I was on vacation last week and didn’t have time to update the blog. My family and I went to Las Cruces, New Mexico for a week off. It was a much needed break filled with nature and relaxation. Before that, I attended Eluveitie, Omnium Gatherum, and Seven Spires in Denver. I planned to write up a review on it, but honestly words fail to describe how musically perfect, emotional, and spiritual that show was. Eluveitie now stands as the best band I have ever seen live. They were note perfect, despite missing three members (Chrigel, Nicole, and Kay). So for now, here’s new music you must hear this week.
This year has already brought us so great much music, I can hardly keep up with it all.. Below is most of the awesome releases that dropped for new music Friday! Have a merry metal weekend!
Very few front men in the Prog genre are as highly regarded Tom Englund of Evergrey, Redemption, and a hundred other projects. He is a chemist of blending heavy guitar tone with emotional melodies. Redemption is one of the most popular Prog acts of the last two decades, but has not managed to become stale. Englund and guitarist Nick Van Dyk don’t focus on being diverse or reinventing themselves, and yet the music doesn’t become repetitive like some Prog bands tend to have a formula. It’s crazy Progressive Metal, harrowing from the classic Prog bands like Genesis. Me being the least fan of Genesis, I have never listened to Redemption before. I love Prog, but I am extremely picky with the genre (and all music to be honest). So 2023 album, I Am The Storm, is my introduction into the massive world of Redemption. My expectations for this album were nonexistent as I expected utter musical chaos like Genesis, Dream Theater, and Symphony X. As much as this album is typical musical masturbation, it is also filled with the melodic genius of England and keyboardist Vikram Shankar.
“I Am the Storm” is a bombastic, passionate, technically astounding album that is not to be digested with one listen. This is an emotionally and musically complex album that demands your attention. Van Dyk and Englund command the airwaves with every note either punching you in the face or soaring through your gut. It combines Iron Maiden, Genesis, Power, Prog, and Thrash all blending seamlessly throughout each track. Songs like the title track and “Seven Minutes From Sunset” hammer down with heavy Prog Metal guitars and rhythmic sections, breaking down into virtuoso guitar and keyboard solos. “Resilience” screams Petrucci amd Portnoy chemistry into “shreddy” soloing and a catchy vocal line. Englund might not have an enormous range, but his utter power into a tone heavy vocal can become so addictive. The highlight of the album, for me, is not the crazy guitar solos or loud technical prowess, it is the ballad of the album. “The Emotional Depiction of Light” is a hugely complex emotional track that is a must listen track of 2023. There is something so immensely haunting and grabbing about this track with the piano intro and soft vocals, building into an absolutely wailing track. To build up a song such as this takes immense restraint and musical ambition. It is pure emotional expression, and that is what I like to hear in Prog Metal.
Overall, this album is absolutely another Prog masterpiece that Redemption probably always puts out. It has everything a 10/10 Prog Metal record should have. “I Am The Storm” is musical mastery and emotive complexity perfectly. Does it show ingenuity or invention? No, in most ways it is what Dream Theater has been doing for almost four decades as well as dozens of other Prog Metal bands. Musically, while the technicality is vastly impressive, the musical masturbation is a huge turn off for me. Musical Masturbation is a term my brilliant older brother came up with to describe bands like Dream Theater where every break from vocals is a solo. It’s where subtlety and airiness die in music, allowing no time for the listener to digest and feel something other than an onslaught of notes. If this is not your thing either, Redemption is not for you. If you can’t get enough of virtuoso abilities and crazy musical changes, this album is going to absolutely blow you away.
Newly signed to Frontiers Records, Hard Rock band Demons Down is bringing back old 1980’s hooks and Arena sized reverb with brand new album “I Stand” (out March 10th). Frontiers Records strives to bring back the catchiness and epic sounds of 1980s Hard Rock and Metal one band at a time. Demons Down is a sign that this wide stereo sound is here to stay forever. Fronted by Chilean born multi faceted vocalist, James Robledo, the band has planted into its roots with Iron Maiden, Queensryche, and Quiet Riot. He has the vibrato of Bruce, the heavy and aggressiveness of Kevin Dubrow, and the clean soars of Jeff Scott Soto. The band has its influences coming from former Quiet Riot bassist, Chuck Wright, who was partially responsible for Bang Your Head in the 1980s. This band maybe new, but their chemistry is ancient history.
“I Stand” sounds like its right of the 1980s and early 1990s with uncompromising heavy metal themes made to pump you up. It is simplistic yet massive in sound. The solos, vocals, bass guitar, and ringing rhythms fill up the space without playing musical masturbation. As far as Debut Albums go, Demons Down has made an enormous statement of who they are and what they plan to accomplish with their music. Songs like I Stand, Disappear, and Follow Me come in hot and hard with Arena sound that is making its way back to popularity. This album is very Melodic, which is not what I expected. I would’ve liked some more crunch in the guitars and some bigger drum fills to break up that nostalgia and stay modern. If you’re looking for grit or chuggy guitars, this album is not for you. But, if you want straight up Hard Rock to sing along to, these guys really deliver. I am interested to see what their live performances bring and what they do with follow up albums.
There is so much amazing Metal out this week, it might’ve been hard to keep up. Don’t worry, I’ve got you covered with a comprehensive list of new Metal you should probably check out.
Eluveitie is back and with a deep searing passion that needs to be heard. With first single, Aidus, I felt like I was witnessing music history. This new single is no different. It’s aggressive, punchy, multi layered, and intense!
Lorna Shore
Lorna Shore’s highly anticipated full length album is out, and it is setting the Metal community ablaze. It is immensely dark, depressing, and incredibly deep. Who knew Deathcore could be so emotional? Lorna Shore is in a league of their own, and this new record is a testament to that. Pain Remains is out today and here is the bombastic new single to celebrate it. Full review is coming soon.
Epica
Epica’s new collaboration album is a new frontier for the band, and is proving to be just as brilliant as traditional albums. This single lights it up with Symphonic Death Metallers Fleshgod Apocalypse. This song sounds as monolithic as you would expect, The blast beats are superb as well as crystal clear vocals from Simone atop a massive choir. It is a must hear track of the week.
