The Lebanese quintet Ostura are possibly one of the most ambitious bands of late, bringing together the worlds of metal, progressive, classical, cinematic and more into an immense musical journey called “The Room”. From the very first notes of the title track with the ominous strings and the sound of a woman panting, I already feel the excitement of revisiting this beautiful album. Then the band begins to play in unison with a real orchestra and a mixture of male and female vocals leading into the mesmerising chorus. Yet not even this introduction can prepare you for what you are about to experience after pressing the play button to launch “The Room”. Ostura will grab you by the hands and take you through the luscious soundscapes they’ve created alongside many guest musicians of the highest order, each bringing their talents to the table in effective ways. They also have the City of Prague PhilharmonicOrchestra playing with them, just like another band who were tied with Ostura for my album of the year in 2018 (see my review of Mayan – Dhyana), and even the Lebanese Film-scoring Ensemble performed some splendid choir sections that elevate the album’s quality to another high. To top things off, we have the legend Jens Bogren himself on the mix and mastering. If you are a metal aficionado like myself then you most definitely heard albums involving this man.
The story behind “The Room” is that of a girl (Youmna Jreissati) suffering from social reclusion and anxiety who locks herself in her room and turns it into an entire world that she creates from her imagination. We are also introduced to two entities: Erosion (Elia Monsef) who represents the girl’s fears and takes over her imaginary realm, and Utopia (Michael Mills) who encourages the girl to push her visionary power to its extent. Bear in mind that these interpretations of the characters are my own and shouldn’t narrow your perception of the story. So how does the music bring to life such an immense concept? The album kicks off in quite an upbeat and colourful manor with the songs “Escape”, “Beyond (The New World)” and “Let There Be” letting you feel the force behind the protagonist’s overflowing imagination and the excitement in exploring this new found domain. Drummer Thomas Lang (mainly known for playing with guitar virtuoso Paul Gilbert amongst others) brings together flavours from jazz, pop, rock and metal while still maintaining the link between the orchestra and the band alongside bassist Dan Veall and percussionist Alexander Abi Chaker. The drum beats and fills sound heavy and energetic when needed to match the more intense moments but they’re also dynamic and fit in with the smoother passages too. To put it simply, Thomas Lang is a genius. “The Surge” is a great example of how he matches his playing to the evolution of the music before the song transitions into a dubstep explosion.
There are other electronic elements throughout the album that often serve as ways to link the different changes in tonality keeping the listening experience fluid. You will also notice that keyboardist Danny Bou-Maroun punctuates the melodies of each song without getting overshadowed by the orchestra, adding a layer of blooming to the guitars which are handled with care by Alain Ibrahim and Marco Sfogli. The album begins to take a darker tone on “Erosion”, the girl’s imagined world starts to turn dim for it cannot be perfect since it stemmed from her unstable mind. The rhythm section gets heavier and the transitions more unpredictable, like the switch from an oud to a guitar solo which sounds amazing. Other traditional instruments take the spotlight on rare occasions like a violin, cello and flute thus reinforcing the diverse cultural flare of the album. The moments where the band suddenly merges with the orchestra are breathtaking. Check out the ascension in “Let There Be” and dare to tell me that doesn’t equate to your favourite film soundtracks. “Deathless” is one of the heaviest songs with its stomping groove coupled to some triumphant-sounding arrangements. It also has an incredible chorus that will make you want to sing along, in fact every song on the album has one. “Darker Shade Of Black” starts off with a beautiful acoustic guitar-driven verse before Michael immediately shifts mood as the song turns into the heaviest chorus on the album.
This brings me to the vocalists who are the main vectors of emotion as they sing with so much conviction. They each add their own personality to the music depending on the character they play. Elia has a fierce and dominative presence yet he manages to keep a form of serenity in his expression. Michael has a higher and mostly jovial voice that fits the enthusiasm of his character but he can provoke a great feeling of distress in the heavier sections (his wailing in “Deathless” is awesome). As for Youmna, she is incredibly pure and moving in every appearance she makes (“Mourning Light” gets to me every time). She evokes the girl’s innocence and helplessness towards the events that unfold. Throughout its concept, the album brings to mind meaningful themes such as ambition, perfection, psychology, anxiety, anger and conflict. The music never pulls too much towards a single sentiment and instead constantly stirs an eclectic range of emotions.
Last but not least, Marco‘s guitar solos are always technical and still keep the feel flowing at full force. I won’t bother giving any highlights since all of his leads are fantastic. That also goes for Özgür Abbak‘s stellar solo in “Only One” and we even get an appearance from Arjen Anthony Lucassen who makes his guitar weep in “Darker Shade Of Black”. The final song “Duality” is the amalgamation of everything I’ve said in this review. It begins with an invigorating composition as Elia‘s vocals lead the way, letting you know you’re reaching the album’s climax. It then turns into a galloping instrumental before leaving you with one of the heartiest endings I’ve ever heard. There really is too much to say about this album so I’ll stop here. “The Room” has the perfect balance of every musical element, it’s a union of sonic bliss that took me on an adventure to the point where I needed a few minutes to adjust back to reality after it ended. If you are fairly open minded when it comes to music, this album will surely make some big waves with you. According to the band’s last Facebook announcements, a new album is on its way and I could not be more excited!
While Mark Jansen and Arièn van Weesenbeek are mainly known for being members of Epica, their other band Mayan certainly has its own take on bombastic symphonic metal and shouldn’t be overshadowed by bigger names in the genre. This is my very first review on the site so I want to start with a release that is very special to me. Dhyana, Mayan‘s third full length album is nothing short of phenomenal and an absolute game changer for what metal music can be. I discovered it when it was released in 2018 and have been continuously coming back to it ever since. The first big surprise about Dhyana is the amount of band members involved which adds up to eleven people, six of which are vocalists! You could say that Mayan is kind of a supergroup considering that all of its members were previously in other bands. On top of that they’ve managed to hire the City of Prague philharmonic orchestra to perform all of the classical instrumentation which adds a lot of production value to the music.
