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Temtris – Khaos Divine (Review)

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

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

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

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

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

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

Temtris – The Lies Become the Truth

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

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

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Delain – Dark Waters (Review)

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

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

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

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

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

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

Delain – Tainted Hearts

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

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

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

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Xandria – The Wonders Still Awaiting (Review)

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

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

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

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

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

Xandria – Your Stories I’ll Remember

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

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

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

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

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Album Review Staff Review

Walk in Darkness – Leaves Rolling in Time (Review)

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

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

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

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

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

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

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

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Spiritbox – Eternal Blue (Review)

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

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

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

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

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

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

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

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

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Anette Olzon – Strong (Review)

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

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

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

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

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

Bye Bye Bye – Anette Olzon

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

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

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

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

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Nightwish – Wishmaster (Review)

Words cannot really describe how much I love this album. But for the benefit of this review, I’ll give it my best shot. I know many will likely disagree but, to me at least, this album represents Nightwish at its very best. The peak of the band’s career, if you will. And I say that in an artistic sense, as naturally their biggest commercial success came much later.

Why do I love this album so much? And hold it in higher regard than their other work? A big part of the reason lies with Tarja. At the risk of sounding entirely subjective, I found her vocals really came into their own on this album. She has always sounded great, but here in particular her operatic singing rings of perfection. More polished than they were on Angels Fall First and Oceanborn. Furthermore, Tarja has yet to start incorporating her more playful, pop-oriented (head-voice) style. We only have the epic and bombastic side of her voice, which was always more appealing to me as a listener, and one of the main things that struck me about this band when I first heard them. The Finnish accent which sometimes affects pronunciation is a non-issue here too (Let’s face it, how often do you understand the words when listening to an opera anyway?).

Of course, there are other reasons as well. For instance, how about the fact that Emppu spends a lot more time playing lead guitar on Wishmaster? It’s an undisputed fact that when Nightwish started recording albums with the London Symphony orchestra and placed more importance on the symphonic elements of their sound, it came at the expense of the individual talents of certain band members. Emppu has had fewer moments to truly shine since Once. The riffs are heavier, but at the same time less complex and intricate. It’s as though Emppu morphed into a rhythm guitarist before our very eyes. Tuomas and Emppu exchanging solos with each other is another thing which is prominent here (and sorely missed on later albums).

With Wishmaster, Nightwish is still very much a power metal band. Symphonic power metal, certainly, but still power metal at its very heart. They have not yet taken the leap to becoming a full-blown symphonic metal band. And given the choice, I would take this incarnation every time. Despite the lack of an orchestra, it still manages to be the most epic sounding album in their career. And each member sounds like they are performing well beyond mortal capabilities. Indeed, Tarja’s voice sounds almost angelic on opening track “She Is My Sin“. The song is also blessed with one of the catchiest guitar hooks ever written. That is, of course, until you hear the next song “The Kinslayer“, which somehow has an even more addictive riff. Male vocals make an appearance on this tune, adding to the theatrical atmosphere and familiar “Beauty and the Beast” motif. While “Come Cover Me” starts with a sparkly keyboard intro and wistful flute before slapping you in the face with a powerful mid-tempo rhythm section. There is a steady momentum, and features plenty of nuanced guitar work. A trend which carries over into the fast whirlpool of notes and frenetic playing that is “Wanderlust“.

The album then introduces “Two for Tragedy“, a simple ballad akin to “Sleeping Sun“, but like the latter, still packs a lot of depth and emotion. Before hitting you right between the eyes with “Wishmaster“, its powerful and staccato intro quickly giving way to a rumbling rollercoaster of a song, with neo-classical instrumentation aplenty courtesy of Tuomas and Emppu. Of course, one should not downplay the importance of Jukka on drums either, who does a stellar job even without much double bass on “Bare Grace Misery“, a song which has a nearly seductive quality. And then it’s off to the races again with the galloping “Crownless“, a track that is relentless in its instrumental sophistication and interplay between keyboard and guitar. The next song, “Deep Silent Complete” starts with the gentle and sweeping sounds of Tarja’s voice washing over you, much like a Siren’s call. But in a similar vein to “Come Cover Me” before it, the band soon kick into gear, hitting you with a wall of sound that can potentially take the unprepared by surprise. “Dead Boy’s Poem” is also heavy on the drama, coming across like the musical equivalent of a Shakespearean play, or at the very least the soundtrack to a major blockbuster movie. And like any good actor, Tarja delivers her lines with true conviction.

Lastly, “FantasMic” is an epic album closer, in every sense of the word. With this song, Tuomas leans into his Disney fandom with opening lines:

Wish upon a star
Take a step enter the land
Walk through the air
Take my hand

How the band manages to deliver these lyrics without sounding the least bit corny or cheesy is a mystery, but somehow they pull it off easily. The song is broken into three different parts. Tarja almost performs at a superhuman level on Part 3. If you still need any proof of just how much Tarja pushes herself on this album, then please look no further.

If your first exposure to Nightwish was through “Once” (or an even later album), then I’m probably not going to convince you that this severely underrated album is in fact their best work. And that’s fine. But for me this is when the band was firing all on all pistons – both creatively and performatively. Nightwish at their very best. Like lightning in a bottle. And nothing anyone says will ever change that opinion.

Verdict: An underappreciated classic that embodies everything that is Nightwish in a single body of work. Powerful, moving, and of course, epic. The absolute benchmark for symphonic power metal.