Femme-Metal Friday: Tarja “Feliz Navidad”

Photo credit: Tim Tronckoe

I am back one more time with another Christmas video...I will share one more on Christmas Day, and then I promise to be done with the holiday music for the rest of the year!

The third and final Tarja video from her Christmas album From Spirits and Ghosts is her rendition of “Feliz Navidad”, known best by singer José Feliciano. Tarja also recorded a version featuring several other rock and metal singers to raise money for hurricane relief in Antigua, but I am going to write about the solo version featured on the album, because a lyric video was released for that song.

Unlike the other two videos, which showed the contrasting Light/Dark Tarja costumes, Tarja is dressed in a simple black dress in a room with a gold or beige background, with some lit candles and a comfortable-looking chair. The lyrics are in a lovely handwritten script, so that listeners can learn both the English and Spanish phrases. This is a stark contrast from the José Feliciano version: this song is known for being upbeat, cheery, and catchy. Tarja's version is subdued and dignified, as if to emphasize the solemnity of what Christmas means, and to convey that her wish to everyone for a Merry Christmas is not made lightly. It sounds almost like an entirely different song; any up-tempo elements have been completely stripped away and made into a somber, serious ballad that holds its own elegant charm and loveliness.

For more information on Tarja's Christmas album, visit the From Spirits and Ghosts website.

Season's greetings!

Hump Day Hot Ticket: Orion's Reign “Santa Claus is Coming to Town”

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Another Wednesday in December, another Christmas video from Orion's Reign...only this time, I have a new video for you!

Minniva is back on the vocals for this rendition of “Santa Claus is Coming to Town”, with plenty of high-octane power metal vocals to spare. Everyone is rocking out to a festive backdrop, and just looks like they are having so much fun! There is imagery of Santa flying in his sleigh on a snowy night...honestly, I don't know how one can listen to Orion's Reign and not get into the holiday spirit; I suppose it is possible, but they probably don't like Christmas music anyway. As for those of us who love metal and love Christmas music, Orion's Reign has got you covered.

Season's greetings!

Femme-Metal Friday: Tarja “O Tannenbaum”

Photo credit: Tim Tronckoe

I'm back with another Christmas video from Tarja! Let's get started, shall we?

This video starts off with drawings of a busy city at Christmastime: people tramping through the streets in Santa hats, holiday lights illuminating shop windows, and a likeness of Tarja as she was dressed in the previous video  (“O Come, O Come, Emmanuel”, which I reviewed last week). The camera pans out to show it is all inside the pages of a book that Tarja is reading.

This time, Tarja is wearing all black: her hair is raven-black, and the room is dark with black furniture. Tarja's face is painted white, and the small lights on the black Christmas tree give some brightness to the dark scenery. Again, the only spot of color can be found in the dark red on Tarja's lips.

As she sings the beloved Christmas carol in its native German, the drawings appear again, showing happy Nutcracker soldiers in the streets, while a lone shadowy figure approaches a cold and empty graveyard. Then the drawings dissolve to real images, returning to Tarja dressed in white. The camera alternates between her light and dark looks until the two are seen together, sitting across from one another. Now Tarja's dark side is seen in animation, approaching the graveyard as the holiday parade marches down the street. Dark Tarja looks as if she's about to start some trouble as a parade float drives by, and Light Tarja looks worried that something will happen. As the two sides draw nearer, the images flash between real and animated. Then we are left with the book closing on a drawing of the two Tarjas sitting across from each other.

For more information on Tarja or on her Christmas music, visit the official From Spirits and Ghosts website.

Hump Day Hot Ticket: Orion's Reign “Deck the Halls”

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I hope everyone has enjoyed my forays into Christmas music so far, because there's more to be had! It is the season for sharing, right?

Once again, Wednesdays focus on Orion's Reign, whose power metal-infused renditions of classic Christmas carols have become a favorite of mine at this time of year. Their videos are also of a fun and light-hearted nature, making these festive tunes even merrier.

Like last week's video, this one is a couple of years old, but Christmas music is timeless, so the shelf life of a music video shouldn't matter too much.

The video for “Deck the Halls”  begins with the band setting up their gear in the middle of a forest. Ladies in lovely dresses sit on the grass, trying on flower crowns. After working so hard, one of the bandmembers stops to relax at a nearby tree. As he appears to drift into dreams, the music starts. The ladies stop to look at the band, headbanging in the middle of the forest. At first they seem stunned, then curious, and before long, they are smiling. They follow the sound of the music, hiding behind trees as they watch in awe. As they tiptoe around the wooded areas, it is clear to see that they are fairies, and with one wave of their magic wands, the guitars turn into giant candy canes! The magic wand is brandished a few more times, and before long, the band is “decked” out in red and green, dressed as merry elves as the fairies dance around them and join in the fun.

Was it a bit of Christmas magic, or simply the dreams of a tired musician? You'll just have to watch for yourself.

For more information on Orion's Reign, visit their official website.

Femme-Metal Friday: Tarja “O Come, O Come, Emmanuel”

Photo credit: Tim Tronckoe

As I promised on Wednesday, I was going to feature artists known for being particularly fond of Christmas. If you are a fan of symphonic metal, then the name Tarja already comes to mind; but she has also become known for her beautiful holiday musical renditions.

Ever since going solo, Tarja has consistently released Christmas albums and singles, and performs Christmas concerts in her home country of Finland each year. Her first solo project was a Christmas abum; counting her side project Harus, she has released 3 Christmas albums within the last decade (along with occasional holiday singles here and there). Needless to say, Tarja really knows how to get into the spirit of the season!

Her latest Christmas album, From Spirits and Ghosts, combines Tarja's love of Christmas music with her trademark dark gothic sound. The first video from the album is the one I'm reviewing today: “O Come, O Come, Emmanuel”.