Now having a metal band with six singers and an orchestra might sound like a difficult or even impossible project to manage without it being a complete mess, right? Well fear not because the technicians in charge of the engineering, mixing and mastering are professionals and knew exactly what they were doing. They’ve done a splendid job at mixing all of these elements together with each band member (and the orchestra) having their moments to shine without getting in the way of one another. The music is composed in such a way that the different instruments and voices interact and answer to each other, thus pulling the listener into a jaw-dropping and hair-raising musical journey that demands full attention.
Beyond the huge sound and production value, Dhyana contains a lot of diversity within its songs taking you through symphonic metal, death metal, power metal and more. The vocals shift between operatic soprano vocals (Laura Macrì), clean male singing (Henning Basse, Adam Denlinger) and female singing (Marcela Bovio) as well as death growls (Mark Jansen, George Oosthoek). Having all of those characters in just one album makes for a delightfully entertaining musical experience. As soon as “The Rhythm of Freedom” begins, you are assaulted with blast beats, fast guitar riffs, massive keys and orchestration before the different vocalists arrive one by one. This song sends you straight into the overall mood of the album which induces a mixed feeling between triumph and apocalypse. As soon as Henning starts to sing, you will lose all sense of reality and find yourself chanting with him while raising your fist in the air. “Saints Don’t Die” is another great example of his impactful presence. Despite him leaving the band the same year this album was released, Adam does a good job at filling in for him live and brings his own potent voice in tracks like “Tornado of Thoughts (I Don’t Think, Therefore I Am)”. This song will thrust you into a twirling dance of varied tones and vocal styles all complementing each other (as they do throughout the whole album).
While the album is generally intense and bombastic, it does have its calmer moments when Laura will often take the spotlight with her spine-chilling performances like on the title track or the soft moments in “The Illusory Self”. She also increases the dramatic tone of the orchestra in heavier sections like in “Rebirth from Despair”. As for Marcela, every appearance that she makes is awe-inspiring, just listen to her choruses in “The Power Process”, “Saints Don’t Die” and “The Illusory Self”. After watching some live videos of the band I realised that she even throws in some harsh vocals in “Rebirth from Despair”. Wow! These last three tracks are great examples of how all the elements on the record contribute in building up a perfect climax with each vocalist making an entrance. With that being said, the foundation of the band’s sound is actually death metal and I must give praise to Arièn‘s drumming since he provides precise and heavy drum beats that will make your neck snap and that somehow fit hand in hand with the symphonic bombast. The guitars and base add to the intensity of the drums and turn the beats into tasteful headbang-worthy grooves. We even get some guitar solos in “The Flaming Rage of God” and “The Power Process” and a base solo in “Rebirth from Despair”. In this song we have a fantastic duel between Mark and George who reinforce the weight of the music with their crushing harsh vocals especially on the apocalyptic-sounding “Maya (The Veil of Delusion)”. I should also add that each song is memorable and has new details to pick up on with each subsequent listen. With the music being so well fashioned, it’s good to also have meaningful lyrics which I believe evoke psychology, spirituality and religion.
In conclusion, Mayan have put together one of the most thrilling albums I’ve ever had the pleasure of hearing by successfully unifying different genres of music and doing so in a classy way. It’s a complex yet extremely moving musical experience that resonates deep within my soul. If you enjoy metal music that’s ambitious and, like me, agree with the “more is more” philosophy, then I think Dhyana will make the same impression on you as it did on me. With all the efforts put into its masterful execution, I can’t give it anything less than the maximum score. I eagerly await this project’s next output and I shall continue to return to this album as I’m sure that it will keep renewing itself. By writing this review I can only etch the surface of this album, but that’s why it has endless replay value.
Belgian cinematic/symphonic metal band Malevolent released their epic debut EP at the end of last year through Necktwister Records, featuring movie-like orchestrations, a post-apocalyptic theme, and amazing showcases of individual talent. We are extremely grateful to have been given the chance to ask questions of the band’s two core members, Nikolaas Van Riet (composer, guitarist, producer) and Celica Soldream (Vocals).
Can you briefly describe how the two of you met and formed Malevolent?
Nikolaas: It started for me as a solo project where I would do all the instruments and production myself. I wanted to do something where the orchestral parts of symphonic metal are pushed into full cinematic space. After experimenting with programmed vocals, I found in Celica the exact voice and vocal capabilities I was looking for. We started working on a first song and it grew from there.
Celica: Nikolaas reached me via e-mail thanks to my vocal library “Era II: Vocal Codex” (by Eduardo Tarilonte). Initially it started as an usual work-related conversation for me, and he basically asked me to perform a few tracks for his cinematic/metal project following the vocal lines he composed using my vocal samples. However, as time passed and the project was evolving, Niko managed to get me more and more interested about Malevolent’s project and… Well, here I am now 😀
How would you describe your music to someone who might be unfamiliar with it?
Celica: “Imagine an apocalyptic film whose soundtrack is a full symphonic orchestra sounding along electric low guitars and pounding drums while a sweet-but-also-punching-and-powerful female voice sings over a deep growlings while telling you about how the world is going to sh*t and we have to survive to live another day”. For any metal-head, I would say it’s a darker and more atmospheric way to make symphonic metal, with influences like Epica or Within Temptation (in my case).
Nikolaas: Couldn’t describe it better than Celica 🙂
Niko already had a clear idea of an apocalyptic lore when he explained his project for the very first time. The “viking touch” came afterwards, when we were thinking on the graphics and AI generated visuals.
Celica
The term ‘cinematic metal’ has been used in reference to your sound. So I am curious, what are some of your favourite movie soundtracks or composers?
Celica: I must say that my concept of “cinematic music” is maybe a little bit different, but still the style of Malevolent is really epic and a kinda different from the usual power or symphonic metal I was used to listen. Anyway, my favourites OST are The Lord of The Rings Triology (Howard Shore), Gladiator (Hans Zimmer), Titanic and Avatar (James Horner), The Horse Whisperer and The Green Mile (Thomas Newman), The Nightmare Before Christmas (Danny Elfman) and Back to the Future (Alan Silvestri). Outta the film-scoring scene, my favourite composers are Ivan Torrent and Thomas Bergensen (Two Steps from Hell), but my main musical influence ever is definitely Mike Oldfield.
