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Album Review Staff Review

Exit Eden – Femme Fatales (Review)

You would have been forgiven for thinking that international supergroup Exit Eden was just a flash in the pan after 2017’s Rhapsodies in Black. Sure, the album was fantastic fun, as well as highly popular, but given that it also consisted exclusively of cover songs, a follow-up always seemed rather unlikely (especially if you take into account the individual schedules of those involved). Yet it’s times like these that I’m happy to be proven wrong. So here we are roughly six years later with their sophomore contribution, Femme Fatales, which seems to be aptly titled considering the band’s makeup: Clémentine DeLauney (Visions of Atlantis, ex-Serenity), Anna Brunner (League of Distortion), and Marina La Torraca (Phantom Elite).

Although regrettably the lineup has not returned entirely unscathed, with previous member Amanda Sommerville (Avantasia, Trillium, Kiske/Sommerville) deciding to pull out of the project and focus on her three children instead. It’s a shame that she could not be involved in the production this time, but her reasons are understandable, and the remaining singers do such an outstanding job in filling the void that any pain caused by her absence is quickly forgiven as soon as the album unfolds.

What makes this release a step up from its predecessor is the presence of original songs. This is evident from the get-go with the spectacular single “Femme Fatale” leading the playback, co-written by Brunner and Hannes Braun (Kissin’ Dynamite), as is the case for the majority of tracks here. Each of the singers is afforded time to shine and add their own style to the tune, while coming together during the choruses to deliver the knockout punch. The origin of the term is not wasted either, with DeLauney speaking in her native French language in a brief passage towards the end of the song. The other original material that is presented by the band is equally as strong. “Run” is simply a runaway hit, with its folksy strings and catchy lyrics, which also happens to be blessed by the incomparable vocals of Marko Hietala (ex-Nightwish). Whenever he is listed as the guest vocalist on a track, you just know that it’s going to be amazing. And he doesn’t disappoint here either. As always, his voice serves as the perfect counterweight for the brighter female vocals.

But you’ll be pleased to know that Exit Eden have not left behind the covers altogether, and there are still plenty to enjoy on “Femme Fatales“. Depending on your respective tastes in music, they are an arguably better selection as well – with fewer modern pop numbers. It’s always a risky affair whenever a heavy metal band decides to cover hit songs, but just like they demonstrated on “Rhapsodies in Black“, Exit Eden manage the task with ease. Even when that task means matching the vocal powerhouse of Ann Wilson with their brilliant take on Heart’s “Alone“. Their version is so incredible that they can naturally deflect calls of sacrilege for attempting such a beloved classic. In addition, Exit Eden almost completely transform “It’s a Sin” by the Pet Shop Boys, making it sound uniquely their own, while still retaining the song’s essence. The cover of “Separate Ways” (Journey) brings back some of the folk elements, and has that massive “sing-along” quality. It’s the song with the closest resemblance to “Rhapsodies in Black“, which is probably why it was released as a single in order to bridge the gap between albums. But it is their cover of Alice Cooper’s “Poison” that is my personal favourite, even beating out Tarja’s previous effort on “My Winter Storm” in terms of quality, which was definitely not something I had on my bingo card for this year.

“Buried in the Past” and “Hold Back Your Fear” help to further establish the songwriting credentials of Exit Eden, both powerful metal anthems with memorable melodies that are superbly bolstered by this holy trinity of extraordinary vocalists. “Dying In My Dreams” is the only track co-written by Torraca, and is just as impressive in its composition, with a particularly impassioned plea in its chorus: “We are lost in life // There’s nowhere to hide // I’ve been carried away by the fear // Can anybody wake me up? // ‘Cause I’m dying here in my dreams“. “Elysium” is the last of the original Exit Eden songs, and also the final track on the album. And what it may lack on the tempo front, it more than makes up for in terms of epic power and intensity.

With half of the album consisting of covers, and the other half originals, “Femme Fatales” is a perfect balance of old and new and should easily satisfy both camps. But the fact they are producing their own songs is definitely a game-changer, and means they can finally leave the “covers band” label behind for good. On the other hand, I’m convinced that this band could make anything sound like it’s a masterpiece, which is why the vocalists are so deserving of our respect and admiration. Each voice is formidable and distinctive in its own right, yet together they are immensely complementary and somehow manage to produce an even greater whole. Though extra credit should perhaps go to Brunner for her greater input in the songwriting. She is also the Mel C of the group, often interjecting with a harder edge and enthusiasm with her screaming blasts when the music needs that extra little jolt. (I apologise to everyone for using a Spice Girls reference). Still it’s very much a team effort, and I cannot wait to see what they come up with next.

