gothic metal band Walk in Darkness. Nevertheless, “Heroine of the Sea” quickly pushes it back to a more power metal focus, with a bobbing, mid-tempo number which takes you on a pirate voyage across the seas: “Sailing on, to a new adventure // Time to fight, time to die”.

Alterium rachet up the speed and technicality for one more power metal jaunt in “Chasing the Sun“, the last original composition on the album and one of the more interesting due to the meter changes and neo-classical arrangements throughout its duration. I also need to give particular credit to the mixing and production of this album, for everything sounds so crisp and neatly balanced. It really does have a completely fresh sound – even after over a month of listening to it before writing this review. Alterium close out their debut album with a final cover of Sabaton’s “Bismark“, and while this Swedish band are probably a little over-represented when it comes to covers of their songs at this point, it is still an admirable and enjoyable rendition. Plus it is very much consistent with the band’s affection for performing songs that contain a story or historical context. On the whole, Alterium have impressed on every conceivable level with “Of War and Flames“. I’d always had an inkling that they would create a great album, but I was wholly unprepared for them to go a step further and deliver such an epic masterpiece. I couldn’t have asked for a better continuation of their previous legacy, and I’m personally more excited than ever to see where they take us next.

Verdict: Alterium’s “Of War and Flames” is mandatory listening for every power metal fan. The decision by ex-Kalidia members to found this new entity has not only borne out to be a calculated and beneficial manoeuvre, but has surprisingly culminated in the best power metal album I’ve heard for a long time. A triumph of both perseverance and adaptation.

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Album Review Staff Review

Balance of Power – Fresh From The Abyss (Review)

Balance of Power are no strangers to the heavy metal scene, having released a string of albums from the late 1990’s to early 2000’s. But it’s fair to point out that they haven’t exactly been in the spotlight for a while. Their last album, “Heathen Machine” (2003) was released almost 21 years ago! So, when their new creative offering comes out on April 19th, 2024 via Massacre Records, and is titled “Fresh From the Abyss“, just know that they are not kidding. It does feel as though they are crawling out of an abyss of sorts.

As you might well have expected, the band have returned from this hiatus with a brand new line-up. Founding members Tony Ritchie (bass) and Lionel Hicks (drums) are now joined by female lead vocalist Hazel Jade and guitarists Chris Young and Adam Wardle. Jade’s presence represents a major change for Balance of Power, which previously had only employed male vocalists, and is a big reason for why this album piqued my interest. On “Fresh from the Abyss“, she consistently demonstrates that she belongs to a class of hard rock singers that is all her own. And if there is anybody who can “wow” listeners and bring back attention to Balance of Power, then it’s definitely her.

Jade dishes out plenty of depth, emotion, and electrifying intensity on each of these tracks, but with a level of sophistication that avoids overshadowing the rest of the band members. In fact, you could say that the “balance of power” is just right. And for being able to achieve this, we should also bestow credit to Sam Lowe and Mike Plotnikoff for the mixing/editing. But whatever the reason, her voice fits perfectly with the music here. Something which will no doubt come as a relief to long-time followers of the band. While still on the topic of line-ups, it should be further noted that the album line-up differs slightly from the current band line-up, with two guitarists (Chris Masimore and Stoney Wagner) having contributed to the album recording before handing over the reins.

Balance of Power steps out from the shadows with opening number, “Last Man Down“, a defiant power anthem from a band which is surely looking to re-establish their profile, and pay acknowledgment to their long absence with the opening lines: “This is not the ending I was looking for // Unintended static cuts the air“. A “no-nonsense” affair with an edgy, hard rock groove serving as its backbone, in many ways it is the ideal way to kick off the album. It later culminates in a frenzy of guitar and keyboard solos, adding a distinctly progressive flavour to the traditional mix.

As if related, “Never Be Here Again” is the next track, and again ties into the band’s history somewhat by drawing our attention to the speed of time (and perhaps even showcasing a pining for lost time): “Suddenly it comes to me like a thunder in the night // We can never be here again, never be here again“. Indeed, the progression of time appears to be a constant theme on the album. “One More Time Around the Sun” is another such example. As Tony states, this track is all about “wanting to spend another year and then another and another with the person you love”.