What were the main influences for your self-titled EP? Was the idea to write about a malevolent world inspired by any current day events?
Celica: Niko already had a clear idea of an apocalyptic lore when he explained his project for the very first time. The “viking touch” came afterwards, when we were thinking on the graphics and AI generated visuals. The end of the world is not a brand new idea, neither the concept of our social self-destruction; but even so, we wanted to give it our own touch. Malevolent’s world is not different for our own reality after all: the powerful people take control over our lives easily, while the rest of us have to fight against the difficulties of a very unfair and unbalanced system. The backstory of this EP is actually a reflection of many things happening nowadays, but dragged into a hellish and more decadent atmosphere.
The end of the world is not a brand new idea, neither the concept of our social self-destruction; but even so, we wanted to give it our own touch.
Celica
The fact that your first EP attracted the likes of Mark Jansen (After Forever/Epica) on guest vocals, and Joost Van den Broek (Ayreon, Powerwolf, Epica) for the mixing and production must feel like a major endorsement of your project. What was it like to work with such iconic figures in the industry?
Celica: Sadly I couldn’t met Mark during my time at Sandlane Studios (hope I will someday soon!). But I had a really good time recording with Joost. He was absolutely professional during all the process, and also kept a really friendly and warm atmosphere which really helped a lot. Also I could learn a lot of things and he immediately knew how my voice worked and how much he could push it to get the best of it. It was an amazing experience I would love to repeat.
Nikolaas: It was great working with them. I know Mark from way back, when he was still playing with After Forever. We had a good connection back then, and it carried over until now. Mark’s grunts, which are slightly higher pitched than my grunts blended well together, as we hoped. Both Mark and Joost are true professionals, you feel that in all aspects of the collaboration.
Is there anyone else you would love to collaborate with? And is the plan to keep using session musicians as needed in future, or are you considering looking for permanent members to join the band?
Celica: I think every musician involved in this project was incredibly good, and that’s why Malevolent reached such a high level. If we would like keep the same way, I would also keep the same crew for now in terms of music, but I also think adding new ideas could be a nice way to improve our sound and bring new ideas. If you ask me for any singer I would like to collaborate with, probably collaborating with Roy Khan, Tommy Karevik or Sharon den Adele would be a dream come true XD And of course, I will have Mark back on board too!
Nikolaas: I would love to collaborate with Dan Swano (musician and producer), Anneke van Giersbergen (former The Gathering), Noora Louhimo (Battle Beast), Nils Molin (Amaranthe) and in my wildest dreams Guthrie Govan 🙂
We are definitely considering more permanent members, especially for the live-shows. Lead Guitarist Jan Verschueren is already more involved in the writing process.
I think every musician involved in this project was incredibly good, and that’s why Malevolent reached such a high level.
Celica
Is performing your material live something that you aspire to do someday?
Celica: Definitely yes!
Nikolaas: I agree definitely yes, but recreating our EP sound live demands for a very thorough preparation and some experienced live musicians to (re-)create a lasting experience. But preparations are started and negotiations are on-going.
Do either of you have a favourite song from the EP? Or one that you would recommend to someone listening to your band for the first time?
Celica: Mines are definitely Light and Creations. I think they both represent us better, although I of course love every track in the album.
Nikolaas: My favourites change all the time. Now it is Gaze followed by Creations.
Are you working on creating a full-length album? And if so, when might we expect it?
Celica: Honestly, I think this question concern Nikolaas more than me. In my humble opinion, LPs are expensive and take more energy, money and time than shorter Eps, which you can release easier, faster and allows you to change and experiment more with music, different sounds and many other topics. I think for now is a better option for us, but we haven’t chosen a concrete path yet. All I can say, is I hope better things are coming!
Nikolaas: We are working on a lot of new material. The way we will release it is still under consideration. As full length or seperate singles. Luckily we have the support of Necktwister records to help us guide through the decision process.
You recently released “Valhalla Calling” – an absolutely fantastic cover of an Assassin’s Creed song. Are either of you heavy gamers? And are there any other game soundtracks that you enjoy, and would perhaps consider putting your own spin on?
Celica: Yes, I am, hahaha! I love videogames since I was little (mainly PC’s), and I’ve been always been a huge fan of Assassins Creed saga (Altäir <3) and its soundtracks in almost every game. When Niko and me released the EP, Valhalla Calling was sounding EVERYWHERE around the social media, and I thought: “Hey, technically our album is about post-apocalytic vikings, we HAVE TO make a cover of this track!!”. Fortunately Niko was thinking exactly the same thing, so I didn’t have to convince him 🙂 There are many good game scores I could name. My lastest favourite is definitely Baldur’s Gate III soundtrack by Borislav Slavov and there are a few songs which I think would work in our style. Other soundtracks I like are the ones for GRIS, Aragami, Cyberpunk 2077, Detroit: Become Human, Red Dead Redemption II, Metal Gear Solid and The Witcher III.
Nikolaas: I have absolutely no time for gaming. I think it is over 20 years ago since I played my last videogame…
Celica, the press notes also mention that you have done some vocal work for video games and movie trailers in the past. Do you mind discussing that a little?
Celica: Yep, that came hand in hand with the sample library I mentioned before. As Nikolaas did for Malevolent, they wanted my actual voice instead of the sampled one. My first collaboration for a videogame was with Pedro Camacho for a Star Citizen trailer. Later Neal Acree (famous composer who worked for Activision Blizzard and made some scoring for Starcraft, Overwatch and World of Warcraft among others); contacted me to make a soundtrack for an indie game named REND, in which I could sing in a viking/medieval style along Einar Seikvik (Wardruna). Because of that collaboration Neal also counted on me for recording the beginning of the cinematic trailer of “World of Warcraft Warbringers: Azshara” and “World of Warcraft: The War Within”. I also collaborated in another indie spanish game soundtrack, called Crisol: Theatre of Idols. And by myself, I’m also composing and singing a whole score for an online roleplay community in Spain known as “Territorio de Rol”.
