If ever there was a band you could recommend to fans of Nightwish’s Anette Olzon-era albums (Dark Passion Play / Imaginaerum), then Gallia would most certainly be it. Founded in Belgium, this four-person strong cinematic metal project independently put out its first full-length album, Obscura, all the way back in September 2, 2022. So obscure was this release that it managed to escape our attention entirely. Until very recently, that is. And we’re happy to have found it, as it’s clearly an album deserving of greater visibility. Even if it leaves a strong feeling of déjà vu.
The term ‘cinematic metal’ is still a relatively new label, but one that we have started to see bandied around by a couple of other bands – most notably Catalyst Crime and Malevolent. And while we are not sure if Gallia can claim to be the earliest progenitors of this particular term, they certainly embody it in every single aspect of what they do. From the epic choirs and orchestral symphonies to the bombastic arrangements and soaring melodies, all of it screams Hollywood production. Almost as though you are listening to the soundtrack of a mega-blockbuster movie. And at the epicentre of it all is our cast of visionary performers: Yannic Maris (Guitar), Laurens Vandebroek (Bass), Ties Jehoul (Drums), and last but not least, the impeccable leading lady which is Elyn Vandenwyngaert (Vocals).
“Aperture” gives us a preliminary peek into the fully realised musical realm that Gallia have created, with a short one-minute introduction that includes a ticking clock amidst a melody of sparkly keyboard notes, instilling that “Disney” magic and sense of childish wonder. It’s not long until we are suddenly in the thick of it, as the prelude flows directly into “Return of Time“, with its forceful guitar parts and momentous epicness. The sheer weightfulness of the downtuned riffs displaces a significant volume of air particles in front of your speakers, and gives rise to a new definition of the phrase ‘wall of sound’. It feels absolutely massive. And the interplay between Elyn’s vocal lines and the crunching distortion within the verses is also perfectly executed. With “Blackout Queen“, we start to witness the band’s knack for storytelling break out in the lyrics, proving once again that the idea behind cinematic metal is not so baseless or outlandish. And it’s around this moment that I discover there is a fully-fledged storyline that runs throughout the production, which has even been fleshed out in a fictional novel with each chapter of the book representing one of the songs. I can’t help but be impressed by the scope and ambition of this project, and part of me definitely wants to explore this further to see if it adds a new dimension. But for the purposes of completing this review within a timely manner, I must be satisfied with solely basing my opinion on the music. The theatrics continue on “Mirage“, which has a distinct carnival-esque flavour to it, again harking back to Nightwish’s Imaginaerum, and focuses on themes of deception and masquerading as something else.
Disillusion caught me once more
Gallia – “Mirage”
I have been here before
I’m familiar with your disguise
Tell me no more of your lies
As you may have noticed, favourable comparisons have been drawn between Gallia and Nightwish, and while that observation absolutely has merit, it’s also a disservice to imply the material here is simply derivative. There are indeed many similarities. Yet flourishes of originality do exist on the album. But unfortunately for the next track, “Reflection“, this is not one of those times. To the extent that we even see Gallia winding up a music box, as we approach this mid-way point of the tracklist. “Path of the Nomad” brings us back to a much stronger footing, with tribal drums and an acoustic set of instruments and various wind accompaniments bestowing a distinctly natural sound. This is played out even more with the folksy interlude of “Free Me“, which creates an earthly, mystical atmosphere that guides us to the next track, “Spirit of the Sea“. A song that is a sea shanty of sorts, except interspersed with far heavier passages. But the real highlight is next with “Chaos“.
This track showcases a hefty rhythm, plodding guitars, and an abundance of machine-gun double-bass drum kicks, which are all presented in synchronicity with the opulent backdrop of angelic choirs, and heroic-sounding orchestral movements. While not operatic in nature, Elyn’s singing still fits the song perfectly, and her high notes are impressive. The half-point breakdown is followed by an arabesque passage, once again adding another twist to this song, in addition to highlighting the band’s immense versatility. Gallia picks up this Middle-Eastern thread again for “Euphoria“, while “Tears of Gold” is the designated ‘epic’ song of the album, clocking in at just over seven and a half minutes. And it doesn’t disappoint. As you would expect, the longer-form allows for more shifts and changes, and the band does well to flex its creative muscles. The ticking clock returns towards the very end, signalling that our adventure is soon coming to an end. There is just enough time for one more song.
It takes the form of “New World“, and this time it’s a far simpler affair. Think along the lines of Nightwish’s “Eva“, and you’ll be getting close. It’s a smart way to cool off from an album that has been mostly full-on since it commenced, but there is still a triumphant send-off in the final minute or so. And Gallia has every reason to want to celebrate with this outing. It’s an incredible first chapter for any band, and a truly astounding achievement if you consider the high production value. It’s only real downfall is its strong resemblance to that which has come before, and for many listeners, this may not even be an issue.
Verdict: Gallia’s “Obscura” wears its influences a little too evidently on its sleeve. But you can’t deny the quality of this production. If you look closely enough, you will also see that there is a deeper underlying creativity. Here’s hoping this is less hidden in future.