The video itself is of Tarja performing the song amidst white, withered tree branches. She is also dressed completely in white—a white dress, a long white wig, and her face painted white—with a black backdrop, and dark circles painted around her eyes, the only touch of color being the crimson-painted lips, dramatically set against the stark white of her face. The imagery only seems dark and cheerless, but as Tarja sings and the light casts little orbs, the wintry color scheme is of little importance. At the end, the imagery switches to Tarja dressed all in black, but those dark red lips remain.

For more information on Tarja, visit her official website.

Hump Day Hot Ticket: Orion's Reign “We Wish You a Merry Christmas”

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As I mentioned last Friday, the review writing has been put on “cruise control”, and I am turning it over to holiday music.

With the holiday season under way, the time for playing festive songs for the occasion has arrived. We all have our favorite seasonal tunes, and each year it is guaranteed that at least one of our favorite musicians will release a Christmas album.

That being said, until Christmas, both on Wednesdays and Fridays, I am going to feature two artists within the symphonic metal genre that have come to make Christmas music their specialty.

One of these is the Greek band Orion's Reign, whom I have reviewed here before. Known for their symphonic metal renditions of Christmas classics, Orion's Reign creates a holiday soundtrack for those who like a little more heaviness in their Jingle Bell Rock.

The video for “We Wish You a Merry Christmas” is over 5 years old, but the song itself is far see than that, so who cares? I only have a short window of time to review cool metal Christmas videos, so I am gonna review this one.

Featuring vocalist Marit Børreson and symphonic metal mastermind PelleK, Orion's Reign wishes us a Merry Christmas and a Happy New Year in the grandiose, dramatic way that only a symphonic metal band can do. Marit and PelleK are dressed up in Santa hats, the band performs among a Christmasy backdrop, and stockings adorn the drums and guitars.

For more information on Orion's Reign, visit their official website.

Femme-Metal Friday: Leah “Winter Sun”

Leah & Eric Peterson

For the next few weeks, I think I am going to do something a little different and put the reviewing on cruise control, so to speak. The holidays are fast approaching, so why not look for some seasonally appropriate music?

Granted, I am really putting it on cruise control this week: it's a lyric video, and it's also from two years ago. But good music is timeless, right?

This week, I am reviewing the “Celtic folk metal” vocalist Leah, whose musical description sounds pretty bad-ass. Further solidifying her bad-assery, she has joined forces with Testament guitarist Eric Peterson. Then, they proceeded to write this song in 3 days, in different countries altogether, using nothing but smartphone apps to compose the song! That's bad-ass, in my book!

Using background images of Leah (who sings beautifully), Eric (who sheds masterfully), and a frozen stream in the snow-capped wilderness, it's the perfect song for ushering in the winter season without being a holiday song. It's perfect for those who want to celebrate the season, but either hate Christmas music or are sick to death of hearing it. Christmas is not the only winter holiday, and this is perfect for Solstice, or just for welcoming in winter.

For more information on Leah, visit her official website.

Femme-Metal Friday: The Dark Element “The Ghost and the Reaper”

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Surprise, surprise—I'm writing another video review of The Dark Element! Can I help it that I like their music? Come to think of it, why do I need to explain what I review on my own blog?

If you have read all my previous reviews about this band, then no introduction or backstory is needed. If you haven't, then feel free to read one, so that those who have read them can get to the video review without reading too much rehashed information.

The band's second performance video, their third altogether, The Dark Element continues on with their pop-laced, hard-rockin', electronic-infused, AOR sound with “The Ghost and the Reaper”, one of the heaviest—yet also one of the catchiest—tunes on the album.

In contrast to their first video—“My Sweet Mystery”, which was filmed in a brightly-lit open space—“The Ghost and the Reaper” has a darker aesthetic; the band is shown in a closer space, and there is little light. Anette is wearing a black hooded jumpsuit, the hood partially covering her face. The rest of the band's faces are obscured here and there as well, either by the lighting or by the hair in their faces. Whether this intentional or not, it works. (Can I just mention that I really like the design on the drum kit?) I think it's also cool the way Jani gets into the song and is seen mouthing the lyrics along with Anette. Of course, no metal is complete without synchronized headbanging, and even the short-haired bass player manages to whip his hair around, which not many short-haired folks can pull off very convincingly when they are headbanging. Everyone looks like they are having fun, even when they're trying to maintain that tough “metal” vibe.

For more information on The Dark Element, visit their official Facebook page.

Thanks to Jon Freeman at Frontiers.

Album review: Amberian Dawn—Darkness of Eternity (2017)

*Originally posted at the Female-Fronted Power Facebook page.

Album: Darkness of Eternity

Artist: Amberian Dawn

Genre: Symphonic/melodic power metal

Label: Napalm Records

Tracks: 10

Total time: 43:06

I admit, before writing this review, Amberian Dawn was one of the many bands out there on the symphonic metal scene that I had heard of in passing, but had not actually listened to. That might come as a surprise to many who know me, considering my penchant for Finnish metal bands. But as many bands as Finland produces, I suppose one could not blame me for not knowing about them all, or maybe I can be excused for not knowing about every band in Finland because I am not exactly Finnish! So many bands, so little time, right? That’s my story and I’m sticking to it! Onward.

Since I didn’t know anything about this band when I was approached to review their latest album, I did a little reading up about them, and learned a fun fact: they are huge stars among the Rock Band game community, having contributed more songs to the games than any other band. As both a metalhead and a video game enthusiast, I think that is pretty cool info, but it still told me little about the band’s music itself. Because I was new to the band’s music, I figured it was probably best to start with the most recent material, so my judgment was not clouded by anything in the band’s past catalog.