Who would you say are the main influences when it comes to your singing?
Celica: Well, it depends of the style. I guess Amy Lee, Tarja Turunen, Lizzy Hale, Taylor Momsem, Lisa Gerrard and Florence Welch are my main female references in melodic/female styles. But I also got influenced by many male singers (probably more than female). When I was younger, I used to sing Michael Jackson’s 24/7 (lol). Later, in metal styles, I always liked David Dramian, Myles Kennedy, Jørn Lande and, overall, Roy Khan. He was my main influences in order to find a more powerful and not-so-lyric style in my way of singing. In terms of super-high-pitched notes, I guess I learned a lot from Axl Rose, haha!
I found in Celica the exact voice and vocal capabilities I was looking for.
Nikolaas
How did you end up finding your way into the heavy metal genre? And have you been involved in any other metal bands besides Malevolent?
Celica: As I said, I started listening to metal and rock bands when I was a teenager, so I actually started singing in amateur bands at the age of 18. When I was 23-24, I joined a pre-existing and more experienced band from Madrid called Cotard, in which I singed and composed lyrics and vocals for 4 years or so, in which we released two LPs (“Nunca mas” and “Ojibwa”), and also made it into some important festivals, recorded a few videoclips and so. It was a funny experience, but I had to quit the band because of some health problems affecting my vocal chords. I honestly renounced being back into the metal scenario by then, until Nikolaas appeared! Haha, I guess it was destiny, somehow (?).
Would you be interested in having a profile page on our website?
Celica: That would be awesome! ^^
Thanks so much for the interview. Is there anything else you would like to add?
Celica: Thank you so much for the interview! It’s been a pleasure! ^^
Just as a reminder, you can follow our band profile in facebook, Instagram and also our website www.malevolent.be
Fast-rising modern metal unit AD INFINITUM sets the stage for a brand-new chapter in the band’s history with their new single, “Outer Space”, out now on all streaming services worldwide. “Outer Space” arrives with a visually palpable music video that opens the gates to an exciting and unexpected universe begging to be discovered!
After undoubtedly raising the bar with the release of their cherished third record, Chapter III – Downfall, in March 2023, and ruling stages at Europe’s biggest festivals like Wacken Open Air, Summer Breeze and Masters of Rock, the four-piece is back with a new cycle and an outstanding, unexpected fresh sound. Lead by the chameleonic voice of vocalist Melissa Bonny while surrounded by prestigious guitar riffs and heavy patterns. “Outer Space” introduces the listener to matchless modern metal soundscapes, spliced with djent vibes and captivating melodies. The song smashes from the very first second and shows that AD INFINITUM will shine stronger than ever in 2024!
“Outer Space” also underlines that AD INFINITUM is hitting the road for an epic musical journey across the continent to support KAMELOT on their Awaken The World Tour 2024, kicking off in Baltimore, MD, US, followed by Europe and UK this fall.
AD INFINITUM ON “Outer Space”:
Welcome to a new page of the AD INFINITUM story where a new era begins. A journey from the ominous darkness of the Abyss to the freeing and energizing dreamscapes of Elysium, passing through the hope and empowerment found at the Surface. Discover our new single ‘Outer Space’, a song that resounds like a sincere and intimate piece of a diary. A grey lullaby tinted with a few drops of hopeful colours.
Watch the impressive official music video for “Outer Space” BELOW:
AD INFINITUM LIVE 2024 Supporting KAMELOT on their Awaken The World Tour 2024:
North America ** = Featuring Seven Spires, No HammerFall 25.04.24 – Baltimore, MD – Rams Head ** – LOW TICKETS 26.04.24 – Huntington, NY – Paramount ** 27.04.24 – Boston, MA – Big Night Live ** 28.04.24 – Quebec City, QC – Theatre Capitole ** – LOW TICKETS 30.04.24 – Harrisburg, PA – HMAC 01.05.24 – Montclair, NJ – Wellmont Theatre – LOW TICKETS 03.05.24 – Columbus, OH – The Bluestone 04.05.24 – St. Louis, MO – Delmar Hall 06.05.24 – Fort Worth, TX – Tannahill’s 07.05.24 – San Antonio, TX – Vibes Event Center 09.05.24 – Albuquerque, NM – El Rey Theater 10.05.24 – Tucson, AZ – Encore 11.05.24 – Anaheim, CA – City National Grove – LOW TICKETS 12.05.24 – Las Vegas, NV – House of Blues 14.05.24 – Denver, CO – The Summit 16.05.24 – St. Paul, MN – Myth 18.05.24 – Cleveland, OH – House of Blues 20.05.24 – Pittsburgh, PA – Roxian 21.05.24 – Richmond, VA – The National 23.05.24 – Cincinnati, OH – Bogarts 24.05.24 – Atlanta, GA – Heaven – Masquerade – LOW TICKETS 25.05.24 – Tampa, FL – Jannus Landing
Europe & UK: 12.10.24 NL – Utrecht / Tivoli 13.10.24 DE – Munich / Backstage 15.10.24 DE – Berlin / Kesselhaus 17.10.24 SK – Bratislava / Majestic 18.10.24 CZ – Zlin / Rock Cafe 19.10.24 SI – Ljubljana / Kino Siska 20.10.24 IT – Milan / Live Club 22.10.24 ES – Bilbao / Santana 27 23.10.24 ES – Madrid / Riveira 25.10.24 FR – Lyon / La Rayonne 26.10.24 CH – Pratteln / Z7 27.10.24 DE – Oberhausen / Turbinenhalle 29.10.24 DE – Hamburg / Markthalle 30.10.24 DE – Antwerpen / Trix 01.11.24 UK – Wolverhampton / KK‘s 02.11.24 UK – London / Kentish 03.11.24 UK – Manchester / Ritz
Get your copy of the latest album, Chapter III – Downfall, HERE!