It’s certainly heavy, and we’re not just referring to the music. It would appear that Balance of Power are not ones to shy away from dealing with the big topics. Another case in point is “Monster“, which focuses on grappling one’s inner demons. But it’s all wrapped up and presented in such a way that such depressive themes do not become too overwhelming to the senses. In fact, somewhat contradictorily, I caught myself grinning for much of my time with the album – so joyous was the experience. Particularly with more energising numbers, such as “Deadlands” and “Abyss“, which are both punctuated by a quicker tempo, and have some particularly sweet guitar solos. Rounding out the overall package is “Velocity“, which eschews the band’s typically classic approach for a more modern-sounding aesthetic, and “Rage of Ages“, with its slower rock n’ roll rhythm and big vocals. It’s an album that will no doubt be appreciated by fans of classic metal or hard rock. And regardless of whether or not this statement applies to you, there is no denying the incredible feat Balance of Power have pulled off with “Fresh From The Abyss” after being out of the game for so long. Not only does it serve the purpose of re-introducing the band to the world, albeit in a different guise than before, but it also makes a strong case for their reappearance and sets a solid footing for more to come. Here’s hoping we don’t have to wait nearly as long next time.

Verdict: A miraculous revival and rebranding for a band that has just emerged from a long hiatus. It matters little if you are already a fan of Balance of Power or hearing them for the first time, “Fresh From The Abyss” is the start of a new journey, and anyone who listens to traditional heavy metal will definitely want to tag along for the ride.

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Book Review Staff Review

Edge of Paradise – Hologram And Slaves To Forever (Review)

Fans of American hard/rock heavy metal band Edge of Paradise are about to be given another reason to celebrate with the soon to be released “Hologram And Slaves To Forever” – a stunning new graphic novel written and illustrated by the multi-talented lead singer Margarita Monet. The signed pre-order copies are due to ship out this week, and the new novel does a truly excellent job of visually bringing to life the intricate sci-fi narrative of last year’s phenomenal “Hologram” studio album (which also earned our award for “Best Hard Rock Album of 2023”).

The genuinely original and thought-provoking story is presented across 36 gorgeous pages; broken up into 10 chapters corresponding to each of the songs. And to say this book is a veritable feast for the eyes would be a major understatement. If you have any familiarity with Monet’s original artwork, you will already have an appreciation of what I mean by this comment. Futuristic dark fantasy illustrations that stimulate your imaginative senses and curiosity, with a strong recognisable art style and vibrancy of colour which together leaves a lasting and impactful impression. And for anyone who is wanting to own several of her artistic masterpieces, especially those based on “Hologram“, the collection included within this hardcover novel certainly makes for an economical way to achieve that. Each of them are presented in colour, and while some serve as backgrounds to the text, others have a full page just to themselves. But even then there is usually a few small details and annotations which you will not be able to find anywhere else. Some pages feature QR codes too, which provide links to the relevant music (including alternate versions), and which have the effect of unifying the two mediums and creating a fully immersive experience for the reader.

Without spoiling any specific details, many of my favourite pieces of this era of Monet’s art are present in this volume. With quite a few new ones that I had not seen before. And if you were not aware, some of these artworks may even include cryptograph symbols which can actually be translated with Edge of Paradise’s very own cipher. Once again adding another layer of mystery and engagement to the proceedings. As if the beautifully rendered art was not already enough to warrant the price of admission, Monet also backs it up with a unique and thrilling adventure, which casts her in the role of the leading protagonist Psyla.

In the story, her character is tasked with commanding a crew (portrayed by other members of Edge of Paradise) on an important mission through space in order to save humanity, which is already on the brink of its existence. The adoption of “HolloTravel” technology has allowed humans to project their consciousness into holographic vessels. But at great cost. Emphasising the lengths that we’ll go to in order to obtain freedom and immortality. So much so that we risk putting ourselves at the mercy of AI, and losing the one thing which makes us all human in the first place: our soul.

It’s a highly prescient and topical storyline given recent developments in this area. And fills in many of the questions and gaps that before were left to interpretation (when all we had were the song lyrics as reference). Indeed, it has given me a whole new understanding than what I had at the time of writing the album review. And quite honestly, it’s rewarding to be able to experience this shift in perception, and see the material from a different viewpoint now that it’s possible to have a better conceptualisation of the specifics. If you truly wish to comprehend “Hologram” – the novel is definitely a necessity. It answers almost everything, including the previously ambiguous nature of the alien artifact. And for that reason, and the many others listed above, it receives my highest recommendation.

Verdict: The must-have companion to an equally essential studio album. “Hologram And Slaves To Forever” means fans can now enjoy this experience in its totality, and as it was intended, on both an auditory and visual level. While also gaining a deeper understanding of the intriguing universe that Monet has constructed. I look forward to the next chapter!

