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  • "To celebrate the 10th anniversary of their milestone album “Design Your Universe”, an album that has become a fan favorite over the years, Epica will be re-issuing the record this October. The album will be remixed and remastered by Joost van den Broek and be accompanied with updated artwork and a second disc containing newly-recorded acoustic versions of songs from the “Design Your Universe” session."
    $14.00
  • Dark Waters finds Delain with a new lineup.  Charlotte Wessels is no longer with the band but Martijn Westerholt seems to have found a very good replacement in Diana Leah.  It almost seemed impossible to think that Charlotte could be replaced but listening to Diana you can envision her doing justice to the old Delain songs.  Of course Charlotte is Charlotte - simply incredible - but if you like the Delain sound that Martijn has carved out over the years you will definitely enjoy this.  Returning to the fold are old Delainers Ronald Landa (guitar) and Sander Zoer (drums).  A bit of a reunion of sorts.  In general the overall sound will remind you of Lucidity and April Rain - not a bad thing.  So its bittersweet that the version of Delain we loved is gone but this new edition carries on ably.  With Charlotte's solo career unfolding nicely we have two bands to follow.  Again not a bad thing."Dutch symphonic metal pioneers DELAIN break into new realms with their eagerly awaited, brand new full-length, Dark Waters, out February 10, 2023 via Napalm Records.The pristine record marks a game-changing chapter in the band's history and presents the brainchild of keyboardist, founder and main songwriter Martijn Westerholt with a new lineup. Rejoining the fold and bolstering DELAIN’s continuity are original guitarist Ronald Landa and original drummer Sander Zoer, while new members - terrific vocalist Diana Leah and bassist Ludovico Cioffi - continue to evolve their sound. Dark Waters follows the chart-breaking Apocalypse & Chill (2020), integrating the most refined sounds in the genre. DELAIN’s renowned orchestral arrangements, highlighted by modern shadings, set new standards and manifest the five-piece on top of the scene. A sonic rollercoaster ride of catchy tunes with explosive elements - ranging from pop to film score-inspired to blistering metal - merge perfectly with Diana’s fantastic voice, showcasing her incredible talent and musical sophistication. Songs like the soaring previously released standalone single, “The Quest and the Curse”, as well as “The Cold” (the latter featuring a real, epic choir), lure with a bombastic sound that skillfully combines orchestral melodies, epic heavy riffs and marvelous vocal performances. DELAIN magnificently manages to never lose touch of their characteristic sound, making them a constant without ever standing still. Pop-induced opening track “Hideaway Paradise” shows exactly that by inducing a dream-like feeling flirting with melodic metal guitars, while the ballad-like dark track “Mirror of Night”, featuring Within Temptation guitarist Ruud Jolie, entices the listener with unfathomably catchy lines and melodies. “Queen of Shadow”merges the orchestral and synth-focused soundscapes DELAIN is known for as it weaves melodic heavy guitars that intertwine with orchestral lines and vocal melodies. The vocal department holds new adventures with guest singer Paolo Ribaldini, who also highlights the hauntingly beautiful “Beneath” as the ultimate hymn. Hovering close to the original DELAIN sound, it combines synth themes and metal riffs to create an incredible fusion between pop and heavy soundscapes, topped off with a brain-spinning guitar solo. “Tainted Hearts” is centered around Westerholt's keyboard arrangements, which skillfully showcase the creative roots of the mastermind. “Invictus” is nothing less than the Magnum Opus of the album - a rock opera in its own right with heavy riffing, choirs and vocal parts performed by Diana Leah, Paolo Ribaldini and Marko Hietala (ex-Nightwish), ending in a bombastic climax where everything comes together. Emerging as a brand new start and safe haven alike, Dark Waters, without any doubt, continues the legacy of this multi-million-streamed leading symphonic metal outfit and contains everything DELAIN is loved for and more."
    $16.00
  • New album from this Austrian symphonic metal band.  The band has been a bit of a revolving door with vocalists but Maxi Nil has settled in nicely.  The music is based in the traditional female fronted gothic style with clean male vocals trading leads back and forth.  This time around I hear more of a poppier, catchy sound - somewhat like the direction Delain is moving towards.  Highly recommended to fans of the genre (I wave my hand proudly).  Digipak edition with one bonus track.