Verdict: With “Femme Fatales”, Exit Eden have graduated to the next level of their career. Paying respect to what made them a huge success, while pushing forward and testing the waters with their own material, it’s a riskier proposition for the band, but one that pays off in spades. And when it comes to nailing those big-name covers, nobody does it better.

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Album Review Staff Review

Metalite – Expedition One (Review)

Metalite can be regarded as old hands now when it comes to producing the type of slick, pop-infused power metal that appeals to the mass market – and new album “Expedition One” (which was released on 19th January 2024) is absolutely no exception. As the artwork would tend to suggest, the project is mostly a vehicle for the beautifully talented lead vocalist Erica Ohlsson, and there is little doubt in our minds that she acts as the biggest drawcard for audiences to embark on this galactic space voyage. But in any event, we strongly recommend that you buckle up and prepare for launch, because the Swedish metallers are ready to blast off, and you definitely don’t want to miss out on this journey.

Before the countdown commences, let’s quickly meet the rest of the crew. In addition to Erica Ohlsson at the helm, the band’s lineup consists of Edwin Premberg (Guitars), Robert Örnesved (Guitars), Robert Majd (Bass), and Lea Larsson (Drums). The five-piece outfit has fortunately remained unchanged since 2019’s “Biomechanicals”, so you can rest assured that this expedition is in extremely safe and capable hands. Although you should still expect a reasonable amount of turbulence, and this is clear within seconds of the opening title track “Expedition One”, which joyfully propels you into the album with an abundance of G-force and kinetic energy. Listeners are thrust into outer space as the protagonists in the story leave behind their dead planet: “We’re looking back through the frozen glass // The earth we know has turned to stone pitched black”

Metalite clearly have plenty of propellent in the tank too, as this energy level is maintained into the next track “Aurora”. The pumping tempo even kicking into overdrive at a certain point, as if the band have just punched the ship into hyperspace. They serve up a flurry of other smash-hits in quick succession as well, including the previously released headbangers “Blazing Skies”, “New Generation”, and “Disciples of the Stars”. Sandwiched between these monster arena anthems is the unassuming “In My Dreams”, which provides a rare occasion for the band to show off their more delicate side, and ease back on the throttle. It’s all very slickly produced, which is no real surprise when you learn that Jacob Hansen is responsible for the mixing and mastering (Delain, Epica, Amaranthe, Arch Enemy). The choruses sound huge and multi-layered, the drumming is tight, and the guitars are suitably crunchy and high octane, with plenty of poppy synths and keyboard effects adding to the overall atmosphere. It’s a successful combination, and one that Metalite rarely deviates from. Even a track titled “CtrlAltDel” does little to change the band’s routine function. But when the music is this good, there is really no need in the first place.

Futuristic sci-fi themes have been typical fodder for Metalite in the past, but this is the first time they have ever released a concept album. Even so, you can hear the masterful execution. Weaving a thought-provoking and visionary story across 16 tracks, which relates to humanity’s desperate struggle to find a new home amongst the stars (after being responsible for the destruction of their previous one). It is all highly topical, and at approx. 68 minutes it is a significantly lengthy exercise, but the infectiously exuberant music guarantees that there is never a boring moment. There is no discernible drop in song quality either, and I can say this because the chorus of the penultimate track “Take My Hand” has been stuck in my head for the last few days. However, the usual criticisms about Metalite’s brand of metal being too clean and pristine still apply here. Indeed, the metal on display can often be so bright and polished that it does dazzle you with its shininess at times. But assuming that’s not a problem, there is little to actually pick apart on the album, and I imagine that most people will have an amazingly stellar time with it.

Verdict: Whether this is your first expedition with Metalite or not, “Expedition One” is destined to surprise and delight in equal measure. It’s a lengthier ride than some fans might be used to, but the album is always lively and entertaining enough that it will never put you into stasis. A cosmic splendour, and a powerful way to launch into 2024!

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Album Review Staff Review

Neocracy – Pure Organic (Review)

In the midst of the Covid-19 pandemic, a trio of intrepid musicians came together in Germany, and accidentally made a new album. I say ‘accidentally’ because at the time there had been no greater goal or ambition in mind than to simply do something productive with themselves during the lockdowns, and maybe try to have a bit of fun in the process. But as the music began to take form, and the band became more heavily invested in the project, they realised it shouldn’t be withheld from the public, and so an album was released on August 10, 2022.