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Album Review Staff Review

Amaranthe – The Catalyst (Review)

Amaranthe is a band that has deviated little in its sixteen-year tenure. Having established their genre-mashing signature style from the outset with 2011’s self-titled debut album Amaranthe – a carefully orchestrated balance of competing influences including pop, EDM, power metal and core/death metal – the Swedish metallers have done pretty much everything in their power to adhere to this template ever since. And to their credit, they have been successful in replicating it again and again during their career (and some might argue with sparingly little to show in the way of nuance).

This level of consistency is perhaps something to be applauded. But on the flip side, it can breed predictability. And worse, a growing sense of tedium. Which brings us to their latest album The Catalyst, and my biggest question heading into this review: can it add anything new to the equation, or return to us some of the initial excitement of those earlier albums? Back when the music still felt a bit fresh and daring. The short answer is ‘no’. But at least it does make somewhat of an earnest attempt.

In the words of Amaranthe’s guitarist Olof Mörck: “We have done these things before, but we’ve never been as theatrical as we have this time”. And to an extent, this is true. There is certainly plenty of drama and build-up at the start of the opening title track “The Catalyst“, until the inevitable onslaught of the band’s trademark heavy dance rhythm punches out at you from the speakers. And no matter how many years have passed, their music is still as youthful and vibrant sounding as it has ever been. There is an infectious level of optimism as well. But this is nothing new for Amaranthe either. Something that is new however is the harsh vocals of Mikael Sehlin, who makes his growling debut on The Catalyst in place of previous member Henrik Englund Wilhelmsun. According to Sehlin’s Facebook page, he has previously been the lead singer for Engel, Degradead, and Paralydiu. But regardless of how the band found him, Amaranthe have clearly chosen wisely with Sehlin, for he comes across as a very natural fit, and transitions seamlessly into the role.

The vocals have always been an extremely strong feature of Amaranthe. So it’s good to know that this album is no exception. Sehlin joins the impressive clean vocalists of Elize Ryd and Nils Molin, and together their singing forms a harmonious chemical reaction that definitely needs no catalyst. We of course have to focus our praise on Elize Ryd though, who takes centre stage in this theatrical play, and for good reason. Ryd regularly pushes the music to unimaginable heights with her soaring high notes. And at an apparent ease that would make most singers jealous. “Outer Dimensions” is one such example of where Ryd’s voice lifts listeners above and beyond the stratosphere.

Perhaps that’s why the choruses remain such a highlight. Amaranthe certainly know how to pen catchy lyrics. Songs like “Insatiable“, “Liberation“, and “Damnation Flame” will have you singing along on your first listen, guaranteed. Whereas other tracks, such as “Breaking the Waves” and “Interference”, may take a bit more time to latch onto you. But at the end of the day, it’s still Amaranthe. And not a great amount has changed, despite some of the marketing hype. There are glimpses where the band does break away from this ‘rinse and repeat’ approach at various times, for instance on the cool, cyberpunk-inspired “Re-Vision“, or the more classically-inclined duet “Stay A Little While“, but these moments are rare and disappointingly transient in the grand scheme of things. The new found theatricality does at least show up strongly in the visual department, where Amaranthe have really taken their dramatic flair to the next level. For instance, on the video for “Damnation Flame“, which showcases some interesting transitions between live-action and illustrated animations.

Yet ultimately, your enjoyment of The Catalyst will come down to your level of tolerance for treading the same beats. I have no doubt that relatively new fans will absolutely lap this up. But if like myself, you have been following Amaranthe from day one, then it’s highly likely at this stage you might be starting to tire of the band. And it’s through no fault of their music, per se, which is still of the utmost highest order. But more a case of simply wanting to hear something different after all this time. And while this latest album hints at some promising moves in that direction, it’s sadly not enough to surpass the overriding sense of familiarity.

Verdict: The Catalyst is another slickly produced collection of highly catchy and upbeat power anthems. But now seven albums deep, it won’t do anything to cure your fatigue of Amaranthe’s sound. And for long-time fans, that’s really its biggest problem.

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Album Review Staff Review

Nocturna – Of Sorcery And Darkness (Review)

Double, double, toil and trouble. Fire burn, and cauldron bubble. Two years after the surprise success of their debut album, “Daughters of the Night“, Italian symphonic / power metal band Nocturna are back with a fresh concoction of ‘dark fantasy’ metal tunes. Luckily for us, many of the key ingredients are still present, so if you liked their first effort, then you’ll no doubt want to check out “Of Sorcery And Darkness” when it releases through Scarlet Records on April 19th.