Amaranthe
Swedish Melodic Metal/Synth Pop band Amaranthe are on a new war path this year. I don’t have a lot of details on the new record yet, but I know it’ll be quite different without the presence of the incredible growler Henrik Englund. They said they’re not working on a new album yet, but they’re in the studio? I’m immensely confused by what’s happening with Amaranthe, and unfortunately the new single doesn’t help at all. I love this band and always will, but this is one of the most disappointing singles I’ve heard in a long time. It’s worth a listen to form your own opinion, but I just didn’t feel this one at all.
Borealis
If you like sad boi music and deep soulful tones, Borealis might be what you need in your life right now. These guys came out of nowhere for me and completely shocked me. This is some of the most emotional music I’ve heard in awhile, but also with great musicianship.
Beyond The Black
German Melodic Heavy Metal band BtB are coming back after the bombastic release “Horizons”, with a toned down self titled album with a recurring theme. The new record has themes signaling influences from fandoms like Game of Thrones and Star Wars. I’m anticipating an album of epic nerdom and deeply melodious music.
Ad Infinitum
Symphonic Power Metal Swisses are coming back in 2022 with a new but familiar sound after hit record Monarchy Chapter II. They’re bringing on chapter III with more Metal, more growls, more beats, and more solos. This single took awhile for me to warm up to, because it’s more sing-song and Poppy than I expected, but I grew to love it.
What new music are you listening to? Let me know below!
Danny is a powerhouse with a pretty impressive range used widely over Voyager’s 20+ year career. He uses an eclectic throwback sound to the New Wave days in the 1980’s and layers in Power Metal influences and occasional grunts. It’s an incredibly complex vocal that I don’t think anyone else could replicate. You hear him sing one note and you know it’s him immediately. No matter what style Danny may emulate, Voyager is an absolute party to listen to and a truly happy Metal band with sick riffs and catchy vocals.
Devin Townsend
My favorite singer of all time and one of the most technical on this list. Devin has a four octave range that he utilizes in over twenty styles of music and 25 years of creating. He is a vocal shapeshifter, switching from harmonic screams to tenor vocals in the smoothest transition. It is astounding to watch what he can do with his voice as he goes to the absolute limit in every performance, “Screaming until he tastes blood” doesn’t get any more brutal than that. I will definitely cover this astonishingly beautiful artist throughout my entire career as a Metal writer. He is one of the greatest singers, forget genres, forget tastes and subjectivity, he is supremely talented.
Phil Romeo- Countless Skies
One of the most surprising voices on this list, Phil Romeo is an operatic tenor Power singer and bassist in British Melodeth band Countless Skies. The first time I heard Phil sing was on the track Zephyr, and not knowing anything about this band, I thought it was a Devin Townsend feature. I was astounded to find out that it wasn’t Devin and that it was this unknown bassist laying down one of the most passionate vocal lines I have ever heard.
Tom Englund- Evergrey
I know, Evergrey is a well known Power Metal band with nearly 30 years of experience under their belt, but I have to say that Tom is a hugely underrated vocalist. I don’t see him come up on any vocalist list and I think he’s overlooked. He has such a unique and recognizable smooth tone. It’s almost a bluesy style, but with insane power. Nobody sounds like Tom.
Joseph Michael-Witherfall
I only discovered this incredible Doomy Progressive Metal band last fall and I was utterly bombed by Joseph’s voice. His delivery of vocals in the cover of Foreplay/Long Time by the great Boston is absolutely spectacular and not what I expected in the slightest. Witherfall is one of the most musically talented bands out there today, and Joseph is the frontrunner of the dynamics.
Dan Cleary- Striker
Striker (not to be confused with 80’s Stryper) is a Epic Power Metal band from Alberta, Canada that is known for playing throwback traditional style Metal. They are a nostalgic cheesy Metal band part of a collective touring group NWONMB, that features Lords of The Trident, Unleash the Archers, Seven Kingdoms, and more. Dan has immense power and range that definitely reminds me of Dokken, Queensrhyche, and Whitesnake. It’s just good clean Metal with soaring vocals.
Daniel Helman- Lost Horizon
One of the more unknown names on this list, Dan Helman led the great Lost Horizons from Sweden and created a sound that would go on to influence some of the newest and most powerful singers today. I hadn’t heard of him until Brittney Slayes of Unleash the Archers mentioned LH as an influence. The song below is an absolute vocal masterpiece of shocking proportion.
Joacim Cans- Hammerfall
I can’t talk about male singers without talking about Joacim Cans. I don’t see this fantastic melodious Power singer on any list, and it’s an absolute crime. He is one of the best vocalists I have ever seen live. His control, consistency, and power belts are unreal. Hammerfall has been around for three decades and hasn’t received nearly enough credit.
Damian Wilson- Threshold, Ayreon, and more.
Damian is one of those singers nobody talks about, and yet has one of the most distinctive voices of all time. I was introduced to Damian Wilson on Arjen Lucassen’s Star One and was blown away by his tone. It’s unlike anything I’ve ever heard. He goes from singing soft ballad vocals to high powerful belting. No matter what he’s singing, his vocals are angelic and crystal clear.
Mike Mills- Toehider, Ayreon
Possibly possessing one of the biggest ranges on the list, Mike Mills has been Arjen Lucassen’s go-to singer for fifteen years. The Australian Singer, Guitarist, and Songwriter does vocal gymnastics in any song he’s ever done. He pushes the limit of male vocals, reminiscent of the great Freddie Mercury with his high Soprano operatic vocals and having easily a four octave range. I have honestly never heard another singer like Mike. The song below is just five percent of what this guy can do. I highly recommend checking out his entire discography.
Patrik Selleby- Bloodbound
There’s quite a lot of Power Metal vocalists on this list, not on purpose but by sheer will of talent. The subgenre of Metal just has a knack for using the best, most versatile vocalists. Patrik Selleby has that belting higher range vocal that just captivates crowds. He has so many different techniques he uses. He can do soffty tenor vocals, dipping into baritone. He can scream and wail with precise vibrato reminiscent of 80’s Heavy Metal. He can also use fry vocals to accentuate vowels. I absolutely love his style and Bloodbound’s overall sound.
Isahn- Emperor
Isahn has one of the most piercing and soul haunting screams I’ve ever heard, but his clean vocals are what truly astonished me. I hadn’t heard him sing until the release of the EP “Pharaohs” and I have craved his voice ever since. If you could ever describe a man’s voice as sultry, it would be Isahn’s.