Given this context, “Pure Organic” is an obvious choice for the title of the band’s debut album. But it goes deeper than just the organic way in which it came together. The album’s production has a very real and authentic feel about it as well (a rarity in this day and age with all of the new technology available). It’s nearly a “live” sound, but not quite as raw or unfiltered as that either. Still the emphasis is clearly on the instruments and the talent of the individual performers, who in the case of Neocracy is a line-up consisting of the father/son duo of Volker Pannek and Tim Pannek (Bass/Vocals), along with skilled frontwoman Franziska Stolze (Lead Vocals).

“Run” brings some early momentum to the album, starting with a riff-heavy intro and a dose of progressive quirkiness that eventually subsides into a much more-laid back rhythm and style, as Franziska’s smooth vocals and calming influence begin to take centre stage. The chaos makes an inevitable return, with bassist Tim adding in some raspy death vocals, but in truth I find myself drawn more to the acoustic passages in the track, and the quiet harmony achieved between the guitar, bass, and drums. “Sleep Awake” features a similar light/heavy dynamic, but without the psychedelic riffage this time, and a much harder edge thanks to the presence of more distortion. It’s less unique perhaps, but it works better in my opinion. The bassist also does some rapping, which I’m not the biggest fan of usually, but it does provide an extra layer to the music here, and harks back to the bygone ‘nu metal’ days of the early 00s if you’re feeling particularly nostalgic.

“Trust” is the next song to blare out of the speakers, and this one has a confident guitar groove and more established hard-rock footing. However, my personal feeling is that the track did not need a reappearance of Tim’s growling, since they only serve to distract from Franziska’s belting vocals, and bring down an otherwise uplifting melody. The ‘less is more’ principle should have been applied here in my view. This is not a concern for the more minimalist “Shallow Hearts“, which has a lighter touch, yet still a rich tone. By foregoing the heavier elements of their sound, the focus is instead on Franziska’s beautiful singing and the emotional lyrical content, which is made even more entertaining by the interesting way she elongates certain words and syllables.

Somehow I don’t have a clue
How this critical life can be good for you?
Egotistical decay
We remember everything you say!

Neocracy – “Pure Hearts”

“Fate“, on the other hand, tries to take a few notes out of Dave Mustaine’s music sheets, for it has a pointedly choppy guitar hook that is combined with Franziska’s staccato conversation-like singing over the top. However, her vocals don’t quite have the same grit or attitude necessary to make the effect sound convincing. The song eventually opens up a little, letting loose with a galloping pace, before disassembling itself once again with some slow, but purposefully strong bashing of the drumheads, and Volker embellishing these thunderous beats with a few slick guitar harmonies. Though to be honest, it’s not quite enough to save the track. On the flip side is “Respect”, a song punctuated by its surprisingly brighter soundscape, and deep country-rock influences, including an overtly positive message that can be attested by its chorus: “Show your respect // to everyone who treats you correct // Accept yourself // for what you are“. The band diverges from the norm again with their final track “Nordic Sky“, a folksy tune that has a bit in common with Nightwish ballad “The Islander“, right down to the ambient sounds of seagulls and crashing waves, and serves as yet another reminder of their acoustic aptitude.

One thing that stands out above all else with this album is Neocracy’s willingness to experiment with their sound and explore a variety of different styles. It’s as though the band gave themselves complete freedom with their music, with no limits or constraints on where it could take them. And in a way that makes sense when you recall that all of this originated from loosely structured jamming sessions where presumably anything was accepted. But while it obviously takes talent to be this versatile, it does make for a somewhat confounding and inconsistent introduction to the band considering that this is their debut album, and most listeners will be trying to get a handle on their music for the very first time. Furthermore, in trying to cover such a wide variety of styles, there is the danger of spreading themselves too thin, and never really satisfying fans of any one of them in particular. The effort to bring a more natural and realistic feel to the album’s production is still admirable, but using fewer effects and tricks in the studio also means there is less capacity to hide some of their shortcomings. Yet while it is not perfect, there is definitely the seeds of something special in this release that needs to be nurtured. And hopefully with a bit more focus and refinement, the band can find a way to blossom into its full potential.

