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
Delain – Tainted Hearts
I swear to you now, will be rebuilt larger
Than the one you chose to destroy now
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.