I find Amberian Dawn’s sound to be quite enjoyable; they have a great symphonic metal sensibility while also infusing elements of pop, hard rock, and melodic metal. The band’s vocalist, Capri, has a gritty roughness to her voice that reminds me of ’80s vocalists like Bonnie Tyler or Alannah Myles, but she can also belt out the gorgeous high notes whenever she has a mind to. However, I rather like that she doesn’t fall back on the sweet, angelic vocal styling that is so common among bands in the genre these days. There is churning metal aggression, layered with atmospheric harmonies, bouncy hooks, soaring riffs, and majestic elegance.

Whether it’s more straight-up rock songs like “I’m the One”, poppy melodies like “Sky is Falling” or “Ghostwoman”, power metal theatrics like “Abyss” or “Luna my Darling”, haunting gothic ballads like “Breathe Again” or the album’s closer (subtitled “Darkness of Eternity”), Amberian Dawn runs the gamut of different sounds while still maintaining a solid, identifiable sound. While there are elements of their music that clearly place them in a power/symphonic metal genre, I am hard-pressed to say they sound like any particular band or sound out there. They have a knack for playing to their genre just enough to be categorized, but are doing enough differently that no one could mistake them as a copycat of another band. It’s nice to discover a new band (or new to me, anyway) and hear something that is not instantly reminiscent of someone else (that I know of).

I look forward to going more into Amberian Dawn’s back catalog and hearing how the rest of it holds up to Darkness of Eternity. As for the rest of you, enjoy the new album!

Photo credit: Toni Härkönen

Thanks to Henk van Nieuwenhoven at Female-Fronted Power.

Special thanks to Claudia Steinlechner at Napalm Records.

Album review: The Dark Element (2017)

Album cover

*Originally posted at the Female-Fronted Power Facebook page.

Album: The Dark Element

Artist: The Dark Element

Genre: Symphonic/power metal

Label: Frontiers Records

Tracks: 11

Ever since her controversial split with Nightwish over 5 years ago, Anette Olzon has been somewhat of a ‘dark horse’ on the music scene: no one really knew what to expect from her after departing from the band that made her famous, and the loyal fans she had amassed during her brief 5-year stint in the band did not allow her to stay silent, even when it seemed she wanted to do just that during those first few months after the breakup. Musically, Anette has not done much outside of her solo album in 2014, which was a pop/adult contemporary-based project that she had been working on as far back as 2009, and was as far removed from the sound of Nightwish as anyone could expect. It was no secret that Anette stumbled into the metal world upon joining the band, and that she came from more of a pop/AOR background. However, it was through a metal band that most of her fans found her, and many of them still wanted to hear what she would do in a heavier vein.

Enter Jani Liimatainen, former guitarist of Sonata Arctica, and current guitarist of Cain’s Offering, a band featuring another vocalist from a prominent Finnish band (Timo Kotipelto of Stratovarius). If you know your Nightwish history, you know that Nightwish and Sonata Arctica have had close ties to one another over the years, so perhaps it was not too much of a stretch of the imagination to guess that former bandmembers of these two bands would find each other and collaborate together. Maybe they wanted to stick it to their old bands? Who knows? After all, success is the best form of revenge!

Yet, if getting even with their old bandmates was not their initial purpose for joining together musically, the project that became The Dark Element quickly became the most anticipated new album among fans in both camps, and among the symphonic and power metal scene. This was the heavy style of music Anette’s fans wanted to hear more of from her, and people were curious to hear how her voice would work with Jani’s signature guitar work.

From the opening title track, The Dark Element starts off running, with catchy, poppy melodies woven into dark gothic and electronic sounds. There is no denying that on songs like the title track, “Dead to Me”, “My Sweet Mystery” and “Last Good Day”, that you can hear the Nightwish influence in the music. But there is just as much there that is instantly reminiscent of Sonata Arctica or Cain’s Offering—in fact, much of the album sounds like an experiment in what Cain’s Offering might sound like with a female singer; some good examples are “The Ghost and the Reaper”, “Halo” and “I Cannot Raise the Dead” (hmm, seems to be a pattern among those titles there!). That being said, Anette’s stamp is on this album too—the album closer “Only One Who Knows Me” easily sounds like something from her Alyson Avenue days, “Here’s to You” is rooted in AOR influences and the songs “Someone You Used to Know” and “Heaven of Your Heart” are gentle ballads that would have fit perfectly on her solo album.

The Dark Element is a solid album, from start to finish. Even if you are not familiar with the music from either Anette Olzon or Jani Liimatainen, if you are a fan of power metal, female vocals or hooky pop or electronic elements within metal music, you might want to give it a listen. Fans of Nightwish, Sonata Arctica, Stratovarius and Cain’s Offering are sure to enjoy this already. This is the type of album that Anette’s fans have been waiting for since she left Nightwish, so they will not be disappointed! There may be some aspects to it that are lacking in regards to their former bands, but if you don’t go into it expecting an exact sound-alike of those bands, you will be pleasantly surprised. The influences are there, but clearly The Dark Element is trying to carve out its own identity, which they have done brilliantly. Whether this is just a one-off project or if this is going to evolve into a full-time band with future albums to come, this merger between two components of Finnish metal’s biggest titans is a surefire winner and a worthy addition to your music collection.

Thanks to Henk van Nieuwenhoven at Female-Fronted Power.

Special thanks to Dustin Hardman and Jon Freeman at Frontiers Records.

Extra-special thanks to Oceansouls of America.

Album review: Beyond Forgiveness—The Great Wall (2017)

Album: The Great Wall

Artist: Beyond Forgiveness

Genre: Symphonic/gothic metal

Tracks: 10

Total time: 57:03

*Originally posted at the Female-Fronted Power Facebook page.