Verdict: “Pure Organic” is a promising, yet somewhat disjointed venture that may still leave you pondering the true nature and identity of Neocracy afterwards. It introduces plenty of ideas, some of which work better than others, but they never fully amount to a satisfying or cohesive whole. Here’s hoping the next album is more focused, and leans into the band’s considerable strengths, whilst leaving behind some of its weaker traits.

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EP Review Staff Review

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.

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Album Review Staff Review

Hyperia – The Serpent’s Cycle (Review)

In a year that has already seen top-notch releases from thrash veterans like Nervosa (“Jailbreak“), and Holy Moses (“The Invisible Queen“), it is somewhat extraordinary that fans of thrash metal should be treated once again to another high-calibre entry in the sub-genre with Hyperia’s “The Serpent’s Cycle“. Despite the stiff competition, the third album by this melodic thrash metal band from Vancouver, Canada, not only holds its own in this three-way head-to-head battle, it carries the added honour of also pushing the most boundaries.

As many fans will know, one of the biggest criticisms that is often levelled at this particular style of heavy metal is its tendency to come off as too samey or monotonal. And to the proponents of these arguments, I simply say listen to “The Serpent’s Cycle“. For this album acts as an exemplary rebuttal to any such talking points. Building on all the same key elements as their past albums, “Insanitorium” (2020) and “Silhouettes of Horror” (2022), yet miraculously amplifying and refining them to perfection – this is easily their best effort to date. But more than that, it’s a masterclass on how to reinvigorate the thrash scene while still remaining accessible to old-school purists.

One of the most obvious ways that Hyperia break from convention and distinguish themselves from their peers is through their diverse utilisation of vocal styles – made possible thanks to the band’s highly capable and versatile frontwoman: Marlee Ryley. Her smorgasbord of abilities includes howling screams and impressive roars/growls to the opposite end of the spectrum with the superlative phonics of her raucous, more punk-oriented clean singing. But Hyperia don’t just switch things up in the vocal department. While the classic 80’s thrash sound is very much alive and kicking throughout all of “The Serpent’s Cycle“, the band also experiments with bringing elements of death metal, progressive metal, and other modern styles into the primordial mix. And all of this is notwithstanding the fact that this album has possibly some of the fastest, most aggressive, and not to mention most technical songs than anything we’ve previously heard from the band – instantly making this a truly landmark achievement in their career.

Whether it’s through instances like the unprecedented heaviness displayed on “Eye for an Eye“, or the complex structure and chord progression of “Psychosomatic” (complete with an intricate neo-classical passage), the outfit’s growth is consistently apparent throughout the album. Fans needn’t worry about the band becoming too serious either, as they find plenty of time for a bit of levity with party numbers “Automatic Thrash Machine” and “Binge & Surge“. But amongst all the riotous fun, Hyperia still offer up some serious social commentary to its listeners, as seen on “Prophet of Deceit” which addresses the dangerous impact of gaslighting.

The smell of gas in the air
Not even playing fair
Want me to pick a side?
There won’t be any compromise!

Hyperia – Prophet of Deceit

Ryley deserves special commendation for the quickness of her vocal delivery on “Spirit Bandit“. And while speaking of speedy contributions, be sure to check out the super-fast double kicks by Ryan Idris (touring drummer for Heathen) on album opener “Ego Trip“. While “Trapped in Time” and title-track “The Serpent’s Cycle” satisfy the more typical criteria, with a one-two punch of traditional fast and heavy 80’s-styled thrash metal. “Deathbringer“, on the other hand, draws heavy inspiration from black metal, and concentrates on the Hindu goddess of death and destruction (Maha Kali). However, the most unusual song is saved for last as Hyperia treat us to their unique rendition of Heart’s “Crazy on You”. Proving yet again that the album has a bit of everything, while still managing to not lose sight of its core audience. It’s a delicate balancing act, but Hyperia pull it off with both ease and aplomb.

Verdict: With “The Serpent’s Cycle”, Hyperia have almost reached the ultimate zenith of thrash metal mastery. They have succeeded in delivering a ferociously wicked metallic soundscape, that frequently pushes the needle into the red zone (and beyond), but also dares to experiment with the tried-and-tested formula – all while warranting the band and its listeners a license to party and have fun. A truly incomparable achievement!