    $16.00
  • "Following the departure of vocalist Lisa Johannson in 2011, fans of Sweden’s pillar gothic/doom metal act Draconian were left wondering about the future of the outfit. Enter Heike Langhans, formerly of The Great Sleep, to take the helm. The band’s newest, Sovran, surprisingly, sounds like nothing ever slowed them down. It’s an album that, while business as usual for the sextet, demonstrates that a major lineup change has done the band some favors in the way of memorability and songwriting.It’s basically a given that Draconian’s first two albums — 2003’s Where Lovers Mourn and 2005’s Arcane Rain Fell — are some of the most important goth/doom albums to be released in the past two decades. The band was never the type to rest on its laurels, but 2008’s Turning Season Within was too polished for its own good, and 2011’s A Rose for the Apocalypse, while offering more in the way of symphonic doom/death, left me cold.Sovran, by comparison, sounds rejuvenated, with the band finding a finally harmonious balance of the theatrical, morose, and menacing. Newcomer Heike Langhan’s vocals are less operatic than Johannson’s but are a better fit for the band’s current direction, with “Dishearten” providing one of the best examples of her range, both vocally and emotionally. Far more than just a pretty voice, Langhan’s voice adds feelings of yearning and pain where Anders Jacobsson’s growls fall short. Jacobsson, while not the most dynamic growler, is convincing enough in his delivery and prevents Sovran from turning into a weepy, saccharine mess as many goth/doom albums are apt to; the ugly, eerie doom riffs of opener “Heavy Lies the Crown” work wonderfully with his bellowing, fiery roars. Even if his main job is to provide the “beast” to balance the “beauty,” he does it effectively enough to where it doesn’t seem forced or cliched; similarly, Langhan’s voice is a driving force on many tracks rather than being relegated merely to choruses and “soft parts.”It’s the remainder band, however, that makes Sovran such a rich listen: “Rivers Between Us,” the ballad they’ve been hinting at for years, oozes with a fragile beauty that is elevated by Langhan’s vocals and the achingly sad guitar melodies, backed by violins, and album closer “The Marriage of Attaris” approaches Mournful Congregation in terms of sheer weight and grandiose arrangement. For being squarely in the goth/doom niche, Sovran is very much a guitar-based album, incorporating melodies reminiscent of My Dying Bride and early Swallow the Sun, with “Pale Tortured Blue” being a standout cut for its pure might and majestic power. When keyboards appear, they function as more than mere “atmosphere” and contribute layers of sound that, if not present, would make the songs feel hollow and incomplete. An array of mellotrons, violins, and strings appear throughout the album and add a tasteful elegance to the song structures without ever overstepping bounds into campiness or melodrama. Furthermore, Draconian are able to effectively navigate slower tempos without ever falling into mire, and the pickups in tempo are well placed, such as the driving double bass in “Stellar Tombs” and the ending section of “Dishearten.”Simply, Sovran is an album that works equally well as a full album absorbed in one listen or in smaller chunks; it’s not often that, in a genre that is capable of doing only a few things well, there are no throwaway tracks on an album — Sovran is the exception. The band’s chemistry, even with a major lineup change, has fallen into place. The songwriting is effectively paced and finds a balance between drawing listeners into a dusky atmosphere while still putting emphasis on the heaviness of the sound and the moods portrayed by the melodies. Miraculously, though this album has all the trademarks of the goth/doom niche, Draconian avoid being stereotypical and elevate the soft/loud & beautiful/ugly dynamics of the genre into a new place. Within the span of an hour, Sovran leads listeners through a gallery of despair and tragedy as well as offering glimmers of hope and catharsis. It has an artistic maturity and dead seriousness lacking in other artists of the genre, and it’s the same earnestness that has helped Draconian establish themselves as the forerunners of a sound that is endlessly aped and convoluted.Sovran will not change the opinions of those who aren’t fans of the band already, but it is an excellent album that re-establishes Draconian as masters of what they do — limited though the appeal may be, sometimes a band just needs to come along and show others how it’s really done." - Nine Circles