The symphonic metal scene in the United States has been rapidly growing over the last several years, and one of the bands at the forefront of this explosion is Colorado’s Beyond Forgiveness, who has shown with their perfect marriage of dark gothic melodies and grandiose symphonic arrangements, that they can hold their own with some of their more well-known European counterparts. Bringing back a sound reminiscent of the scene’s halcyon days, Beyond Forgiveness channels the best of early Tristania and classic Nightwish, giving us an interesting take on what either of these bands might have sounded like if they had not delved into other musical styles and kept strictly to the operatic vocals and classical-infused heaviness.

In 2016, Beyond Forgiveness made their first mark on the music world with their debut EP, The Ferryman’s Shore, which garnered rave reviews around the world and won the band respect outside of the United States. Now, nearly 2 years later, the band’s much-anticipated full-length follow-up is here, ready to fulfill the promise of its predecessor, as The Great Wall raises the bar for what is to come next.

From the moment the cadenced drumming taps in on the opening track “End of Time”, Beyond Forgiveness takes you on a musical journey; the songs averaging between 5-7 minutes. The two voices of Talia Hoit and Richard Marcus are the quintessential “beauty and the beast” dueling vocals that have become a hallmark of gothic-symphonic metal, and they do it so well. There is no overkill of the growly vocals; they know exactly when and how much to use them.

Talia’s voice is so powerful, especially on the title track, “The Great Wall”, where her vocals just soar into the stratosphere. “Sanctuary” starts off slow but comes in heavy, and Talia’s voice is so emotional on this track (one of the first songs from the new album that I heard, when I was given a special “sneak preview” of the album, still in the making at the time). “Imprisoned” is another beautifully dark, heavy tune where Richard’s guttural vocals provide just enough jarring contrast to give it that gothic edge. Guitarist Greg Witwer's guitar skills really shine on the instrumental “Interlude” midway through the album.

“Moment of Truth” is another track where the interplay between Talia’s clean vocals and Richard’s guttural voice are perfectly balanced, as well as the symphonic and gothic elements of the music, both are evenly matched here. So far this is my favorite track on the album. “Never Before” would be a perfect choice for a single or music video, it has that “crossover” potential with its sing-along chorus, and barely crosses the 5-minute threshold, making it accessible to a wider audience. If you ever wondered what Within Temptation and Nightwish would have sounded like if they wrote a song together in their early days, “Never Before” is probably as close as you could come to hearing it!

Beyond Forgiveness also has beautiful slow ballads too, as can be heard on the track “Dream Until I Sleep”. Talia’s vocals on this one will put tears in your eyes as she mournfully sings, “you’ve crossed over the edge, but you’ll always be mine…the silence is noise, I must remember your voice”. I’m putting this out there right now: I want the band to play this song at my funeral!

The band wastes no time returning to heavier songs right after that, “Fight ’Til the End” is Beyond Forgiveness at their gothic-symphonic best. It’s got the spooky, chilling gothic piano, the soaring, bombastic operatic vocals, and the imposing, brutal growling male voice. If you love Morten-era Tristania, then this is your kind of song. Beyond Forgiveness gives it their all on this one, making it all the more fitting of a song title and the perfect penultimate album track.

The final track, “Every Breath”, has a whimsical, folksy sound to it. In fact, it almost sounds like the music you would hear in The Lost Woods on a Legend of Zelda game! You almost feel like you are in a forest among the wood sprites, and Talia sings the voice of their people. It’s a perfect close to an album that takes the listener on such an adventure: this is a track that calms, winds down, and leaves you a little wistful that it has all come to an end.

The Great Wall has lived up to all the potential of the first EP, and then some! Beyond Forgiveness has grown a lot since The Ferryman’s Shore, and they were already off to an excellent start then. The band’s musical direction is clear, the songs are consistently good, and they can each stand alone; however, every song works together in a bigger picture to make a cohesive whole. If you are a fan of grand, sweeping, dramatic symphonic metal and also like a touch of sinister gothic gloom, then Beyond Forgiveness fills the void left behind by their earlier predecessors who have since gone on to other sounds and styles. If you are someone who thinks Nightwish hasn’t made a good album since Oceanborn, or that Tristania hasn’t been the same since Morten left, then Beyond Forgiveness is the perfect fit for you. Even if you are not one of those kinds of fans, if you like those albums or that era of music from those bands, then you will probably like Beyond Forgiveness just the same. At any rate, they are showing that the United States is no slouch in the symphonic metal department anymore, and we have some excellent music to offer that would make our European cohorts proud.

Thanks to Henk van Nieuwenhoven at Female-Fronted Power.

Femme-Metal Friday: Serenade “Hold me Back”

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Although I am writing about a new band here this week, it will probably come as no surprise to anyone that it's another band from Italy! However, I must plead my case and say that this week's entry started out as mistaken identity!

When you have a one-word band name like “Serenade”, not only are you tough to find in a Google search, but you also risk the chance that there are several other bands with the same name, as is the case with this week's entry.

I should probably back up a little: as I wrote last holiday season, I love Christmas music. A few years back, one of my favorite internet radio stations played a lovely German rendition of “Silent Night”. However, the band's name escaped me, and countless online searches yielded nothing, until the same radio station played a song by a band called Serenade. The name rang a bell, and sure enough, after a quick YouTube search, there was the Christmas song I had been seeking.

Now, I cannot be sure if that was the same Serenade that led me to the one I was looking for, but when I got an e-mail link to this video, I assumed I was reviewing a German symphonic metal band called Serenade that had a Christmas song that I liked. Imagine my surprise to learn that there was another female-fronted symphonic metal band from Italy, also called Serenade!

