Tag: Clementine DeLauney

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.