    $15.00
  • "As the brainchild of former Within Temptation keyboardist Martijn Westerholt, Dutch symphonic metal quintet Delain naturally pride themselves on elegantly lavish arrangements and commanding hooks. After all, lead vocalist Charlotte Wessels—who’s been there since 2006’s debut LP, Lucidity—is easily among the best singers in the scene; likewise, the rest of the current line-up (guitarist Timo Somers, bassist Otto Schimmelpenninck van der Oije, and drummer Joey de Boer) are equally adept at solidifying a very characteristic sound. It’s no shock, then, that their latest record, Apocalypse & Chill (which threads together the “sense of impending doom and [the] human indifference to it”) nails that chemistry yet again. True, it doesn’t stray very far from 2016’s Moonbathers, but that’s just fine considering its multitude of tempting melodies and hefty complexity.One of Delain’s strongest attributes has always been their in-your-face catchiness, and Apocalypse & Chill definitely doesn’t disappoint there. Among the most infectious tunes is opener “One Second,” which begins with angelic croons and piano notes to set the stage for a powerhouse of sentimental lyrics, trudging riffs, gripping rhythms, and empowering verses and choruses. Arguably its greatest feature is that last one, as it packs an irresistible sing-along punch by mingling clean male and female vocals with infrequent snarls, demonstrating every facet of the band’s singing strengths in one fell swoop. As such, its radio-friendly pop/rock base, elevated by genre intensity and intricacy, is quite enticing.The next tune, “We Had Everything,” is just as accessibly alluring, but with an airier and more bittersweet edge to juxtapose its affective bursts of synthy chants. Later, “To Live Is to Die” veers a bit closer to the stylish tonal wackiness and dynamic fluctuations of, say, Dream Theater and Ayreon, yet Wessels’ forceful performance—coupled with a roaring doubled-up guitar solo near the end—keeps it engrossing. Afterward, “Let’s Dance” is perhaps a bit too formulaic structurally, but the density, focus, and sleekness of it all makes it desirable nonetheless. Similarly, the closing ballad, “The Greatest Escape,” leans too far toward maudlin clichés at times, but its classily sophisticated instrumentation can’t help but mesmerize as it goes.Of course, Delain also emphasize more hellish and difficult passages along the way. For instance, “Burning Bridges” moves at a quick pace while belting out booming orchestration (strings and horns), demonic growls, and an overall sense of multilayered frenzy. Next, “Vengeance” makes good use of guest singer Yannis Papadopoulos (Beast in Black) as Wessels’ foil during its hectic journey, recalling the duets of Avantasia. “Creatures” is relatively straightforward in its djent foundation, whereas “Masters of Destiny” contains some masterful temperamental shifts as it builds from starry sparsity toward majestic panic. “Legions of the Lost” contains enough deep choral backing to fit a Greek tragedy, and the instrumental finale, “Combustion,” is appropriately a tour-de-force of virtuosic irritability.Delain certainly don’t rewrite any rules with Apocalypse & Chill, as they deliver everything you’d expect given their past works and the overarching style in general. Still, they do enough to make it satisfyingly invigorating and interesting, with a few new tricks here and there to make the record stand on its own. Beyond that, they remain a top-notch act due to their refined commitment, talent, and ability to compose and perform with a shared mind and purpose. In other words, symphonic metal typically sticks to familiar ground—with only marginal variation and experimentation from time to time—and Delain undoubtedly still do it better than most of their peers." - Metal Injection
    $16.00
  • With the demise of After Forever, Epica has taken the throne as the kings (queens?) of beauty and the beast metal.