However, mistaken identity can be a good thing, and as I have found, Italy has no shortage of excellent music, so the Italian Serenade is another great band I can add to the list. How fun this has been, to discover new music while sharing new music with all of you!

The video for “Hold me Back” is pretty simple: the band performs in a dark room, with occasional close-up shots of each bandmember. Serenade's vocalist, Claudia, is shown in fog, or surrounded by candles. She is also rocking some cool purple lipstick, which matches bassist Dario's guitar strap. Even metal bands wearing all-black can be color-coordinated!

For more information on Serenade, visit their official website.

Thanks to Alex at Grand Sounds.

DVD review: Delain—A Decade of Delain (Live at Paradiso)

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Album: A Decade of Delain (Live at Paradiso)

Artist: Delain

Genre: Symphonic metal

Label: Napalm Records

Tracks: 23

(Originally posted at the Female-Fronted Power Facebook page.)

Sometimes it’s easy to forget that Delain has already been around for 10 years! It seems like only yesterday that their album Lucidity hit the scene. In fact, considering their wild success since then, it is even easier to forget that Delain originally started out as just a project featuring guest musicians (ala Ayreon) with no real intention of being an actual live touring band. But so many people loved the album that Delain were prompted to play a few shows, which turned into a small tour, which turned into more live shows and more touring…before long, Delain started playing new songs at their shows, which indicated that they were here to stay, and this was no longer a one-off project. Soon, they were in the same esteemed circles as their sister band, Within Temptation, and other prominent acts in the genre. Inside a few short years, Delain’s popularity exploded, far surpassing the “musical project” they had originally envisioned for themselves.

As Delain approached a decade of music, it seemed like a no-brainer that the band would want to commemorate such a milestone. Starting a PledgeMusic crowdfunding campaign, the band announced they would be performing a special 10th anniversary show, to be filmed for DVD in their home country of The Netherlands. Fans from around the world jumped at the opportunity to be a part of this special show, featuring guest musicians and a setlist with songs that hadn’t been played in a long time.

Now, the DVD is here for everyone to see, and it was worth the wait! The show starts off firing on all cylinders, and Delain wastes no time introducing their guests as Alissa White-Gluz arrives for the show opener “Hands of Gold”. Her roaring vocals shake the Paradiso, and before anyone can recover, Delain continues to launch into their high-energy repertoire with favorites like “Suckerpunch”, “The Glory and the Scum” and “Get the Devil Out of Me”. An array of confetti fittingly covers the Paradiso for the track “The Hurricane” (my favorite from Moonbathers, the latest Delain studio album), followed promptly by the classic Delain favorite “April Rain”.

The second of the evening’s guest vocalists take the stage when Fear Factory frontman Burton C. Bell arrives for “Where is the Blood?” I am not a huge fan of the “metalcore”-type vocals, but he does a good job and complements Charlotte’s voice well. After that, Delain taps into their more aggressive side with “Here Come the Vultures”, keeps it heavy with the Moonbathers fan-favorite “Fire With Fire”, where the fans go absolutely crazy with the headbanging (at this point in the video I see my friend Bill Seaberry in the audience!). I also love the way Charlotte articulates the lyrics with hand gestures, like when she mimics slamming a door when she sings the line “open doors, then shut them hard”. Can I just say that I have always thought that the Paradiso looks like a cool venue for a concert, and I envy you Dutch people who get to see shows there all the time?

Alissa White-Gluz makes a return for “The Tragedy of the Commons”, and if I thought she sounded brutal before, she unleashes her beastly vocals to maximum capacity here! Delain keeps the crowd going with “Danse Macabre”, where the fans clap along with Charlotte. After that, Delain digs deep into the vault and brings back former bandmembers Rob van der Loo, Guus Eikens, and Sander Zoer for the Lucidity classic “Sleepwalkers Dream”.

From there, Charlotte announces that they have a “virtual guest”, and Nightwish bassist/vocalist Marco Hietala appears on-screen for the song “Your Body is a Battleground”. Delain returns to old-school favorites with “Stay Forever”, and then is joined onstage by Liv Kristine for “See me in Shadow” (where things seem to calm down for the first time during this energetic show). The trip down memory lane continues with the song Charlotte deems as the “party favorite” among Delain fans: “The Gathering” (which feels a little flat without Marco, but makes up for it with fan enthusiasm, where everyone jumps up and down and cuts loose). The nod to Delain’s debut continues with “Pristine”, where the searing vocals of George Oosthoek provide some guttural ferocity and the entire band headbangs in sync (along with some fans in the balcony as well!). Delain, along with George, lead the audience into clapping along with them (where I catch another glimpse of my friend Bill!), culminating into synchronized fist-pumping throughout the Paradiso.

The show reaches its home stretch as Delain makes its way back towards more current material (i.e., the latter half of their 10-year career) with “Mother Machine”, a song that is normally a fantastic show opener, but fits well here as a way to mark the last part of the concert. Another video appearance from Marco Hietala comes afterwards on the track “Sing To Me” and when Delain reaches the song “Don’t Let Go” (my favorite Delain song to hear live!), it becomes clear that we are reaching the end of the journey, since this song is usually one of the last at a Delain show. But the crowd stays with it and remains as animated as if it were the beginning of the concert, as they chant and clap along.

As soon as the familiar opening notes of “We Are The Others” begins, there is no mistake that we have reached the end of the concert, because this song usually closes out the band’s shows and it has become their most recognizable anthem. But it is a fantastic close to a lively performance, and a perfect cap on a tribute to 10 years’ worth of music. The song has become the theme song for all Delain fans and it is only proper that the show would end with something that the audience most identifies with, since it was the enthusiasm of the Delain fans from the beginning that brought this “musical project” to life and turned them into the actively touring and recording superstars that they are now, a decade later. Delain knows that too, and thanks their fans with the hopes that there will be another 10 years to celebrate. The entire evening’s cast ensemble joins them onstage for the final bow, as the cameras capture the passionate Delain fans that made this moment possible.