Einar Solberg- Leprous
Out of all the singers on this list, Einar possibly has the most shocking and distinctive voice on the list. This man’s voice is breathtakingly beautiful. I don’t describe male vocals as “beautiful”, but it’s the word that comes to mind. It is light, airy, and angelic upon every note he sings. His range is just massive, reaching into the rafters with soprano operatic and epic falsetto that bring chills and tears alike. It is impossible not to listen to Leprous and not get emotional. Nobody sounds like Einar. He is absolutely sensational. He’s just a brilliant vocalist and songwriter. The song below says more than I can ever say.
Mathias Blad- Falconer
Falconer is a legendary Medieval Folk Power Metal band with quite the cult following. The band tried to hang it up in 2016, but due to a high demand, they keep returning for exclusive performances and one final album. They officially disbanded in 2020 sadly, but Mathias’ legacy lives on.
Kobi Farhi- Orphaned Land
I have always been enchanted by Middle Eastern vocals since Sting’s “Desert Rose”. It’s never been a style I thought “oh, that would work in Metal”, but it absolutely does. Kobi Farhi of the Israeli Heavy Metal band proves the unique technique fits the Western Heavy Metal instrumentation. This singing style, Mizahi or monotonic, requires a lot of control and technique to stay in pitch. His ability to switch into this and keep it perfectly within the music is spectacular. He is truly one of the most talented male singers out there.
Spencer Sotelo- Periphery
I could write an entire article about this vocalist and his range. I didn’t expect to become obsessed with his voice as it is a lot higher than I am usually into. Spencer has insane control over his instrument, able to switch from screams to falsetto to a softer vocal. He also has a nu-metal style fry rap in “Marigold” which is just sublimely executed. He’s effortless in his delivery, as with most singers on this list. His range also frequently rises to harmonics, which is one of the highest sectors in music. He is an unbelievably skilled vocalist and truly doesn’t get enough credit.
Jeff Scott Soto- Sons of Apollo, Yngwie, Trans Siberian Orchestra.
I only see this guy talked about in Prog channels and not more globally honored for some reason. Soto has a unique style that blends 90’s Hard Rock, Power Metal, and Soul aspects into one powerhouse vocal. Sons of Apollo is an American supergroup of some of the most talented musicians of all time. Soto fits this bill and the resounding emotive Heavy Metal style. He brings the melody so smoothly on top of very rhythmic music, which is hard to do. He has a massive range from Baritone to high screams, and I don’t think there’s a limit to it.
Terje Haroy- Pyramaze
Now, I know 99% of Metal listeners have never heard of Terje, making him one of the most unknown on the list, but he is a MUST hear vocalist. The power, the emotion, the clarity, and the grit of this singer is monolithic. He produces so much sound from just one held note. I have no idea how he pushes it to the limit while staying in perfect pitch. His vocals range from deep drones, to power belting, screams, and sounds I cannot even begin to describe. Pyramaze has been around for two decades and has been led by some amazing vocalists, but this guy is on a whole other level. His vocal energy could probably power the entirety of North America. The song below is one of the best vocal performances I have ever heard in my twenty two years of listening to Metal.
Markus Vanhala- Insomnium, Omnium Gatherum
A backing vocalist normally known for his songwriting and guitar playing, doesn’t get much credit as a vocalist. But when Markus’s clean vocals come in, it sets the whole tone for any track. You know it’s going to be a deeply emotional track when Markus sings. His tonal quality and breath control is astounding to me. He can hold notes for two measures without any vibrato or notational deviation. I had to include him because he is just so distinctive and such an underrated musician. After hearing him sing live in person twice, I have been in love with his clean vocals ever since. He could honestly front a band all on his own instead of being in the background.
Yannis Papadopoulos- Beast in Black
One of the craziest voices I’ve ever heard (besides Mark Slaughter) Yannis has what is best described as a Soprano Male Vocal. He is only one of the only males I’ve mistaken as a female, and that definitely makes an interesting reaction. After hearing this guy do operatic soprano, fry vocals, and crazy high screams, I never thought I’d hear him use a more beautiful and emotive vocal. Once you hear Floor Jansen sing “Ghost Love Score”, you may say it is the only version, but I highly recommend Yannis’ beautiful cover of the Power Ballad. He has immense range and one of the highest technical abilities I have ever heard. I think he’s one of those singers that could sing just about anything. So, I really want a covers album from this incredible Norwegian Power Metal band.
Honorable Mentions
JB- Grand Magus
Dino Jelusick- Trans Siberian Orchestra/Whitesnake
PelleK
Andrew Kingsley- Unleash the Archers, Sleeper Ship
Fang VonWrathenstein- Lords of the Trident
Todd La Torre- Queensryche
Tommy Giles- Between the Buried and Me
Rou Reynolds- Enter Shikari
Who did I miss this time? Who are your favorite male vocalists?
Disclaimer: This article is written based on my opinions. It is not meant to be taken as a factual research paper.
Being on Youtube and social media, I feel like I am constantly overloaded with one singer and one singer only. I am continually seeing people say “G.O.A.T.” “She’s better than every singer” and “Nobody can touch her”. Her band graces every headline of nearly every European Metal festival and every Metal coverage site in the world. She’s invading all my feeds, my mind, and even my dreams. Floor Jansen has gone viral, crossing over into multiple genres and going worldwide with “Ghost Love Score”, her performances on Dutch Television, and her operatic covers with Henk Poort. She has been a gateway into the world of Symphonic Metal for thousands of people, myself included. I love Floor Jansen, but the elitism people have created discounts the hundreds of other great vocalists. She may be one of the most technical and dynamic vocalists of all time, but that doesn’t mean there are not others doing new and exciting things in the Metal industry. While music may be subjective, I find the elitism and self-righteousness in a cult following to be tiresome. Metal is an umbrella term for a wide range of music, leaving room for so much individuality.
This is a list of singers that I believe can stand up to Floor Jansen or Tarja. Because, ultimately music is subjective, and the technical ability of one doesn’t discount the talent of others. These singers are all amazing and unique in their own right, including Floor. Keep an open mind and check out this massive range of shockingly good vocalists. Most of them are in the realm of Metal, but a couple might surprise you in versatility. I didn’t include singers like Courtney LaPlante and Tatiana Shymaluk, because they’re enormously popular right now and would be obvious choices for any list. And don’t worry, I’ll be doing a Male vocal version of this list soon! The reason that I separate Male and Female is that they sing in completely different ranges and scales of music. Neither is better than the other, just utterly incomparable in a musical sense.