    $14.00
  • Digipak with one bonus track."Whoever said that symphonies were boring? Who dared to say that they were dull, boring, and could put any bastard poor enough to experience it into slumber instantly? People who don’t know about symphonic metal, that’s who! Combining the swift melodies of an immense orchestra with the crunch and intricacies that metal also has to offer, there are literal dimensions of possibilities to be had. Sirenia, by far, has created one such world with that genre that defies expectations.I’m the kind of guy that if I’m getting a full-length album, seeing over ten tracks gets me excited because I know that (typically) I’ll get a good variety of tracks that show what creativity the band in question manages to express. Then after that, knowing I’m in for an hour long record gets me interested because I know there’s going to be plenty of meat on that album. So right off that bat, good things to be said about Sirenia’s upcoming piece, “Dim Days of Dolor”, before I even heard a single note. And luckily, what preceded was nothing short of symphonic metal the likes of which hasn’t come around since Kamelot’s last record, and even then “Dim Days of Dolor” blows it out of the fucking water. Everything about this album is grand beyond comprehension. It’s also got sheer power the kind of which I never thought I’d see come out of Sirenia, but it’s an extremely pleasant surprise that I will happily take. All eleven tracks of “Dim Days of Dolor” (not including the one bonus song) are brilliantly crafted to show the true companionship and excellence that can come out of weaving a stunning and dramatic orchestra with an uncompromising and talented metal act. Sirenia comes back in after only a little over a year since their last full-length record to give us another one that is without a doubt the true definition of a successor in that it tops everything its predecessor ever accomplished an album, but exponentially so. If you aren’t catching my drift by that, this is easily one of the best pieces that Sirenia has ever delivered with their entire catalog being taken into account meaning full-lengths, EPs, singles, live albums; everything!The sheer power and melodies that Sirenia bring time and again within this record are enough to bring even people who beforehand weren’t big into this band to say that they kick fucking ass. “Dim Days of Dolor” is an undeniable slab of symphonic metal that you won’t be able to put down because of how magnetic and appealing it is to literally all the senses. I’m not typically one to give albums ratings, but I’d have to give this piece a damn near perfect score – it is simply that fucking awesome!" - Head-Banger Reviews
    $16.00
  • Limited edition stop gap release until Delain present us with their new album.The set includes two new studio tracks - one of which "Suckerpunch" has been stuck in my head for two weeks.  There is a new version of "Don't Let Go" and a load of live tracks.  8 tracks in all.
    $9.00
  • Second album from this French gothic metal band masterminded by Vynce Leff.  Odd situation...for a couple of years the band was fronted by Clementine Delauney, elevating the band's status as they went on tour with Delain.  Clementine left before this album was recorded, touring with Serenity so there is no studio documentation of her as a member of the band.  She has now been replaced Elvyne Lorient. Whyzdom's music is definitely molded in a similar fashion to Delain and Within Temptation.  Its very heavily symphonic and Leff has incorporated a choir into the mix lending an even bigger, more bombastic sound.  Fans of Delain's April Rain should check this one.
    $10.00
  • Limited edition 2 CD version includes an acoustic bonus disc."EPICA is a widely known and regarded Symphonic Metal band from The Netherlands. Formed in 2003, the band had previously released seven full-length albums. “The Holographic Principle” is the band’s eighth, and contains twelve tracks. “Eidola” is the tone-setting lead-in song. The symphony is tentative and mysterious, especially from the fat whole notes that establish the baseline. Some chanted vocals make it sound like something out of a heretic’s church, and the percussion really shines here. “Edge of the Blade” roars in direct and quickly. Simone’s clean vocals are all over the place…soft and delicate at times, harmonic during other times and far reaching as well. I find myself gravitating towards the vocals over the music in this track. “A Phantasmic Parade” is about the same length, but the harmonized vocal progressions remind me of Eastern influences, and the supporting instrumentation would agree. The bridge section really gathers steam, from the thundering double bass in particular. I love the vocal peaks in the chorus as well.