AD INFINITUM are: Melissa Bonny – Vocals Adrian Thessenvitz – Guitars Korbinian Benedict – Bass Niklas Müller – Drums
Malevolent is the newest band to join the ranks of the so-called ‘cinematic metal’ trend, with its debut self-titled EP released on 21st December 2023, courtesy of Necktwister Records. Mostly an offshoot of symphonic metal, which has also been merged with components of gothic metal, fans can expect the usual dark undertones, epic harmonies, and rich orchestral arrangements of these styles to be at the core of their identity.
You might think ‘Malevolent‘is a rather strange choice for the band’s moniker at first, given the symphonious nature and overall pleasantness of their music. It feels like it is perhaps more befitting of a technical death metal band (or something to that effect). But it starts to make a little more sense when you take into account the basic underlying theme for this release, with the lyrics of each song revolving around a “post-apocalyptic malevolent world”. Even more of a surprise though is that at the heart of Malevolent’s line-up lies just two integral band members: the veteran Belgian composer, guitarist, and producer, Nikolaas Van Riet, and Spanish lead vocalist Celica Soldream.
However, they are helped out in the studio by a few session musicians, and you can easily imagine this needing to be the case considering the sheer size and scale of their sonority. Amongst the recruited talent is none other than Mark Jansen (guest vocals), who scarcely requires any type of introduction for fans of this style of metal, due to his highly influential work in After Forever/Epica. Also contributing to this project is Koen Herfst (drums), Jan Verschueren (lead guitar), and legendary producer/mixing engineer Joost Van den Broek (Powerwolf, Epica, Ayreon). Each of their qualifications ensures that the finished product embodies the highest possible standards, and has an extremely polished quality.
The EP has a total of 4 individual tracks (or more, if you are lucky enough to have access to the bonus song “The Awakening“). The first of these is “Gaze“, which commences with the sacred-sounding chants of a male choir, soon immaculately overlaid with the graceful, and angelic singing of Celica’s silky voice. As the number picks up momentum, so too does the fullness and heaviness of the created soundscape as the band swings into a full offensive. The Spanish-influence of Celica’s voice also becomes a little more noticeable, and at times is reminiscent of Mexican singer Marcela Bovio, though with a smoother, softer edge. As a peculiar sidenote, each of the song titles may seem a tad nondescript on their own, but one assumes this is because they are designed to be read in combination with the band’s name (i.e. Malevolent Gaze, Malevolent Ways, etc).
Wherever you look, a malevolent gaze Whatever we try, a lost race We are the last suffering against unholy ruthless kings A rush of fear is taking control
Malevolent – “Gaze”
The introduction to “Ways” indulges in a more neo-classical sound palette, whereas “Light” is sprinkled with a healthy profusion of piano notes and catchy, vowel vocalisations atop a swirling symphony of orchestral strings and crunchy guitar distortion. It is easy to observe the Celtic/Medieval influences of Celica’s tonality throughout the EP, but especially so with songs such as these two. And she delivers a much needed calm and heroic atmosphere to the crafted compositions, particularly given the tense subject matter. The greatest song is saved for last in my humble opinion, as “Creations“ features both Celica and Mark singing the most memorable vocal melodies in unison over the heavy and ornate instrumentation. Despite this fact, I feel compelled to point out that the artistry is better consumed as whole package, rather than as individualised items. The songs are kind of lacking the commercial elements that are required for any one of them to be a sure-fire hit single. Malevolent may want to hone their efforts in this area to enhance their marketability, and have a chance at making a more immediate impact on potential listeners. But aside from this critical detail, this is still a highly absorbing first entry that is likely to leave you salivating to hear more.
Verdict: Malevolent’s eponymous EP is an ambitious new endeavour that already matches the industry benchmarks laid down by their more illustrious peers in the symphonic metal sub-genre. However, due to its brief running time, it shall only serve to whet your appetite, instead of truly satisfying it. Here’s hoping we get to experience a longer release from this promising band in the very near (and hopefully still apocalypse-free) future.
Canadian blackened death symphonic metal band Valfreya is proud to announce the release of their sixth album “Dawn of Reckoning” on May 24, 2024. To whet the palettes of those who enjoy epic dark metal, now they are releasing a lyric video for the single “The Rise“. The concept album sees the band take their darkest turn as they lean into the blackened end of the metal spectrum and follow the goddess Hel as she wreaks havoc upon humanity.
The band comments on the album:
Dawn of Reckoning is a concept album. The main theme revolves around the anger of the goddess Hel which plays the metaphorical role of a fatal justice towards a guilty humanity. The songs convey this anger, but also a range of intense emotions related to the execution of humankind. Musically, you will hear dark symphonies, epic choirs, versatile vocals alongside tumultuous guitars and violin riffs.
Known for their fervent performances and epic storytelling, Valfreya has been delighting fans since 2009 with their unique blend of metal genres. In “The Rise“, Hel is raising her army because humanity had enough warnings. Its denial is its obsolescence. It is its turn to be threatened and face extinction.
Watch the Lyric Video for “The Rise” BELOW:
In conjunction with the single release, Valfreya is launching an Indiegogo campaign to fund the production of “Dawn of Reckoning“. Fans will have the opportunity to contribute to the creation of this monumental album and gain access to exclusive perks and rewards. Those with an interest in Septicflash, Xaon, and Fleshgod Apocalypse should take a listen.
Track Listing: 1. Dawn of Reckoning 2. The Rise 3. Warcry 4. The Fate 5. The Fall 6. Equilibrium 7. The Fallen Kings 8. A New Era 9. Le Périple 10. Reus es
Melbourne Gothic Metal powerhouse Victoria K have recorded their own heavy rendition of Madonna‘s iconic 1998 ballad ‘Frozen‘. Victoria K brings their dark and tenebrous stylings to the classic with heavy riffs and the judicious incorporation of harsh vocals, while at the same time paying tribute to the soulful and introspective nature of the song with more dulcet moments led by frontwoman Victoria Knight‘s hypnotic voice.