This article intends to honor female vocalists of this new excellent generation.
Brittney Slayes- Unleash the Archers
I’ve mentioned Brittney on this page before (probably obsessively), so it’s no surprise that I would include her. Her vocal range is a three-octave Mezzo Soprano, occasionally dipping into smooth alto drones, a powerhouse of insane high notes delivered expertly. Some of the notes I’ve heard her hit live are so far into the stratosphere, I don’t think I’ve heard anything higher but it would take measuring to find out. It’s not just her range, but her vocal stamina to do an hour and a half long sets of seemingly impossible high notes and long controlled notes. She effortlessly controls her notes, keeping perfect pitch over six second long sustains. It’s shockingly good. She also has an addictive quality to her voice that immerses you into the concept albums. Once you’re hooked, you can’t stop listening to the emotive yet so effortless technicality of Brittney and the whole band.
For me, “Legacy” is a song that her voice captivates on. Her harmonies, range, and smooth delivery hit hard. But, there are many mind-blowing songs of UTA and her feature on Arjen Lucassen’s Star One “Fate of Man” that will surprise new listeners and even drop some jaws. “Frozen Steel” has one of the highest notes I’ve ever heard. No matter where you start in Brittney’s catalog, she is a must-hear singer for all music fans.
Sabrina Valentine Cruz- Seven Kingdoms
Sabrina is one of the most surprising vocalists I’ve ever seen live. I had heard a couple of Seven Kingdoms’ songs before seeing them open for Unleash the Archers. But, I had no idea what I was in for in the live setting. Sabrina’s voice is unbelievably strong live. There’s no thinning, no drop-offs, very few effects, and no backing tracks. She is smooth and gargantuan in the delivery of soaring Power Metal notes. I think I was in honest disbelief for their entire set because I had no idea what to expect. She covers so many styles and techniques in one set; Switching from operatic open notes to soaring high Power Metal wails to Twang to extremely long-held notes, it’s a whirlwind. It’s surprising because she’s this 4”9 or so burger slipper-wearing badass that just blows the roof off any venue. She’s now one of my favorite vocalists because of her emotive and unpretentious approach to vocals. She’s incredibly easy to connect with on and off the stage. Every song of theirs is amazing, but the one that grabbed me the most vocally is “Valonqar”. I truly believe this song is a masterpiece and a thematic track you’d never expect from a Power Metal band. SK is not huge yet by any means, but I foresee many others connecting with this incredible band very soon.
Noa Gruman- Scardust
Scardust is a band that came out of nowhere for me. I try to keep up with everything happening with women in Metal, but I somehow slept on this absolute dynamo of a vocalist. Noa Gruman is a Classically trained Soprano from the beautiful and unassuming Metal land of Israel. I’ve been following Patty Gurdy for a while, so when the video for “Concrete Cages” came out it popped up on my Youtube feed. I had never heard Noa sing, so this song was an overwhelming blast of new sounds and uniqueness. It took four whole watches of this video for the immensity to settle in, and when it did, it hit me like a revelation. Noa Gruman is, in my opinion, one of the greatest vocalists of all time. She shows such versatility, switching from operatic to absolutely insane gutturals in a millisecond, and then scatting a vocal solo, to monophonic style indigenous to the Middle East. All that can happen in one track, even just a verse. I have never heard anything like her vocal style(s). It’s refreshing and a completely new take on Metal vocals. Scardust’s tribute to Nightwish live videos is also something magnificent to behold.
Cammie Gilbert- Oceans of Slumber
I may be extremely biased in writing a piece about Cammie Gilbert, but I’m going to anyway because I find her underrated and not talked about enough. Cammie Gilbert is the biggest influence on me in female vocals of all time. Her emotive and tonal quality is simply divine in every way. She has a voice that transcends Metal, dipping into classic Doom Metal, Operatic, Blues, and Jazz. It’s an effortless powerful croon that moves the soul, whether it’s into the darkness or the light. Her voice dances upon the melody and is smooth yet unpredictable. You never know what direction it’s going to go in. I strongly dislike comparing vocalists, and Cammie Gilbert is incomparable. My first introduction to Oceans of Slumber was “Winter” and it was unlike anything I’ve ever heard in Metal. It’s a Melodic moving song where Cammiei uses rhythmic singing to dance on top of the melody in almost a spoken word or Rapping sense. It’s just a beautiful heart-wrenching track with her vocals as the centerpiece. The cover of “House of the Rising Sun” is also a sensational track that showcases the undeniable talent of Cammie as a cornerstone vocalist.
Chibi- The Birthday Massacre
The Birthday Massacre isn’t Metal, but the band has some hefty tracks that will surprise you. TBM is an eclectic mix of Gothic Rock, Darkwave, Synth Wave, and Atmospheric themes and they are brilliant. There’s nothing out there quite like them right now They’ve created their own genre of music. A big attributing factor is Chib’s approach to vocals. Her pitch control, melodic intelligence, and easy delivery of crystal clear vocals are the cornerstone of the band. She’s a deceptively incredible vocalist; The melodies sound so simple and easy, but their phrasing is so long and varied, that it takes immense breath and pitch control to deliver. Her dynamics range from soft whispers, belting, sweet vocals, and insane demon-like growls. Yes, Chibi growls on many tracks like Destroyer, No Tomorrow, and one of their classic Blue. seeing her perform all three in person this spring was an otherworldly experience. You won’t believe the power of her voice live. I was jaw-droppingly floored by her live vocals, but also the sound this band creates. I’m a sucker for the “Wall of Sound” style production, and this band delivers it perfectly live.
Charlotte Wessels
Being a long-time fan of Delain, I had to include this unique and powerhouse of an ArtPop Gothic vocalist. Charlotte Wessels received some ClassIc and Pop traIning during her early schooling, but ultimately took her love of Kate Bush, Thom Yorke, and Nick Cave into her vocal style. All of these amazing influences combined and taken into a Metal theme were transformative in Symphonic Metal and in her new solo ventures. She’s a singer you can pick out of any crowd. She has this sweet and softness switching from head voice to a slightly nasal twang indicative of Alternative Music, powerful belting, beautiful effortless falsetto, and Soprano Operatic, and then surprisingly deep clear growls. I have never heard anything quite like Charlotte’s voice and I don’t think we ever will. Her leaving Delain was heartbreaking, but her solo music is a whole new world of Art and expression with all aspects of her amazing voice. I don’t think there’s anything she can’t do with her range of exquisiteness, and I can’t wait to hear what she does next.