“Universal Death Squad” sound about like what you would expect. It’s ominous and heavy at times, like an army of the undead marching in perfect unison. Other times the melody comes through more, temporarily distracting you from what looms out there. Harsh vocals accentuate the point. “Beyond the Matrix” has some really nice piano work that plays in unison with the clean vocals. Once again I pick up on some Eastern influences with that brief guitar fill before the chorus. Following a sweet bridge is a darker passage with more pronounced heavy guitars and harsh vocals, and a truly outstanding lead guitar solo. As is often the case with the softer songs on EPICA’s albums “Once upon a Nightmare” does not disappoint. It allows Simone’s voice to really soar and the band’s sense of grand melody to take center stage. “Ascension – Dream State Armageddon” combines comely vocals with heard and heavy riffs. The harsh vocals rattle in pretty strong here as well. The Symphonic elements are in the forefront of the song, as good as any seasoned orchestra. “Dancing in a Hurricane” is an interesting song title. The opening part of the song does indeed sound like you are watching a street dancer, clothed in a “bedlah” and hypnotizing you with her moves. About half-way in, the hurricane arrives, with prominent low brass, staccato strings and Death vocals.The closing song is the title track, an eleven minute orchestral piece that expands upon their depth of knowledge of various instruments, and how to connect them into a cohesive piece. The song has a core sound, but man do they find ways for it to stretch out. This is a very difficult accomplishment. It’s the kind of song that really sets this band apart in this genre and puts some distance on their peers. I could literally write a few pages on just this song, and all the nuances, complexities and various techniques that the band uses to tell this tale, but I will spare you the overblown verbosity. Overall, the album is excellent. It is quintessential EPICA in every sense, and might be the best album they have released to date. There aren’t a ton of surprises in the sense that it sounds about what you would expect, but that is a good thing because what this band does well is really unmatched out there." - Metal Temple
    $16.00
  • Fronted by the fiery-tressed Charlotte Wessels, Delain is the brainchild of ex-Within Temptation keyboardist, Martijn Westerholt. Originally conceived by Westerholt as an all-star studio project, the success of the debut album Lucidity tipped his hand and Delain evolved into a full blown band. The immediate impact of their debut “Lucidity”, put Delain on tour. An instant live hit, the band’s popularity continued to grow with the release of their 2nd album “April Rain”. The band found themselves on tour through out Europe, USA, Mexico, and Brazil. Highlights of the tour included festival performances at Wacken Open Air, Sonisphere, Lowlands, ProgPower USA, and Hellfest. As the band’s popularity grew they evolved from a support act for Kamelot and Epica into full fledged headliners across Europe.“We Are The Others” is the band’s third album. It was produced by the team of Jacob Hellner (Rammstein, Apocalyptica), Fredrik Thomander and Anders Wikstrom (Scorpions, Backyard Babies). At first glance some song titles on “We Are The Others” may sound mysterious and conspiratorial, but there is a very serious background: The lyrics to the title-track were inspired by the hate-crime against a British girl named Sophie Lancaster in 2007. She and her boyfriend were beaten comatose by a gang of youths, because of their goth looks. Sophie died from her injuries. This tragedy sent shock waves throughout the world. Delain’s response to this tragic case is expressed through the song We Are The Others.The band met Fear Factory’s Burton C. Bell at Wacken Open Air. As a result he guests on the track “Where Is The Blood”. The Sensory special digipak edition features four bonus tracks. The steampunk influenced cover art was created by noted pop surrealist Glenn Arthur.
    $14.00
  • The much anticipated second album from Delain is here and it does not disappoint! Its interesting to see how the band has evolved. Originally conceived by Within Temptation keyboardist Martijn Westerholt as a studio project, Delain has evolved into a full blown active band. The success of the debut Lucidity tipped Westerholt's hand and Delain became a REAL band. With Charlotte Wessels on vocals, Ronald Landa on guitar and grunt vocals, Sun Caged bassist Rob Vander Loo, and Sander Zoer on drums, Delain took the Netherlands by storm. Delain toured extensively, opening for many bands including sister band Within Temptation, and appeared at many festivals. Ultimately they became a headlining band. With that behind them they headed into the studio to create their sophomore work.April Rain is cut from similar cloth from Lucidity but different enough to hear the evolution mentioned above. Instead of the multiple guests that were featured on Lucidity, April Rain does benefit from the return of Nightwish bassist Marco Hietala who sings male vocals on two tracks, as well as world renowned cellist Maria Ahn.Martijin Westholt is clearly at the helm - the big symphonic sound is still in place. Those elements that he brought to Within Temptation are clearly evident. There is a difference though...perhaps because of Jacob Hansen's mix the sound is more focused and even grittier, crunchier (thank you Mr. Landa). Songs tend to be on the shorter side but they slam harder. Having been familar with Rob Van Der Loo's intense basswork with Sun Caged its great to see him bring that progressive element to the rhythm section. Charlotte Wessels is young but has developed into the perfect voice and face for Delain.The comparisons to Within Temptation will continue but its obvious that Delain has come up with their own sound that stands on its on.This is THE symphonic gothic metal album of 2009. Nothing will touch it. This is the North American digipak edition of April Rain - with the exclusive bonus track "Come Closer". BUY OR DIE.
