The dark, symphonic grandeur of Elenion’s “The Symphony of the Night“, has just been released worldwide – and it seems perfectly timed for all lovers of Halloween. The band make their intent known with this first chapter, as they begin their heroic journey through the Music of the Spheres. A concept which is no doubt tied to their efforts to reimagine symphonic metal as ‘World Metal’. And it is clear from the international production of this album, that Elenion have earned the right to flaunt this proud new title.
The band are a diverse collection of individuals and cultures, with members originating from different geographic regions, including South and North America, Europe, and Asia. The project was initially founded in 2017 by vocalist and multi-instrumentalist, Berenice Piceda. Before later evolving, as Icaro Ravelo (drums), Kublia Kapsalis (guitar), and Eric Aguilar (keyboards) were introduced into the fold. With a mix of identities such as this in the band’s line-up, it is only natural that it feeds into the art itself, with the album’s lyrics spanning multiple languages and ethnic tapestries. But it still blends into a cohesive and highly immersive experience, which can be enjoyed universally.
The gentle ivories and haunting choirs in the opening moments of “Starborn“, escalate into a powerful melody with rich orchestrations and fierce metal riffs. But if a star is being born – then it is clearly Piceda. Her crystalline singing, and the pitch-perfect vocalisations in her operatic range is truly something to behold. She displays immense power and control with every note. What a fantastic introduction! “Carpe Noctem” is up next, which is a play on the more common Latin phrase (“Carpe Diem”) for in this case it is instead translated to “Seize the Night”. In this track, Piceda’s classical-inspired vocals are paired with the more modern styling of Juli Hope (Abstracted Mind). Vivaldi-like string sections also contribute much to the symphonic splendour, while still delivering plenty of unrelenting metal spirit.
Don’t be afraid, in this search together we will roam
Elenion – Carpe Noctum
The unknown is just an epiphany that waits for you alone
The band delves into Latin again for the lyrics of “Conqueror of the Sky”, which references the myth of Icarus (who flew too close to the sun) – stirring up themes of ambition, daring, and the typical heavy tradeoff between risk and reward. Perhaps on cue, “Invocation – The Ancient Devotion I“, showcases Elenion’s own willingness to take a few chances and try to pursue a higher course, as they look to elevate the cinematic atmosphere with a ritualistic chant of ancient goddesses. The second part, “The Wild Goddess – The Ancient Devotion II“, brings us Piceda singing epithets in Ancient Greek that would normally be attributed to the goddess Artemis, a nocturnal huntress – which very much stays on theme.
The versatility of Berenice throughout this album simply cannot be overstated. It is a point that is proven again and again. Take “Queen of the Night” as another example, the modern-day version of a classical aria composed by Mozart, and which appears in the second act of “The Magic Flute“. If ever you needed any evidence that Piceda belongs on her metal throne, then this is it. Such a number necessitates a very skillful and flexible type of singer, especially when punching out the lightning-fast cascade of high-pitch staccato notes. “A Sailor’s Tale” sees a shift to a lighter, softer tone, yet still possessing all of the gothic romance of an Anne Rice novel, in Piceda’s ballad-like duet with male guest, Drake Chrisdensen (Ruins of Elysium): “Through eternity memories haunt me // Across infinity I hear your heart pounding // And I fight, asking the Gods what horrors we must atone // For a twin flame agonizes burning alone“.
The Spanish-written “Himno a los Caidos“, continues in the vein of the dramatic and poetic, conjuring notions of sacrifice and eternal revenge in its theatrical narrative. Next, German-sung track, “An den Mond” (or “To The Moon“), contains a stanza from the famous poem of the same name, and deals in topics of solitude and dark inner journeys.
We finally have the finished version of “The Hunting” (previously released in demo form) in all its fast-paced neo-classical glory. And let’s not forget the radio-friendly new single, “The Last Dark“, with its harsh male vocals and infectious guitar harmonies. Yet the best is most certainly saved for last, with the 12-minute title track “The Symphony of the Night“. Broken down into multiple phases, the song is everything you could possibly want in an epic finale, and once again shows not only the remarkable skills of this young band, but their ambition.
While each song is different, they each have one commonality that binds them all together. They investigate a particular type of darkness or aspect of the nocturnal realm. As though the compositions fit neatly with each other; like pieces in a larger puzzle. Musically, there is also plenty of variation – with influences spanning across the wide geographic and cultural spectrum. Its foundation remains heavily rooted in the genre of symphonic metal, however, making it a very easy recommendation for fans of Epica, Nightwish, and Therion.
Verdict: Elenion’s “The Symphony of the Night” is an operatic triumph. The perfect treat for this year’s Halloween, but also representing a unique and exciting new chapter in the venerable history of symphonic metal. With a global focus and appeal, the band already has all the elements it needs to become an international phenomenon.