Heidi Parviainen- Dark Sarah
Heidi is a hidden gem among this newfound wave of female vocalists in Metal, but she’s been singing for two decades with great bands like Amberian Dawn. Heidi has truly come into her own as a distinctive Operatic Soprano and thematic singer with Finnish Dark Sarah. One of the greatest songs I’ve ever heard is undoubtedly “Melancholy”. Heidi’s vocals are all-enveloping, sucking you into whatever theme or emotion there is to convey and Melancholia is indicative of everything she has to offer. She is so clear and has perfect diction no matter how high she sings. She has some of the smoothest and cleanest vibratos in the world of Metal and even Opera. Dark Sarah is a whole audible world you can get lost in, and Heidi is the rabbit you follow into the hole.
Fabienne Erni- Eluveitie
One of my top vocalists on this list is Eluveitie’s newest addition and founder of Illumashade. Fabienne is originally a Folk Singer and Celtic Harpist, but her introduction into Metal has been the catalyst for her speedy growth. She is unafraid of trying a wide range of styles and vocal tones, making her an ultimate experimentalist. Her Soprano range blasts into Harmonics and Whistle Tones, making Mariah Carey sound quite amateur. Fabienne’s range and pitch are truly unbelievable, even rising to Alpina Yodels at stratosphere notes. She never fails to surprise, take your breath away, inspire in Battle, and emote into tears. Her vocal mastery of the classic seemingly impossible Eluveitie track “A Rose For Epona” is what sold me into fandom. But, as far as Metal vocals go, the new song “Aidus” is one of her most impressive feats. She is yet another singer on this list with no limits to her voice. I am always impressed by anything she does, even Disney covers that easily top the originals.
Lena Scissorhands- Infected Rain
If you’re looking for a band throwing back to the Nu-Metal Industrial era with a female lead singer, there is simply no better band than Infected Rain. This band is an absolutely brutal mix of Melodeth and industrial music, not unlike Fear Factory, Korn, Slipknot, and Static X. Lena Scissorhands is a relentless guttural growler and harmonic screamer is a complete assault of sound and emotion. As far as growlers go, she’s easily one of the best I have heard, reminding me so much of the growling rap-like lines of Corey Taylor. I have always preferred her gutturals to that of Tatiana and Diva Satanica, but it’s just a personal preference of tone and delivery. She brings something different to cleans as well. It’s the switch between complete all-out gutturals and screams to insanely smooth melodic vocals that shocks me. Not a lot of singers can do this, and Lena does it so well and expertly. She’s one of the most unique vocalists on this list, I think.
Alessia Scoletti of Temperance
Despite having three incredible vocalists, I don’t see Temperance listed or talked about much. It’s a shame because Temperance is an incredible band of immense talent. Maybe they came about at the same time as Amaranthe are were unfortunately overlooked. Sometimes when you have multiple bands come out with a similar sound or shtick, like three vocalists, one of them suffers. People get turned off by market saturation, but comparing bands is a ridiculous part of music culture, especially in Metal. Alessia has an insanely good Soprano range and power behind very fast sung notes, ranging from Symphonic Metal and Power Metal and also Folk. Alessia blew me away the first time I heard her sing. It was not what I expected. I was expecting more of a Pop vocal with a lot of Electronic rendering, but her vocals are clean and clear as can be. “Gaia” is one of my favorite songs of all time and features Alessia’s wonderful voice in its purest form. If you like a lot of different influences and catchy Modern Metal with insane vocals, Temperance is perfect for you.
Clémentine Delauney- Visions of Atlantis
I have listened to VoA for a long time through many band changes, which is oddly common in Symphonic Metal, and I’ve dug the progression of this band. I was also a huge fan of Serenity when they hit the scene and opened for Delain. So, I’m not sure why it took me so long to get into VoA of Clementine as I loved her with Serenity, but I made up for it. “Pirates” the latest offering has been one of my most played albums of the year. I reviewed this album a couple of months back and truly fell in love with it. Clementine’s performance on this record and everything she’s sung on is brilliant but so smooth and understated. She has a powerful voice, but shows amazing restraint and floats upon the melody. When it calls for it she belts with accurate Soprano vibrato. She sounds like an Elf, whether she’s lullabying or battle crying, it sounds otherwordly. She is truly an amazing vocalist with an immense range. Every project she’s on is so different, too. Exit Eden is a quadruple threat of Symphonic singers covering Pop songs in Metal formats. Serenity is a Symphonic Gothic Theatrical band. Whyzdom was a French philharmonic Heavy Metal band. Now, VoA is a powerhouse of Symphonic Metal and keeping this classic genre alive. She can truly sing in just about any format. So, It’s difficult to just pick one song to showcase her vocals, but I have to go with my favorite off of “Pirates”
Alissa White-Gluz- Arch Enemy
This list is mostly a showcase of Clean Vocals and switching between growling and cleans, so maybe it’s odd to include Alissa. But if you’ve heard any of the new Arch Enemy tracks you’d understand. Alissa is arguably one of the greatest growlers of all time, but she has evolved her vocal range as AE progresses into an amazing new era. I have always loved both her cleans and gutturals from the days of The Agonist. I feel like AE has only raised her to become the frontwoman she always had in her, though. Her breath control and range in her screams are unprecedented. She can switch from low chest rattling gutturals to harmonic-held screams without losing clarity, diction, or breath control. I dare say her vocal cords are a modern marvel. Her voice seems to get better and better which age, only growing more powerful with each year.
Alissa’s cleans are no exception to the new progression. They are exponentially powerful on the new AE singles. It took me by surprise when she started belting. AE rarely includes a lot of cleans. But, when you have a singer that can do a wide range of techniques clinically, it’s hard not to showcase how talented your bandmembers are. Her powerful belting is unlike anything I’ve ever heard. It’s a power belt from the chest but sounds raspy with a hint of fast vibrato. It’s almost dual vocal harmonic and it’s mindblowing how much sound she can produce. Many fans think this addition puts AE in danger of becoming like any other band with female vocals, but that’s the misogynistic mind talking and assuming all bands with a girl at the mic sound the same. Allissa’s vocals, clean or heavy stand out in any format. I think this is the strongest era of AE yet and can’t wait to hear what they do next.