    $14.00
  • Limited edition 2CD set arrives in a beautiful mediabook.  This version contains 2 bonus tracks on the core disc.  The second disc features an assortment of acoustic and instrumental versions."King of Kings marks the triumphant return of Leaves’ Eyes to the pinnacle of the Symphonic Metal world. After adopting somewhat of a softer and more varied sound on their prior release Symphonies of the Night, King Of Kings cranks the power and intensity up to 11 making it one of the decade-old band’s heaviest. The Norwegian quintet dips into their own national history and recounts the tales of Harald Fairhair, Norway’s first king in fine Viking style!Fronted by the operatic voice of Liv Kristine and the Death Metal growls of Alexander Krull, Leaves’ Eyes was one of the pioneers of the “beauty and the beast” vocal style, but they are so much more. Liv’s soprano is genuine and would be welcomed at any opera house around the world, while Alexander continues to front the respected Death Metal band Atrocity. Writing songs suited to both voices comes naturally to the married couple, and since the band dropped their first release (Lovelorn, 2004) they have take much of their inspiration from the history, mythology, and legends of the Scandinavian people. The pair is joined by fellow original member Thorsten Bauer (guitars and bass) and new members Pete Streit (guitar) and Joris Nijenhuis (drums). As is their tradition, Leaves’ Eyes has brought in guest singers on some tracks – in this case Epica’s Simone Simons and Wardruna’s Lindy-Fay Hella.King Of Kings continues Leaves’ Eyes blending of Symphonic Metal and national folk with classical/historical themes – something the band does better than any other. Musically, this album is harder and more intense than the previous release – thanks to the military and martial subject matter. “Sweven” is an atmospheric intro tune with many old acoustic instruments and very soft Norwegian vocals that lead into folk chant. The track fades into the theatrical “King Of Kings,” followed by “Halvdan the Black” – tunes that leaves no doubt that Leaves’ Eyes is symphonic metal. Liv’s soft vocals are backed up by a lush choir, and Krull’s Death growl makes a great counterpoint. Krull is much more visible (well, audible really) on this release than on the prior two – and he also continues his fine production work. “The Waking Eye” brings in more keys and an overall lighter tone – a fine symphonic metal track that highlights Liv’s amazing vocal abilities. “Feast of the Year” is a tidy, upbeat folk intro to the Celtic sounding “Vengeance Venom” – an enjoyable track with a great rolling rhythm line, kicky drums and bass, and enthusiastic vocals.“Sacred Vow” is an up-tempo Rocker with manic drum work, the best guitars breaks on the album, and many layers of haunting. In some ways this track is more “commercial” or accessible, but is in no way diminished by that fact. Epica’s well-known singer Simone Simons makes a guest appearance on the awesome martial Metal “Edge Of Steel,” making this heavy anthem a winner. There is so much going on in this track – 3 lead singers, layers of keys, background effects, multi-layered backing vocals, etc. – but somehow Krull’s strong hand and production experience keep it all under control and make it a truly memorable song. In sharp contrast “Haraldskvadi” is a wonderful, soft track with an almost atmospheric feel. Old style instruments and acoustic guitars weave a folk tapestry and conjure up many emotions and images. If there is one track that epitomizes the music of Leaves’ Eyes it is “Blazing Waters.” This seven minute epic has it all, from soft acoustics and gentle vocals to blazing, ultra heavy guitars and death metal growls, and mixes Symphonic Metal and old school Heavy Metal with touches of death and progressive – making it the band’s most musically adventurous and diverse track. The band is joined by guest singer Lindy-Fay Hella (Wardruna). A heavy folk feel and Celtic rhythms fill the closing track “Swords In Rock,” an upbeat toe-tapper that is sure to be the highlight of a Leaves’ Eyes live set.King of Kings is an amazingly diverse album, quite probably their best, proving that Leaves’ Eyes is a truly talented and creative group. Strong songwriting is backed up by flawless performance and excellent engineering – hard to imagine a more potent combination. Kristine, Krull, and Bauer are a solid core and always manage to surround themselves with excellent musicians, resulting in finely polished and fascinating material. Their penchant for using authentic ancient instruments only adds to the texture and atmosphere – and with songs based on history and legend even the most jaded listener may end up learning something.If you consider Symphonic Metal to be theatrical or cinematic, Leaves’ Eyes King of Kings has been filmed in Hi-Def IMAX, and is a pleasure to hear. Highly recommended for fans of Liv Kristine, Leaves’ Eyes, Symphonic or Folk Metal, and anyone looking for an aural treat." - Hard Rock Haven