Thanks to Henk van Nieuwenhoven at Female-Fronted Power.

Extra thanks to Mona Miluski at Napalm Records.

Special thanks to Ben, Chip and Scott at Delain American Street Team.

Extra-special thanks to John Thornburgh at Sonic Cathedral.

Femme-Metal Friday: Exit Eden “A Question of Time”

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It has been a while since the last time I wrote about the femme-metal vocal supergroup Exit Eden, but they have been doing a lot since then! They have released a bunch of videos for their album Rhapsodies in Black; so much that I have not been able to keep up with them until now. If I was going to review any video for any song off the album, this was the one I most hoped would have a video release, and the one I most wanted to review. Good things come to those who wait!

If you read my review of the Rhapsodies in Black album, then you know that my favorite songs on this album of covers were the ’80s tunes: the soundtrack of childhood with a fresh, new sound. Of all the ’80s covers, however, my favorite was the album's opening track, Exit Eden's take on the Depeche Mode classic “A Question of Time”. So naturally, when the band started releasing several videos for the album, I hoped that eventually, this song would get a video treatment as well.

Thematically, the Exit Eden videos appear to share a similar thread, which leads one to wonder if the videos are connected, or if the order of their release somehow paints a larger picture (somewhat like the Guns ’n Roses “video trilogy” of the early ’90s, where three seemingly random songs from the album tied together to tell a bigger story on-screen). The videos all show the same imagery: alternating between the group performing in a room with some sunlight coming through the windows of an old house, and the women individually either walking through the house or shown in rooms lit with candles. The women are seen walking through the halls, each one carrying a different item: Marina LaTorraca has a rose, Anna Brunner holds a pendant of some kind, Clémentine Delauney holds a small golden box, and Amanda Somerville holds and onyx ring. As the video ends, we see quick shots of the band performing onstage, alternating between shots of what rests in the women's hands: the rose, the box, the pendant, and the ring.

For more information on Exit Eden, visit their official website.

Hump Day Hot Ticket: Serenity “United”

Photo credit: Manuel Janus Mair

Admittedly, there has been a bit of a pattern here lately, and hopefully this is a precursor of better things to come at this blog; meaning that it will become more commonplace to begin spotlighting more international acts for this feature. (Hey, as much as I love to showcase the independent bands, I also want to draw more traffic here so that many people can learn about those lesser-known artists in the first place!)

As I did last Friday with my review of The Dark Element, I am once again reviewing a new video from another band that I have written about within the last month. Releasing their second single in time for their album release on Friday, Serenity has another new video, this time for the song “United”.

Truth be told, I look forward to any opportunity to write about Serenity, because I absolutely love their music. I regret that the start of this feature last year happened only after the last video for their previous album was released, because I would have gladly reviewed all of them. Over the last 2 years, Serenity has quickly earned a spot among my most favorite bands, which says a lot in regards to how much I love their music. Quite frankly, I think they are one of the best symphonic metal bands out there, and don't feel they get nearly as much attention or recognition as I believe they deserve. Then again, this is why I write music reviews, so that maybe (in some small way) I can help bring attention to all of this great music!

That being said, on to the video! Aesthetically, “United” has the same look and feel as the “Lionheart” video, which suggests that perhaps Lionheart is a sort of concept album, or that there are some connecting threads throughout the songs. The “United” video picks up right where the “Lionheart” video left off, even though on the album, the song order is reversed. 

When the video begins, we see the soldiers in full armor, brandishing sword and shield, prepared to follow King Richard Lionheart to war. The darkened cave also makes a return, only this time it is more of a performance video, and what a show they put on for this rallying war cry of an anthem! The royal standard is proudly unfurled behind them, as great bursts of flame blast in front of them in a remarkable pyrotechnic display. What a great way to give the viewer a feel of what it must be like at a Serenity concert, right? All of this is going on, and we are not but a little more than 30 seconds into the video...then, to make things more interesting, there's a guy swallowing fire and spitting out flame! Come to think of it, there is a lot of fire in this video, but it fits perfectly with the frenetic pace of the song. It is a fiery, passionate song, with a guitar solo that is positively smoking! Needless to say, an abundant display of pyro is an appropriate visual for such a fierce track.

For more information on Serenity, visit their official website.

Thanks to Claudia Steinlechner at Napalm Records.

Femme-Metal Friday: The Dark Element “Dead to Me”

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Normally when working on these twice-a-week features, I try not to showcase the same bands or artists within too close a time frame, but as the saying goes, “strike the iron while it's hot”. Right now, The Dark Element is a pretty hot topic, and they've already got another video to review, so why not jump at the opportunity? Besides, this is my blog, which means I can make the rules, or break them if I see fit. If I want to write about the new lyric video from The Dark Element, then I see no reason why I should wait for a “substantial” amount of time to pass!

If you read my feature last month on The Dark Element, then no introduction is needed. For those who did not read my previous review, then please refer to said review for further information. To give a very brief rundown, The Dark Element is a project featuring ex-Sonata Arctica guitarist Jani Liimatainen, and former Nightwish vocalist Anette Olzon. Now that you're all caught up, let's move on to the review!