Cristina Scabbia- Lacuna Coil
No great frontwoman list is complete without the Italian legend Soprano. Cristina Scabbia has one of the most remarkable voices of the century. You know instantly who it is upon the first note she sings. She has built a unique vocal experience that diversifies with the emotion of each song. She tells a story with every piece and captivates the listener. She has one of the clearest dictions I have ever heard, causing you to hang on to every word she says. Her voice has become an iconic mainstay in Metal with hits like Heaven’s a Lie. Our Truth, Within Me, Reckless, Swamped, and Layers of Time her impact on the genre is undeniable. She’s the first female singer in Metal I ever heard. I’ve been hooked ever since. She never fails to amaze me on records or perfect live recordings.
Sharon Den Adel- Within Temptation
Being the first Symphonic Metal singer I’d ever heard, Sharon exceeded all expectations. I didn’t even know the genre existed at the time. She opened a new world for me, and it turned out to be a Narnia-scale experience. Even after fifteen years, this band is still unmatched for me. Sharon is an untrained Operatic Soprano that has no high range limits. She sings up into the stratosphere with perfect pitch and clarity, all while retaining incredible emotion beyond most other bands in the genre. Sharon’s style is so unique and fluid between tracks, but always recognizable. You always know it is her by the depth of tone and ease of her singing, but it can be poppy, heavy, sweet, or soaringly operatic depending on the theme. When I say heavy I don’t mean growling of course, but short and stabby notes full of anger or pain. She is one of the consistently high singers I’ve ever heard and it’s truly astounding. After twenty years, she still sounds the same as well during classics like Jillian. It’s difficult to describe the captivating qualities of her voice, but upon your first listen, you’ll know what I mean right away.
Simone Simons- Epica
Simone Simons is a Classically trained and Pop trained vocalist from the Symphonic Metal headquarters of the Netherlands. As you may or may not know, I am a diehard Epica fan. Epica is the first Metal headlining band I saw. I had been to Paramore concerts, but never a Metal show, and this show is still one of my favorites after ten years. Epica is one of those bands that converts many to Symphonic Metal because of their unique blend of Death Metal, Speed Metal, Neoclassical, and Opera. I truly believe they are one of the greatest bands of all time because every member is a virtuoso in some way. A huge reason for the perfectionist quality, especially in a live setting, is lead vocalist Simone Simons. She is the most flawless live vocalist in Metal today. She is pitch-perfect, always has clear diction, is always rhythmically perfect, and truly defies the normal box of a Metal vocalist. I think Simone is unique because she combines different styles showing technical perfection but also keeps the storytelling of Epica as well as her own emotions in the music. It’s a truly astoundingly beautiful combination that is common in the Symphonic Metal genre, but Simone has perfected it. She has taken the idea of Operatic vocals In Metal and taken it to the absolute pinnacle. She typically sings in a range that is the most difficult of all the ranges in female voice. I will include a technical reaction explaining her prowess below as well. I am always blown away by her vocals no matter what technique or how much vibrato she applies. She is one of my favorites undoubtedly, so I am very biased, but my opinion is seated on her sheer technical ability. Not to compare singers, because that’s ridiculous. I could truly write about this singer and many great vocal moments in Epica, but I will save it for another article. I will let the video below speak for me.
Erica Ohlson- Melalite
One of the biggest surprises of the year for me was stumbling upon Metalite’s cover of Full Moon by the great Sonata Arctica. I often frequent Metal covers to see how bad startup bands butcher songs, and this was a cover I expected to laugh at. To my surprise, this cover is absolute perfection in every way, but Erica blew me away vocally. This is an extremely difficult song as are all Sonata Arctica tracks. Erica brought her own Pop/Power vocal style to the track and it’s an intriguing rendition. I don’t know much about this band or Metalite yet, but from listening to their latest album, A Virtual World (2021), there’s a lot to take in besides this amazing cover. Erica has a unique voice, a lower range than a lot of others on this list, and can yet belt into a higher range as well. I am so far very impressed by her voice.
Noora Louhimo- Battle Beast
Yet another amazing singer in Power Metal, Noora from the heavy Power Metal band has her very own style that defies the female voice box. I have never heard a female vocalist dip in and out of a distorted vocal quite like Noora. It’s intense on tracks like “Black Ninja” and “Out of Control”. The newer albums of Battle Beast have less of this fast vibrato almost vocal fry from Noora and more of a Power belt which is equally surprising. She has so many different vocal approaches, especially when you factor in softer ballad-esque singing like “Angle Cry” and “Endless Summer”. I think Noora is one of the best vocalists I have ever seen. She is always flawless live no matter the vocal technique. She uses so much rasp, some twang, alto belting, and high screams all in one song. It’s almost overwhelming in a good way. I love a wall of sound, and Noora’s voice is a huge punch of sound.
Melissa Bonny- Ad Infinitum
One of the newest debut singers on this list, Melissa Bonny of Swiss origins is a diverse warm vocalist. Her vocals are a perfect example of “beauty and the beast” style but in one human being. This style became very sought after when Lacuna Coil hit the scene, and many bands after have leaned into that (Within Temptation, Epica, Amaranthe). She has a warmer tone that most singers on this list, often a softer approach. It’s not a typical Metal approach to cleans. Often I associate Metal vocals as short, stabby, distorted, loud, and aggressive. The umbrella of Metal vocals has grown drastically from the days of Black Sabbath and Metallica. It’s inviting in some incredible new vocalists like Melissa, whilst exposing the elitist fans that have an outdated idea of genre parameters. A genre that doesn’t grow or change will die, and we need singers like Floor and Melissas and the rest of this list to keep Metal alive.
I went on a tangent there, sorry. But, Melissa’s vocals are just that surprising and epic to inspire such a passionate response. The first time I heard her with Rage of Light, I honestly couldn’t believe the dynamics in her vocals. Ad Infinitum and Feuerschwanz also highlight her incredible range of vocals. Anything this singer does seems to turn to gold. So I included a track from the supergroup she leads with a feature from the wonderful Charlotte Wessels. There is truly brilliant harmony in this song and just stunning vocals from both vocalists. Obviously, Ad Infinitum features more of Melissa’s dynamics, but anyone who can nail an Enya cover is vastly impressive to me.