    $14.00
  • "All music has themes but metal is a genre which wears its heart on its sleeve. Thematics color everything in metal, from audience reception and marketing to the actual composition and execution of the music itself. It can affect production, tone, scales, and much more in an effort to align everything with a perceived image or to jar that image by deviating from the norm in just the right way. Take goth metal; a sub-section of doom, it relies on the theme of autumn, death, depression and nature for its impact. We haven’t even mentioned bands yet and album art, track names and that certain goth sound has already sprung into your mind. Sometimes, these themes become even more powerful and, by some twist of fate or by a pecuilar predestination, reflect in the musicians themselves: they might reflect the ideals of the music in their actions or in the facts of their lives.And sometimes, that reflection has a bitter edge. Aleah Starbridge is such an unfortunate mirror; the vocalist has been an influential part of the goth/doom scene for ages, flitting around the edges of projects like Katatonia, Swallow the Sun and her own solo works and collaboration project as Trees of Eternity. Tragically, she passed away in April, leaving an unfinished album and a host of themes now all too painful to contemplate. An immensely talented vocalist, her words now echo on the last piece of work to ever bear her name, Hour of the Nightingale, and they transform the album into something more. The themes of death, loss and darkness ring all that more true around her singing and the accompanying instruments. It’s almost as if her own story amplifies that of the album.The story’s makeup should be familiar to fans of the sub-genre. After all, Trees of Eternity are a super-group made up of members that basically birthed the scene: Juha Raivio (Swallow The Sun) play guitar, given her a backing role that’s among the staples of the sub-genre. It works in the background of Aleah’s vocals, punctuating the melodies with its own slow, mounrful progressions. On these duties he is joined by Fredrik Norrman (ex-Katatonia, October Tide), as leads and chords are exchanged behind the vocals. “Condemned to Silence” (which also features Mick Moss of Antimatter) is a good example of these dynamics. The guitars are split into two parts, as is traditional, which then pick up on different parts and notes in the dual vocal lines which make the track work.The other motivating force behind the projects are the drums, populated by none other than Kai Hahto (Nightwish, Wintersun), a truly legendary name within the metal community. His work here is more restrained than what he usually does on the two projects mentioned above, naturally fitting himself to the more fragile and ethereal compositions which make up Trees of Eternity. So too Mattias Norrman (ex-Katatonia, October Tide), the last facet of the project, whose bass work mostly enriches and envelops the rest of the music. Together with the drums, his work gives the project its shell. Such is the case on “A Million Tears” for example, as he works in tandem with Hahto to give an outer casing to the slow and thoughtful track. Here, as is true throughout the rest of the album, Aleah takes the forefront, handling most of the weight behind the track. When her voice goes soft on the outro, the song becomes its namesake, drawing forth an intense and painful sorrow.When we say this is true for the rest of the album, we mean it. Her voice, divorced from the heartbreaking circumstances of her life as it is, completely dominates this release. She was a capable and expressive vocalist, possessed of a rich and full voice. On this release it is used as the anchor around which the other instruments spin, a maelstrom of emotion that works together to enhance the overall experience. Musically, the album won’t knock you off your feet; it utilizes all the basic tools of goth metal and doubles down on their message and themes. However, especially when coupled with the circumstances surrounding it, Hour of the Nightingale has an undeniable power which perhaps stems from that very same simplicity. It’s all about sinking deeper into the autumnal mindset, drifting further into a melancholic, faintly sylvan state. For that journey, there is no psychopomp more fitting than Aleah Starbridge. Rest in peace." - Heavy Blog Is Heavy
    $14.00