A lyric video for a song called “Dead to Me”, it is too easy to quickly spot similarities between both Olzon and Liimatainen's previous bands. As I am a Nightwish fan, I instantly hear remnants of songs like “Dark Chest of Wonders” and “Shudder Before the Beautiful”, to name some examples. But, as I am also a fan of Liimatainen's other band, Cain's Offering, I hear many comparisons to that band as well. It stands to reason that both artists are so identifiable by their old bands, that the sound of those bands is bound to come out through the music they make together. In a way, it's an interesting insight on what Cain's Offering might sound like with a female vocalist, or how Nightwish might sound if they joined forces with Sonata Arctica.

As for the video itself, it has a gray backdrop, with pictures of the band, along with shots of Anette in black-and-white, singing as the lyrics flash on the screen. I like how she still does her little head-bobbing thing when she sings, the way she did in her Nightwish days.

I am glad this is a lyric video, because when Anette reaches the line “you ate my bread and drank from my well”, it sounds like she is singing “you ate my brain”! I am pretty sure this is not a song about zombies, so good thing I was able to get that misheard lyric corrected right away! Then again, the song is called “Dead to Me”, so you never know...I guess that will have to be one of those questions that will remain unanswered!

For all its upbeat tempo and fast heaviness, this is one hell of a breakup song! I tell you, these “revenge anthems” from today's pop princesses are child's play compared to heartbroken metalheads! With verses like “I wish I could say I wish you the best, it isn't true”, “I won't write you an ode nor confession, not a song but a war declaration”, “you were the harlot of my heart, like a fool I played my part”, and “you're no one, mean nothing, you're worthless, dead to me”, it's obvious that The Dark Element has far more creative ways to tell an ex, “we're never getting back together”!

For more information on The Dark Element, visit their official Facebook page.

Thanks to Dustin Hardman at Frontiers.

Special thanks to Oceansouls of America.

Femme-Metal Friday: Secret Rule “Imaginary World”

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Last weekend I reviewed the new album from Secret Rule, one of several bands from Italy that I have written about here before. Originally, this review was going to be written last week for another video entirely, but ultimately things work out as they are meant to, because now I get to review a brand-new video hot off the presses, on release day. Appropriately for Friday the 13th, the new Secret Rule video is for the very gothic track “Imaginary World”, featuring ex-Sirenia vocalist Ailyn Gímenez.

The video just screams pure goth: from the dark backgrounds, subdued lighting, freaky dim lights, and bewildered face of a child, all within the first few seconds. Ailyn and Secret Rule vocalist Angela di Vincenzo are standing perfectly still as the music builds up, and then everyone is in motion.

The object of the boy's fascination soon becomes clear as we see circus performers walking on their hands, juggling, and balancing on stilts. The band themselves appear as though they are performing within a circus tent, as scary clowns lurk in the shadows. In keeping to the song's title, we see that the little boy is viewing this all through a Viewmaster-looking contraption (or a virtual reality headset, for you younger folks?); everything we see are just the images created by the viewfinder. When he takes the headgear off, there is no one there but someone sweeping the floor. He is a mime or a clown, leaving us to wonder if this circus was part of the boy's “imaginary world” after all.

For more information on Secret Rule, visit their official Bandsintown page.

Hump Day Hot Ticket: Serenity “Lionheart”

Photo credit: Manuel Janus Mair

In music, there are certain lyrical themes that are just tailor-made for a particular genre; the two elements gelling together so perfectly that one is oftentimes unsure whether one depends on the other in order to flourish.

For example, because symphonic metal is so steeped in classical music influences, historical themes within the lyrics are almost a given. Just hearing the orchestra or choirs instantly hearken imagery of the Renaissance, of lords, ladies, and gallant knights. The two are so intertwined that it would be difficult to determine whether the sound influences the lyrics, or the historical themes influences the music! Of course, the fantasy element is also a huge component of symphonic metal's lyrical content, but that is another discussion for another time!

Within the symphonic metal scene, credit is often given to the band Sabaton for being the premier historical experts, and there is no denying that their moniker of “History Channel Metal” is not undeserved. However, if any one band was next in line to the throne at the metal historical society, I would give a strong nod to Austria's Serenity: a band who wrote a concept album about the life of Leonardo da Vinci; whose songs feature titles such as “Legacy of Tudors”, “The Chevalier”, and the latest song I am reviewing today, “Lionheart”. (It should probably be mentioned here that the band's frontman, Georg Neuhauser, is a history teacher, which is one reason the band knows its material so well!)

Based on Richard I, the song's namesake, the video for “Lionheart” tells the story of Richard's oath to take up the cross and lead the Kings' Crusade into Jerusalem. At this point, as I am no history expert, I am merely going to make observations on the video itself, and the history buffs reading this can figure out what the imagery means.

The video starts with Georg (presumably in the title role) climbing up a craggy, rocky hill, armed with sword and shield, bearing the royal standard. The band plays inside a cave (again, presumably inside the rocky mountainside shown in the video), faces and arms coated with dirt and dust, as if they have been unearthed after years in the mountain. Georg (as himself) sings the lyrics as a large cross looms behind him, emphasizing the religious angle to this tale of old.

The camera alternates between scenes with Georg as Richard the Lionheart, and shots of the band playing in the dark cave. As “Richard” enters the darkened corridor, he kneels before a woman dressed in white, wearing a crown of thorns (spiritual symbolism, perhaps?), moving before him as he looks on in awe. Before long, she is seen wearing almost nothing (more symbolism?), as Lionheart makes his way to the summit, the royal standard waving proudly in the wind.

For more information on Serenity, or to pre-order their new album Lionheart (out on October 27th), visit their official website.

Thanks to Claudia Steinlechner at Napalm Records.

Femme-Metal Friday: The Dark Element “My Sweet Mystery”

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It is not very often that I get the chance to review more well-known names in these features, let alone one as highly anticipated as The Dark Element, a musical project featuring ex-Sonata Arctica guitarist Jani Liimatainen, and former Nightwish vocalist Anette Olzon.