Elize Ryd- Amaranthe
Elize Ryd is kind of a dark horse on the list. She is not typically included in these lists, because Amaranthe is a trio and sadly it seems like sometimes her vocals are more of a feature than a key role. I find this to be a mistake in the writing, but glad to see the latest albums to have her soloing on songs. Because I truly believe Elize is one of the best vocalists, her voice could stand alone in a band. But Amaranthe has a shtick with having a trio of vocalists, a growler, a Pop style vocalist, and a Power Metal male vocalist. This has drastically worked in their favor and made them highly successful. Elize Ryd is a key ingredient to that success. She is a singer deeply rooted in Pop and Theatrical style vocals and inserts effortlessly into the Power Metal, Electronic, and Hard Rock style of Amaranthe. Her upper range is absolutely spectacular. This is a vocalist that can do incredible scales that would put Christina Aguilera and Mariah Carey to shame, fill in for Nightwish expertly on two hours’ notice, and belt some of the highest notes I have ever heard live without working up to them. The highest I’ve heard her go is on the live versions of “Dynamite” in the intro and the bridge of “Dream” live, which I have featured on my compilation videos.
My first encounter with Elize’s incredibly powerful vocals was on Sacrimony by Kamelot, however. I was absolutely addicted to this song, very much because of her prowess and ability to harmonize with the great Tommy Karevik. She surprised me because I had no idea what to expect. Kamelot always features great singers, but this song is my favorite with a featured vocalist.
Jennifer Haben- Beyond the Black
One of my favorite vocalists on this list, Jennifer Haben has been delivering Power Metal Theatrical vocals for ten years now, and yet I rarely meet anyone else that has heard of her. I think this is a crime. With amazing vocals on tracks like “Horizons”, “Through the Mirror”, “Hallelujah”, and “Shine and Shade” she is vastly underrated. She has one of the best falsetto vocals I’ve ever heard without dipping into an Operatic head voice. She’s a singer that belts from the chest while adding a very American twang. Her tonal quality is so rich and heavy with emotion, that it becomes addictive very quickly. She is so unique because she pulls from so many different influences. She has so far mentioned Miley Cyrus, Corey Taylor, Amy Lee, and Within Temptation as musical and vocal influences. This is an eclectic mix to me but works so well in this Power Symphonic-infused Metal and Hard Rock band. It’s hard to describe all the ways Jennifer is great as a vocalist because there’s so much emotion behind this feature. Beyond the Black and her voice are what got me through Covid and a mystery illness that left me bedridden for three months. This band means a lot to me, but it doesn’t even cover how truly amazing this band is and the quality of every single track. I think the song below is a perfect way to close out this article.
Honorable Mentions: These singers below are also incredible beyond belief and so unique, but didn’t fit my prompt for the article. They may not be Metal singers, ranging more into the Hard Rock category or maybe not one of my favorites, but still amazing. I won’t go into full depth on each singer as this article is probably already longer than it needs to be.
Seven Kingdoms is an independently funded and run Metal band from Deland, Florida that has virtually come out of nowhere. Being a band for fifteen years, this band has fought and conquered its way through some hard times, working day jobs and trying to navigate record deals that seemed to be unfavorable. Napalm Records, a record company I often despise, dropped this brilliant fresh Power Metal band. Only just having been signed to small Distortion Music Group, this band has gained its success through an avid fan group, funding any releases by fan-backed Kickstarters. This has allowed the band to explore and shine through their immense creativity and stunning American Power Metal. Seven Kingdoms is not just a band or a business venture, it’s really a community supporting four great musicians and even better people. This band has worked their fingers and nerves to the very edge through blood, sweat, and tears to put out music that people need to hear; And “Zenith” is the pinnacle of that hard work.
The evolution of Seven Kingdoms, from changing singers and being a Fantasy-based band, to “Zenith” is a staggering advancement. Zenith is a Heavy Metal 80’s fusion record with modern Power Metal synths and dirty riffs and vocals so expertly and powerfully delivered by Sabrina Valentine Cruz. The riffs from Kevin and Camden echo those of Iron Maiden, Dokken, and Unleash The Archers with immense speed. I consider SK to be the more heartfelt and accessible sister of Unleash The Archers. Zenith is an emotional roller coaster, full of emotion and gratitude. They took their hardships and compressed them all into a diamond of a record. “Diamond Handed” is a soaring battle anthem with dreamy synths and vocals, mixed with unbelievable speed. When starting this track, my whole family thought they had Youtube on 2x speed. It’s a perfect jaw-dropping start to this record and is maybe one of my favorite songs of all time. And, it only gets better from there.
“A Silent Remedy” is a perfect mix of old SK sound and the refinement they’ve achieved. The sheer melodic sense of this track is impressive; layers upon layers of technically perfect vocal lines contrast the heaviness. This song has some insanely high notes that you’ve just got to hear to believe. This song has a darker feel to it, and it’s a welcome contrast. It’s interesting and takes time to indulge upon. Oh man, but “Love Dagger” is a highlight of epic throwback 70s/80s sound that I can’t get enough of. This song’s quality, rhythmic sense, vocals, and tone just screams 38 Special to me, which is one of my favorite bands of all time. I love every aspect of this song and could see it hitting the radio. It sounds old, but there’s nothing like Sabrina’s voice in any decade. This song is so accessible and relatable, but so high quality and not derivative radio-friendly trash. “Chasing the Mirage” turns up the speed again with a more Thrash riff and dueling stereo guitar melodies. The range Sabrina shows on this record is a span I rarely hear in modern music. Her lower range ins strength and tonal quality remind me of Noa Gruman from Scardust, who is arguably one of the greatest singers of all time. This track is guitar-heavy compared to the others, letting the two guitarists, Byrd and Cruz, do their thing by killing it. The chugging riff is grabbing and crunchy, gets your attention, and then the song just goes off. It’s so progressive and all over the place. It’s such a different track for them, and I love this new sound.
The band pays homage to their infinitely dedicated fan base by including newly mastered favorites. “Valonqar” is an epic Game of Thrones ballad that has impressively long notes and epic thematics. The melodic dueling guitars pull you in, on top of booming bass, and stunning vocals that float over this melancholy feel. The long notes held by Mrs. Valentine Cruz are seemingly endless and pitch-perfect on record and also live. The power of this vocalist is awe-inspiring. “Empty Eyes” is yet another radio-friendly bombastic riff-heavy track that I admittedly have listened to on repeat for hours. The lead riff is a perfect hook into this Heavy Metal throwback. I cannot get enough of this band’s riff sense. These guitarists are some of the best I’ve heard in a long time, without committing musical masturbation. The drums on this track feel so forward and heavy, like a march into battle or just down the street to kick someone’s ass.