Songwriter, guitarist, and multi-instrumentalist Frederico Mondelli (Frozen Crown, Volturian & Be The Wolf) remains the mastermind behind these magical songs. But it is the bewitching duo of Grace Darkling and Rehn Stillnight that is once again responsible for bringing them to life. Together they stir up a potent mix of theatrical and operatic vocal harmonies. And it is near on impossible to resist their charm, which could explain why they are the main focal point in all of the promotional material for the album. To the extent that other members of the band are even donning masks (which fans have eagerly likened to Slipknot). Filling out this mysterious line-up nonetheless is Hedon (guitar), Antares (bass) and Deimos (drums).

The album kicks off in high gear with “Burn The Witch“, a title which doesn’t exactly bode well for our two witchy frontwomen. The song is very much of the power metal variety, and immediately draws quick comparisons to Frozen Crown due to its brisk and majestic feel. We are greeted with the vocals of Grace Darkling first, who hits all the right characteristics in her slick and histrionic belting style. Conversely, Rehn Stillnight embodies a lighter, more classical touch as she chimes in moments later. Both voices are fundamentally different, but they are equally matched, and have an undeniable synergy whenever brought together. Yet “Sapphire” confirms that they are more than capable of carrying these songs on their own, as we are given the chance to treasure each of the vocalists individually while they take turns with the verses. “Noctis Avem” ups the drama, along with the heaviness. There is an impressive wail that leads us to the opening verse. And the song has a steady, upbeat rhythm that sporadically ramps up with the drums in order to accentuate certain moments. But it was actually the bridges that garnered most of my attention, as the harmonic pitches here sound absolutely divine. On that note, “Creatures of Darkness” is practically biblical. Not just for its grandeur and scale, but also for its many lyrical references.

Our Solace, For Long Denied
Lies In Heaven’s Night
As Falling The Brightest Knight
Lucifer’s Demise
We’re Burning, Sons Of The Light
Daughters Of The Night
Returning To Grace And Might

Nocturna – “Creatures of Darkness”

The almost acapella start of “Midnight Sun” introduces us to yet another powerful banger. When the band kicks in with full-force, the listener is whisked away at a heady tempo. The track also features a fast breakaway guitar solo, and the wait has definitely been worth it. The key change towards the end is the final icing on the cake to heighten the exhilaration. A brief instrumental interlude ensues with “First Disobedience“, showcasing haunting bird sounds, whispered words, and some acoustic, neo-classical elements later on in the track. The atmosphere is suitably set for “Seven Sins“, the first single and already monstrous hit, with its thunderous bass and “Phantom of the Opera”-style piano notes enshrining it as one of the more memorable pieces of the album.

“Through The Maze” leans even more significantly into this stagey, neo-goth operatic vibe, with Stillnight commencing the number with her vocalised scales and epic high register. It is perhaps my favourite performance of hers in the whole album. But Darkling also brings something new to the table, so as not to be outdone, with a more sultry and commanding tonality to her clean singing than we’ve heard from her up to now. And more than a hint of chic in the intonation. The song is a definite highlight. But it doesn’t stop there. “Strangers” gets the blood flowing again, with a pumping rhythm and anthemic melody. The start-stop delivery of the chorus lines giving it a similar mood to Nightwish’s “Wishmaster“. Whereas final track “The Last Day On Earth” brings it home, with a touching ballad and a reminder to make the most of every moment and treasure them with those we love: “Life’s just the blink of an eye // A memory to be erased in time // … Never forget who wiped your tears // Like it was our last day on this Earth“. It’s a moving finale, and a brilliant way to close the curtain on this already magnificent opus.

Verdict: The second time is the charm for Nocturna’s “Of Sorcery and Darkness”, which manages to improve on its predecessor in every way. Converying a darker aesthetic and deeper maturity, plus better performances all round, Nocturna look ready to cast an even more powerful spell over the metal scene.

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Album Review Staff Review

Gallia – Obscura (Review)

If ever there was a band you could recommend to fans of Nightwish’s Anette Olzon-era albums (Dark Passion Play / Imaginaerum), then Gallia would most certainly be it. Founded in Belgium, this four-person strong cinematic metal project independently put out its first full-length album, Obscura, all the way back in September 2, 2022. So obscure was this release that it managed to escape our attention entirely. Until very recently, that is. And we’re happy to have found it, as it’s clearly an album deserving of greater visibility. Even if it leaves a strong feeling of déjà vu.