Reflecting on the journey of recording the song, Knight reveals:
‘Frozen’ is one of my favourite Madonna tracks, I’m so excited to be breathing new life into the song.
We’re hoping that with this cover, we can bring a new and fresh sound to Victoria K.
Fans can indeed look forward to a bigger Victoria K sound than ever, as ‘Frozen‘ is mixed and mastered by the deft hand of Lance Prenc, whose work includes some of Australia’s biggest heavy acts such as Alpha Wolf, Thornhill and Void of Vision.
Victoria K exploded into the minds and ears of Australian audiences with their 2019 hometown support of Swedish Folk Metal legends, Eluveitie. The band then took the Gothic Metal world by storm with the release of their debut album, Essentia. Although the now-infamous 2020 pandemic struck on the eve of their first headline show as the world entered lockdown, Victoria K was undeterred by this setback. While touring was off the cards, the band embraced the opportunity to deliver a live-streamed show direct from the studio where Essentia was recorded, providing a beacon of Gothic celebration in the darkest of times. The show is now available as the Essentia – Live Isolation Concert DVD.
Since the world’s emergence from the pandemic, Victoria K has hit the road in earnest, touring Australia in support of Essentia and their 2022 follow-up, Kore. Kore exponentially expands the beguiling soundscape of Essentia as Knight sonically explores the mythology of her Greek heritage. In addition to Knight’s majestic lead vocals, Victoria K‘s current touring line-up includes Charlie Curnow tearing up the stage on harsh vocals, Adyn Young leading the melodic charge on guitar, Ethan Colussi holding down the bottom end on bass, and the indomitable percussive machine of James Davies on drums.
Following the success of their top 10 German charts album, The Wonders Still Awaiting, renowned symphonic metal band XANDRIA have unveiled a catchy brand-new single, entitled “Universal“, accompanied by a mesmerising official video. The track, mixed by acclaimed Danish producer Jacob Hansen, harmoniously combines symphonic choruses and captivating refrains with classic heavy metal guitar work.
Xandria comment about “Universal”:
“We have been overwhelmed by the amazing feedback for our album The Wonders Still Awaiting and are so grateful for our wonderful fans! All this positive energy inspired us to write new music quickly, and here is the first song of the new music waiting for you! We hope you enjoy it! Thank you so much for your support!
In memory of Jina Mahsa Amini and for all the brave people everywhere else in the world who fight for human rights. Human rights are universal. But they are not respected everywhere, and where they are, they can be taken away again. That means that we all need to be constantly defending them, and we need to be standing together with all people in the world for that. “
Watch the Official Video for “Universal” BELOW:
After a highly accomplished tour alongside symphonic metal peers Delain in 2023, XANDRIA is set to join icon K.K. Downing’s band, KK’s Priest, for two shows in Germany while currently captivating North American audiences alongside dwarven metallers Wind Rose. Their steady dedication will also see them grace the stages of Wacken Open Air and other major European festivals later this year!
XANDRIA live 2024: North American Warfront: w/ Wind Rose 16.04.24 CA – Montreal (QC) / Beanfield Theater 17.04.24 CA – Ottawa (ON) / Brass Monkey 18.04.24 CA – Toronto (ON) / Lee’s Palace 19.04.24 US – Columbus (OH) / King Of Clubs 20.04.24 US – Chicago (IL) / Avondale Music Hall 21.04.24 US – St. Paul (MN) / Amsterdam Bar & Hall 23.04.24 US – Denver (CO) / Oriental Theater 24.04.24 US – Salt Lake City (UT) / Metro Music Hall 26.04.24 CA – Calgary (AB) / Dickens 27.04.24 CA – Edmonton (AB) / Starlite Room 29.04.24 CA – Vancouver (BC) / Rickshaw Theater 30.04.24 US – Seattle (WA) / El Corazon 01.05.24 US – Portland (OR) / Hawthorne Theater 02.05.24 US – San Francisco (CA) / DNA Lounge 03.05.24 US – Las Vegas (NV) / House Of Blues 04.05.24 US – Los Angeles (CA) / 1720
Headline Show: 09.05.24 NL – Leiden / Headliner Club Show, Support tba
European Dates: w/ KK’s Priest 16.05.24 DE – Hamburg / Docks 19.05.24 DE – Munich / Backstage
Festivals: 10.05.24 BE – Bomal-sur-Ourthe / Durbuy Rock Festival 20.06.24 ES – Cartagena / Rock Imperium 02.08.24 DE – Wacken / Wacken Open Air 16.08.24 CZ – Moravský Krumlov / Rock Castle 17.08.24 CH – Vallamand / Rock The Lakes
XANDRIA are: Ambre Vourvahis – Vocals Marco Heubaum – Guitar Robert Klawonn – Guitar Tim Schwarz – Bass Dimitrios Gatsios – Drums
Xeneris, the Italian powerhouse of symphonic power metal, is set to ignite the global metal scene with their highly anticipated debut album, “Eternal Rising” slated for release on June 14th, 2024, and available to pre-order HERE.
Prepare to be hypnotised by their first single and video “Eternal Rising“, a mesmerising tale of resurrection and resilience, narrated through the myth of the phoenix’s rebirth. This song embodies the determination to move forward in life’s challenges, echoing the phoenix’s immortal cycle of death and rebirth.
Watch the official video for “Eternal Rising” BELOW:
Masterminds Frederica Paolini states:
Eternal Rising’ tells a story of resurrection and resilience narrated through the myth of the phoenix’s rebirth: every 500 years, the phoenix dies and rises from its ashes, thus ensuring immortality through this purifying ritual. For us, it’s a concept very representative of our musical journey that is reborn and continues, representing also the will to continue our path with renewed passion.