Perhaps it is good timing or a happy coincidence that The Dark Element's new video premiered this week; an event that occurred within just a few days of the 10-year anniversary of Dark Passion Play, the Nightwish album that first introduced Anette to the world. Whichever of the two it may be, in any case the milestone occasion is a perfect way to remind the public that Anette is still out there. Aside from a solo album in 2014 and a couple of singles here and there, not much has been heard from Anette since her greatly publicized split from Nightwish 5 years ago (another milestone that happens within the next few days). Since her solo album was more pop-oriented, this is the first time we have heard Anette in a metal setting since parting with Nightwish. That alone was enough to stir curiosity from both sides of the metal community—both the die-hard Anette fans who have stood by her, and the Anette “haters” who were never convinced that she belonged in Nightwish. So when it was announced that she was joining forces with Jani Liimatainen, a respected name on the scene in his own right, people all across the board of public opinion were curious to hear what this merger would produce.

Sounding like a cross between the Nightwish songs “Storytime” and “Bye Bye Beautiful”, the song “My Sweet Mystery” is undeniably catchy and upbeat. It is also much closer to the sound that fans want to hear from Anette, as opposed to her solo album. The majority of her fans discovered her through Nightwish, and so would prefer to hear her in a heavier style of music. The music is also reminiscent of Cain's Offering, another collaborative project of Jani's, featuring Stratovarius frontman Timo Kotipelto.

As for the video itself, it is a straightforward performance video, taking place in an old warehouse or abandoned building that is brightly-lit, with white walls and big windows. Stylistically, it may remind fans of the “Bye Bye Beautiful” video, as it also takes place in a similar setting, and Anette does many of the same dance moves in both videos (except there are no bandmembers transforming into supermodels this time!). I will say that Anette's fashion sense has improved over the last 10 years, and it hardly looks as if she has aged at all!

For more information on The Dark Element, visit their official Facebook page.

Special thanks to Dustin Hardman at Frontiers Records.

Extra thanks to Oceansouls of America.

Femme-Metal Friday: Maidens of the North “Carry Your Darkness”

Photo credit: Iiris Mäki

In every musical genre, each year there is always a highly-anticipated release that receives a great deal of attention, press, and general hype among its fanbase—a beloved artist returns after a long sabbatical, a flagship band reunites, or a new, promising young talent hits the scene and generates such a buzz that the entire fan community stands up and takes notice.

For most of 2017, if you are a fan of either symphonic metal or female-fronted metal in general, then you probably already know that the big name on everyone's lips has been Maidens of the North. The brainchild of Dutchwoman/Finnish expatriate vocalist La Vero (known for her work with bands like Heavenqueen, as well as being a multi-talented dancer, actress, and model in her native country of The Netherlands), she sought to form a female band of “all equals”, where there was no set frontwoman, but each person contributed her own unique talent to the greater whole.

Upon moving to Finland, she would find her fellow musical kindred spirits in Satu Eronen and Elsa Wellamo. After meeting up with composer Helena Haaparanta, the wheels were set in motion and the first steps were taken to form what La Vero referred to as “the metal version of Celtic Woman”. By January 2017, the group of women that formed the original core of Maidens of the North was born. 

The idea was simple: each woman represented a particular element (water, air, fire, etc.), and combined their abilities to form a musical sisterhood where empowerment was key. In a scene where competition and rivalries are oftentimes encouraged as being the norm, Maidens of the North aimed to channel their energies in the opposite direction and nurture each other's talents. Maidens of the North would be about positivity: building up, not breaking down.

With such a unique concept, word spread quickly about the band, and they received an outpouring of support when they launched a crowdfunding campaign for their upcoming album and video. Without ever hearing a note of their music, fans around the world took them on faith and picked up on their good vibes of loyalty and encouragement. Maidens of the North were already living proof that we get back the energy that we put out into the world, and they received that positive enthusiasm back in abundance.

By the time the band announced the name of their first single and video, “Carry Your Darkness”, the fanbase had been whipped into such a frenzy that anticipation was at a fevered pitch. Everyone who had chosen to “enter the saga” with Maidens of the North were now excited to hear the end result of the long months of waiting.

The video starts off in a sterile, white museum, where there are artifacts sealed behind glass cases. As the camera pans through the pristine hallways, we come to a room where some paintings kept beneath a white sheet fall to the ground. The shot zooms in closer, and the bright color portrait of the ancient Maidens of the North transport us into their world.

As this is the public's first introduction to Maidens of the North, we see each of their personalities come through; but as the song is called “Carry Your Darkness”, the video's concept shows each woman dealing with personal trauma, and how they find their own inner strength to pull through. One woman runs in fear from a chasing wolf. Another resists an angry mob looking to burn her at the stake. Yet another is caught in a storm. Each one is approached by a maiden dressed in black, the Maiden of Spirit, and as she touches each of them, they gain the power to confront their fears and “carry her darkness” so that what she fears cannot hurt her any longer.

As the Maiden of Spirit transforms each woman, they are empowered, and join her as she continues to seek out each Maiden, and gives them their newfound strength. The final Maiden, running away from a group of people chasing her, clings to an old book. As she falls to the ground, she opens the pages, and a big flash appears, causing the crowd to faint dead in their tracks, leaving only the woman who has transformed into the Spirit Maiden, who also had her own darkness to carry.

“As the sun rises, we are still here”: this line is delivered as we see the Maidens stand together hand in hand, showing their unity. The story's moral is plain to see, and it is such a positive message: everyone goes through tough times, but we don't have to suffer alone. We are so much stronger when we stand together and lift each other's spirits. Sometimes we find the best part of ourselves when we allow others to help us.

For more information on Maidens of the North, visit their official website.