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Album Review Staff Review

Conspiracy of Blackness – Pain Therapy (Review)

“Could this band be the next Lacuna Coil?” That was the first thought that went through my head while listening to the new album “Pain Therapy” by Conspiracy of Blackness. In addition to hailing from the same country, positioning themselves in the same modern alternative/nu-metal sub-genre, and drawing inspiration from many of the same influences, Conspiracy of Blackness are equally blessed to have an incredibly strong frontwoman within their ranks, in the form of Grazia Riccardo – who amazingly sounds every bit as formidable as her counterpart, Cristina Scabbia, in this hypothetical comparison.

But mercifully, they are more than just a pale imitation. Originally formed in 2008 in Italy, the band went by the more unwieldy name of C.O.B.R.A (an acronym for Conspiracy of Blackness and Relative Aftermath), and over the period of the next 8 years they released two EPs (“Dark Warrior” & “Rise Again“) plus their first full-length self-titled album in 2016 via SG Records. All of which were well received in the local Italian scene. Having acquired additional experience (both live and in-studio), along with a simplified rebranding and refreshed line-up, Conspiracy of Blackness should now have everything they need to gain even greater recognition and success.

Especially given the strength of this new album, and the added support of their new record label Wormholedeath. “Pain Therapy” is presented to listeners as an introspective journey, with each song tackling some of the toughest issues currently facing us, both as individuals, and society in general. The types of challenges and emotions that all naturally align with the band’s recently adopted darker sound and promotional imagery. And should you require early evidence, our experience starts with “Oblivion“, a brief yet melancholy intro track that pulsates to life while a tortured-sounding Riccardo serenades us about her fears and anxieties. This soon morphs into “Collapsed”, one of the singles (and music videos) that was released in the months leading up to the album’s release, and the aural atmosphere that is created here is similarly bleak.

Another day in the dark
A world is down
Another part of us
Is dying now

Conspiracy of Blackness – Collapsed

“Welcome Death” is the next track, and as the name suggests the song is about suicidal thoughts and tendencies. Riccardo’s vocals take an almost psychotic turn during this song to emphasise the broken mental state of the protagonist (complete with hysterical sobbing), before one of the other band members unleashes an impressive growl and screams ‘DEATH!’ over an accelerated tempo. It’s not all doom and gloom though. And there is just enough hope and light sprinkled into the lyrics throughout the album to give us faith and remind us that with help and support we can overcome any obstacle. “The Bride of Ash” breaks up some of the tension with a softer piano-led intro, before upping the rock factor considerably. The arrangement here reminds me of Evanescence. And just like Amy Lee, Riccardo has a voice that perfectly commands your full attention (and this goes for all of the tracks – not just this one in particular). She is definitely a major reason as to why each of these songs work as fantastically as they do. With a versatility that cannot be understated either, constantly showing off different techniques and seeming to know instinctively what each song needs in order for them to be effective.

“Bones” quickly establishes a pounding rhythm as Riccardo extends an invitation: “I’ll tell you about my fears, open your ears“. While “Afterlife” features some heavenly-sounding keyboards and surprisingly uplifting melodies, before “The Moth” brings us back down to Earth with a heavier bass, and more grounded guitar riff. Setting the stage for both “Rise” and “Last Man Standing“, which quicken the pace and up the metal ante even further. Things get particularly interesting about halfway through the latter, with some otherworldly chanting and vocalisation effects. The 10th and final track is a bonus rendition of “Con Il Nastro Rosa” by the Italian pop artist Lucio Battisti (thank goodness for Google), and as you would expect it is sung in Riccardo’s native tongue. This might sound like an odd way to end the album, but on the contrary I found it to be quite fitting in keeping with the album’s general concept. Especially with the main message in the lyrics: “Who knows who you are // Who knows what you will be // Who knows what will become of us // We’ll discover it only by living“. At only 10 songs in total though (less if you decide not to count the bonus track and the short intro), it does feel as though the album powers through a little too quickly. And this is perhaps my biggest criticism. But aside from wanting more, this is a release that pretty much succeeds on everything that it sets out to accomplish.

Verdict: “Pain Therapy” is the perfect prescription for anyone searching for a modern alternative/nu-metal release that has a dark and mature quality, and is also not afraid to tackle particularly heavy themes and emotions. It contains a beautifully complex set of songs, serving as a mosaic of first-hand narratives covering a range of pressing issues – and lead vocalist Grazia Riccardo does a mind-blowingly splendid job of acting out and conveying each of the characters and their personal stories. Highly recommended!

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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.