Formed in December 2022, after the disbandment of Kalidia (one of the hottest Italian power metal bands with over 7 million streams and 5 million YouTube views), Xeneris is the brainchild of Federico Paolini (co-founder, composer and guitarist) and Roberto Donati (co-founder, bassist). Coupled with Mayran jaw-dropping vocals and the rhythmic genius of Stefano Livieri. Xeneris manage to honour the heritage of Kalidia, expanding the musical spectrum fusing power metal, symphonic metal, and progressive metal into an electrifying blend of irresistible melodies, powerful riffs, and grand arrangements.
Federico is thrilled to invite fans:
Get ready to be transported on a mesmerizing odyssey through the annals of myth and legend. From traversing the Mediterranean alongside Ulysses to beholding the Phoenix’s resurrection. Follow Dante’s descent into Hades and surrender to the seductive allure of an Arabian night, where the Sahara’s gentle zephyrs embrace you in their warm embrace.
Xeneris invites metal enthusiasts worldwide to join them on this epic voyage, as they redefine the boundaries of symphonic power metal. Prepare to be captivated by the grandeur of “Eternal Rising” and immerse yourself in a world of myths, real-life and fantasy legends, and introspection from human experiences.
Tracklist: 1. Barbarossa 2. Before The River Of Fire 3. Eternal Rising 4. Pandora’s Box 5. A New Beginning 6. To The Endless Sea 7. Shahrazad 8. Scilla And Cariddi 9. Burning Within 10. The Glorious Fight 11. Equinox
Double, double, toil and trouble. Fire burn, and cauldron bubble.Two years after the surprise success of their debut album, “Daughters of the Night“, Italian symphonic / power metal band Nocturna are back with a fresh concoction of ‘dark fantasy’ metal tunes. Luckily for us, many of the key ingredients are still present, so if you liked their first effort, then you’ll no doubt want to check out “Of Sorcery And Darkness” when it releases through Scarlet Records on April 19th.
Songwriter, guitarist, and multi-instrumentalist Frederico Mondelli (Frozen Crown, Volturian & Be The Wolf) remains the mastermind behind these magical songs. But it is the bewitching duo of Grace Darkling and Rehn Stillnight that is once again responsible for bringing them to life. Together they stir up a potent mix of theatrical and operatic vocal harmonies. And it is near on impossible to resist their charm, which could explain why they are the main focal point in all of the promotional material for the album. To the extent that other members of the band are even donning masks (which fans have eagerly likened to Slipknot). Filling out this mysterious line-up nonetheless is Hedon (guitar), Antares (bass) and Deimos (drums).
The album kicks off in high gear with “Burn The Witch“, a title which doesn’t exactly bode well for our two witchy frontwomen. The song is very much of the power metal variety, and immediately draws quick comparisons to Frozen Crown due to its brisk and majestic feel. We are greeted with the vocals of Grace Darkling first, who hits all the right characteristics in her slick and histrionic belting style. Conversely, Rehn Stillnight embodies a lighter, more classical touch as she chimes in moments later. Both voices are fundamentally different, but they are equally matched, and have an undeniable synergy whenever brought together. Yet “Sapphire” confirms that they are more than capable of carrying these songs on their own, as we are given the chance to treasure each of the vocalists individually while they take turns with the verses. “Noctis Avem” ups the drama, along with the heaviness. There is an impressive wail that leads us to the opening verse. And the song has a steady, upbeat rhythm that sporadically ramps up with the drums in order to accentuate certain moments. But it was actually the bridges that garnered most of my attention, as the harmonic pitches here sound absolutely divine. On that note, “Creatures of Darkness” is practically biblical. Not just for its grandeur and scale, but also for its many lyrical references.
Our Solace, For Long Denied Lies In Heaven’s Night As Falling The Brightest Knight Lucifer’s Demise We’re Burning, Sons Of The Light Daughters Of The Night Returning To Grace And Might
Nocturna – “Creatures of Darkness”
The almost acapella start of “Midnight Sun” introduces us to yet another powerful banger. When the band kicks in with full-force, the listener is whisked away at a heady tempo. The track also features a fast breakaway guitar solo, and the wait has definitely been worth it. The key change towards the end is the final icing on the cake to heighten the exhilaration. A brief instrumental interlude ensues with “First Disobedience“, showcasing haunting bird sounds, whispered words, and some acoustic, neo-classical elements later on in the track. The atmosphere is suitably set for “Seven Sins“, the first single and already monstrous hit, with its thunderous bass and “Phantom of the Opera”-style piano notes enshrining it as one of the more memorable pieces of the album.
“Through The Maze” leans even more significantly into this stagey, neo-goth operatic vibe, with Stillnight commencing the number with her vocalised scales and epic high register. It is perhaps my favourite performance of hers in the whole album. But Darkling also brings something new to the table, so as not to be outdone, with a more sultry and commanding tonality to her clean singing than we’ve heard from her up to now. And more than a hint of chic in the intonation. The song is a definite highlight. But it doesn’t stop there. “Strangers” gets the blood flowing again, with a pumping rhythm and anthemic melody. The start-stop delivery of the chorus lines giving it a similar mood to Nightwish’s “Wishmaster“. Whereas final track “The Last Day On Earth” brings it home, with a touching ballad and a reminder to make the most of every moment and treasure them with those we love: “Life’s just the blink of an eye // A memory to be erased in time // … Never forget who wiped your tears // Like it was our last day on this Earth“. It’s a moving finale, and a brilliant way to close the curtain on this already magnificent opus.
Verdict: The second time is the charm for Nocturna’s “Of Sorcery and Darkness”, which manages to improve on its predecessor in every way. Converying a darker aesthetic and deeper maturity, plus better performances all round, Nocturna look ready to cast an even more powerful spell over the metal scene.
“The Great Divide” is evidence that you should never judge an album by a band’s self-ascribed genre. Beyond God are labelled as a symphonic metal quartet from the Netherlands, which sets the expectation that they will sound stylistically similar to other notable groups emanating from this region (Within Temptation, Epica, Delain or Stream of Passion). But the fallacy of this pre-conception becomes abundantly clear once the euphony of their latest release starts to grace your conscience, and it dawns on you that this is an altogether different type of proposition.