The term ‘cinematic metal’ is still a relatively new label, but one that we have started to see bandied around by a couple of other bands – most notably Catalyst Crime and Malevolent. And while we are not sure if Gallia can claim to be the earliest progenitors of this particular term, they certainly embody it in every single aspect of what they do. From the epic choirs and orchestral symphonies to the bombastic arrangements and soaring melodies, all of it screams Hollywood production. Almost as though you are listening to the soundtrack of a mega-blockbuster movie. And at the epicentre of it all is our cast of visionary performers: Yannic Maris (Guitar), Laurens Vandebroek (Bass), Ties Jehoul (Drums), and last but not least, the impeccable leading lady which is Elyn Vandenwyngaert (Vocals).

“Aperture” gives us a preliminary peek into the fully realised musical realm that Gallia have created, with a short one-minute introduction that includes a ticking clock amidst a melody of sparkly keyboard notes, instilling that “Disney” magic and sense of childish wonder. It’s not long until we are suddenly in the thick of it, as the prelude flows directly into “Return of Time“, with its forceful guitar parts and momentous epicness. The sheer weightfulness of the downtuned riffs displaces a significant volume of air particles in front of your speakers, and gives rise to a new definition of the phrase ‘wall of sound’. It feels absolutely massive. And the interplay between Elyn’s vocal lines and the crunching distortion within the verses is also perfectly executed. With “Blackout Queen“, we start to witness the band’s knack for storytelling break out in the lyrics, proving once again that the idea behind cinematic metal is not so baseless or outlandish. And it’s around this moment that I discover there is a fully-fledged storyline that runs throughout the production, which has even been fleshed out in a fictional novel with each chapter of the book representing one of the songs. I can’t help but be impressed by the scope and ambition of this project, and part of me definitely wants to explore this further to see if it adds a new dimension. But for the purposes of completing this review within a timely manner, I must be satisfied with solely basing my opinion on the music. The theatrics continue on “Mirage“, which has a distinct carnival-esque flavour to it, again harking back to Nightwish’s Imaginaerum, and focuses on themes of deception and masquerading as something else.

Disillusion caught me once more
I have been here before
I’m familiar with your disguise
Tell me no more of your lies

Gallia – “Mirage”

As you may have noticed, favourable comparisons have been drawn between Gallia and Nightwish, and while that observation absolutely has merit, it’s also a disservice to imply the material here is simply derivative. There are indeed many similarities. Yet flourishes of originality do exist on the album. But unfortunately for the next track, “Reflection“, this is not one of those times. To the extent that we even see Gallia winding up a music box, as we approach this mid-way point of the tracklist. “Path of the Nomad” brings us back to a much stronger footing, with tribal drums and an acoustic set of instruments and various wind accompaniments bestowing a distinctly natural sound. This is played out even more with the folksy interlude of “Free Me“, which creates an earthly, mystical atmosphere that guides us to the next track, “Spirit of the Sea“. A song that is a sea shanty of sorts, except interspersed with far heavier passages. But the real highlight is next with “Chaos“.

This track showcases a hefty rhythm, plodding guitars, and an abundance of machine-gun double-bass drum kicks, which are all presented in synchronicity with the opulent backdrop of angelic choirs, and heroic-sounding orchestral movements. While not operatic in nature, Elyn’s singing still fits the song perfectly, and her high notes are impressive. The half-point breakdown is followed by an arabesque passage, once again adding another twist to this song, in addition to highlighting the band’s immense versatility. Gallia picks up this Middle-Eastern thread again for “Euphoria“, while “Tears of Gold” is the designated ‘epic’ song of the album, clocking in at just over seven and a half minutes. And it doesn’t disappoint. As you would expect, the longer-form allows for more shifts and changes, and the band does well to flex its creative muscles. The ticking clock returns towards the very end, signalling that our adventure is soon coming to an end. There is just enough time for one more song.

It takes the form of “New World“, and this time it’s a far simpler affair. Think along the lines of Nightwish’s “Eva“, and you’ll be getting close. It’s a smart way to cool off from an album that has been mostly full-on since it commenced, but there is still a triumphant send-off in the final minute or so. And Gallia has every reason to want to celebrate with this outing. It’s an incredible first chapter for any band, and a truly astounding achievement if you consider the high production value. It’s only real downfall is its strong resemblance to that which has come before, and for many listeners, this may not even be an issue.

Verdict: Gallia’s “Obscura” wears its influences a little too evidently on its sleeve. But you can’t deny the quality of this production. If you look closely enough, you will also see that there is a deeper underlying creativity. Here’s hoping this is less hidden in future.