Released on December 8th, 2023 via WormHoleDeath, “The Great Divide” unshackles itself from the typical conventions that you may be accustomed. It is far more dynamic, complex and difficult to predict. No doubt, this could make it a more challenging listen for some. But you should not let this fact deter you. Your main guide through this album is the captivating lead vocalist, Meryl Foreman, whose sombre tones go against the grain, and work to imbue the music with a much darker, and more foreboding energy. Her companions are as equally distinguished, with the line-up featuring Mariusz Krawitowski on guitars, Dennis Winkel on bass, and founding member Ferry Guns in charge of drums, piano and orchestrations.
Starting with the hectic “Cronos“, based on the Greek mythological figure, it is immediately apparent that Beyond God are unique. It is a song that continues to mount in pure intensity throughout its runtime, with no obvious crescendo or release to ease the pressure. There is plenty of orchestration, but most of the power and magnitude is provided by the rest of the band’s performance, which leans more heavily into death metal. It’s not quite on the same level as Fleshgod Apocalypse, but it’s heading in that direction. The furious riffs and blast-beat drumming are clearly dominant in this track, yet it still succeeds in pulling you deeper into the album despite the lack of any clear hooks or payoffs. There is the sense this might all be an exercise in delayed gratification for you are left simply wanting more by the end of this opener. Thankfully, it sets up “Frostbite“, the next track and more accessible single. It is here that we finally receive a more typical song structure and a few noteworthier moments.
The composition follows the story of someone that is caught in a negative situation, and is unable to escape on their own. It is relayed using the analogy of the four stages of frostbite and reaches the conclusion that only the warmth of love can act as saviour. Foreman is the standout in this track, and her hostile barking of the word “Frostbite” on top of the music is a particularly cool touch (no pun intended). Things slow down somewhat on “Coronation“, which is perhaps fitting given that it is about the Covid-19 pandemic and the struggles that this entailed. The crushing heaviness is still as present as ever, but there is less going on in this track for your brain to interpret, and a better cohesion between the disparate elements. This simplified approach also bleeds into the intro of the subsequent track, “Heartbreaker“, and the guitar solo played during this piece is beyond good (Ed – I see what you did there). But it’s not long before the band’s death metal tendencies are on full display again, and we are bombarded by more blisteringly fast-paced riffage, and another battering drum assault.
None of this is particularly alarming, of course, except for the fact that it does take a while to acclimatise to the sonic dissonance on initial playthroughs. The melancholic timbre of Foreman’s vocals is something you would expect to hear in more of a gothic/doom metal context, which can make it difficult to reconcile with the instrumentation in the beginning. But it also adds a uniqueness to this band, and is one of the reasons why they so diverge from their peers. The opposing influences are no more evident than on the title track, “The Great Divide“, but somehow they all still come together in a beautiful harmony, in defiance of the song’s title. And indeed, the main thrust of the song is in fact a message of unity.
Stop the spread of fake News will be your guide For all the lives that are at stake Left and right unite Brightest light of dawn As we’ll be building bridges
Beyond God – The Great Divide
A smooth transition leads us into “The Siren’s Cry“, and Foreman matches the brief of the alluring Siren perfectly with her enchanting singing and persuasiveness: “Come to me // Come to me // Come to me“. But as we know, there is a more sinister undertone, and this soon asserts itself as Foreman shifts back to her menacing vocals to issue the following command: “Now jump! // Jump // Come to me // Jump into the sea // Jump!“. Not only is this an entertaining twist, but I can also see this going over particularly well in the mosh pit. Next track “Pierced” gets under your skin a little, with its social commentary on the shifting perceptions of beauty. While “The Elder Tree” is a musically gloomier affair, with Foreman being especially in her element here, and sounding most at home vocally. But it also hits hard thematically, as it is a deeply personal number which deals with the loss of Foreman’s beloved grandfather during the Covid-19 pandemic. The band picks up the pace again with “Aphantasia“, a song which centres on the phenomenon whereby a person’s brain is unable to visualise any mental images. Before concluding with “After Love Ends“, a song exploring how to move on following the end of a romantic relationship with someone. It is the final track of the album, and while it strikes a sorrowful tone, it does not feel like a breakup – as something tells me that listeners will be back again to spend more time with these tracks.
Verdict: “The Great Divide” certainly succeeds in creating some relative distance between Beyond God and the rest of their symphonic metal peers. Some effort may be required by listeners to bridge the gap, as these are not your stereotypical melodies, but anyone who puts in the time to comprehend them will be surely happy they did.
The symphonic/orchestral metal band DemUnillusions have released a new live rehearsal clip for “Dead Dreams Man”, adding to the growing collection of other high-quality performance videos that have been released on their YouTube channel in recent months, including powerful takes for songs “Freakshow” and “Crazy”.
The band have expressed their excitement about the new video:
We proudly present you “Dead Dreams Man”. A live rehearsal video that show’s what we bring to you!
DemUnillusions
And from the sounds of it, they are pleased to finally share this release with the world, as it appears the sketches for the music in this track were outlined a long time ago. The song has been recorded for their upcoming album “Madness”, but instead of waiting the band has now decided to release the track, with the hopes that it will generate support amongst the metal community, and ultimately help them to make the album a reality. It is a strategy that should hopefully work. As we think you’ll agree after seeing this video, the project clearly deserves to happen. (Links to support the band can be found at the bottom of this article).
Watch the new live rehearsal video for “Dead Dreams Man”:
DemUnillusions Line-up: Ayracsana (vocals) Thomas (vocals, guitars) JK (drums)
Dead Dreams Man (Credits):
Music and lyrics by DemUnillusions. Produced by DemUnillusions. All recorded by DemUnillusions. Cover artwork and logotype design by DemUnillusions. Band photo by Vitaly Alexandriysky. All music arranged, drums, bass and orchestrations by DemUnillusions.