“Magic in the Mist” is a cool melodic power track that throwbacks to SK’s fantasy-based days. It’s dreamy, thematic, complex, and strong. Zenith doesn’t seem to quit with the epic soaring solos and perfectly executed rhythmic drums. It bangs right into the Progressive Metal track “Universal Terrestrial” which defines the spacy theme of the album. This song is staggeringly fast and epic, introducing choirs and a melodic. This is not my favorite SK song but has a lot of good things going for it. The backing vocals and vocal runs on some of the outros feel unrefined, almost like an afterthought, which is not up to par with the quality of the song. I feel like a remaster on the vocals would do wonders for this track. The Water Dance is a throwback track and another fan favorite. This is a very strong track with a great groove to it and more juicy Game of Thrones lore. This song is more Thrash based, reminding me of old Blind Guardian or Man O War in the best of ways. The breakdown is cool on this song with some delicious solo work. Life Signs is another brand new track that is full-on Power Metal. It’s a surprising new sound, building on the evolution of Universal Terrestrial. I enjoy Sabrina’s lower range on the verses. This song is well written and epic, the choirs hint at some Devin Townsend influence as well as the guitar work. It’s one of the more musically diverse songs on the record with a fast chord progression. I feel like they pulled out all the stops on this record with progression and using their diverse range of influences and writing techniques.
“I Hate Myself For Loving You” is a song with a long history. Originally written by Desmond Child and Runaways guitarist Joan Jett, it was released in 1988 and became the biggest anti-love song of all time. It was also rewritten for NFL’s Sunday Night Football anthem and covered by Carrie Underwood. Regardless of this song’s history and prowess, I have always had a strong dislike for this song. The key it’s in plus the original vocals make me want to drill any part of my auditory senses right out of my head. When Seven Kingdoms announced they were covering this song, I cringed. However, upon listening to it the first time, I was hooked. The band refreshed this dirty old track and turned it into a complete jam. I love the cover and find it to be the biggest improvement of a song I’ve ever heard.
The only two issues I have with this album are mix and length. I would’ve liked a double album: The first disc should have all-new tracks focusing on the Zenith extraterrestrial theme and the new SK sound. The second disc could be remasters of old SK fan-favorite songs and maybe a couple live versions. I understand budgeting would limit this greatly and probably why it’s reduced to a single album. I just find it jarring and disjointed, because I expected an overall alien theme, and it was GoT references thrown in with older songs. I understand the purpose of the album is to sate fans’ appetites and put out new music to put themselves on the map in US-born Power Metal, but I find it confusing for the direction it’s supposed to go in. Maybe I’m missing information in promotion packets or missed something in the Kickstarter information, but it’s just a strange album to me as far as wondering what it’s supposed to be. Maybe I misunderstood the purpose of the record because I thought it was some kind of concept album, but I would’ve liked a more succinct record. Each individual track is good on its own, but none of them go together perse.
The other problem I have with the record is in the mix. On streaming and Disc format through studio speakers and headphones, I find the mix to be boomingly bass-heavy. Normally, I love a lot of bass in the mix, but there are some parts in the record where the bass is overpowering. It’s as if someone’s using a super low-frequency bass drop sample and randomly placing them in songs like Diamond Handed and Chasing the Mirage. It’s an odd phenomenon, but not uncommon in modern mixes with compression where inconsistencies like this happen when a 5.1 mix is transferred to CD MP3s. I like dynamics, but I don’t think the weird low bass drops are purposeful. The mix on Universal Terrestrial is not my favorite; It sounds rushed and there are some really high frequencies that I would’ve leveled out, but maybe this only appears on certain formats. These issues are easily looked over, however and I am able to enjoy the record regardless.
Zenith is a hell of a unique record, and I hope it skyrockets Seven Kingdoms in popularity. There’s nothing quite like them in America right now, and I feel lucky to have them in my home country.
Highlights: A Silent Remedy, Love Dagger, Diamond Handed
So, 2022 is looking like a feast of tasty Metal fit for the Vikings of Iceland. 2020 was immense with some of the best Metal releases of all time, and 2021 was no slouch either, with too many special albums to name in one article. The past two years have been a testament of strength for any band. We lost many greats during and post-Covid. It’s been the most tumultuous time since the Cold War, and we had amazing releases in music during that time as well. These trials prove that the worst of times can cultivate the most beautiful and complex art.
I consider Metal one of the purest art forms. It has a Classical approach that requires discipline. These musicians in the genre have studies in Music and an appreciation for the highest technicality. The standards of the genre are set extremely high. These musicians, having backgrounds or interests that nurture a high technicality, can tap into a deeper emotion and even rich subject matters that show a vulnerability that Bach may even appreciate. This vulnerability and rawness of the music captivate even those who never expected to like Metal, in the first place. I have seen a great conversion of music fans to the genre of Metal just through the phenomenon of Reaction videos.
The first reaction to come from great tracks like Awakening by Unleash the Archers, Ghost Love Score by Nightwish with Floor Jansen, and Kingdom by Devin Townsend is pure emotion. Whether it is just pure shock, tears of greatness, or speechlessness from the sure speed, Metal is the best genre to grab people by their hearts. And, I believe this reaction is starting to become more common because Metal is continually raising the bar of quality and depth of content. Below is a list of songs released this year that prove there’s so much Metal to be excited about
Arch Enemy
After a long wait, the classic Melodic Death Metal band is releasing a brand new record July 29th. I am a huge fan of all things Arch Enemy, since the days Angela ruled the Legions, but the addition of Alissa White-Gluz and legendary Jeff Loomis has only amped me up. The band has already released four incredibly diverse singles. Sunset Over the Empire is a heavy throwback to long before War Eternal in the beginning with blast beats and chugging bass lines. It showcases Alissa’s signature amazingly low growls and perfect annunciation. Micheal and Jeff really have the guitars dialed in on this record and this track is a great sample of what’s to come on “Deceivers”. The lyrical content has gone back to the apocalypse, and I am living for it. Handshake With Hell is a crazy new catchy track with driving rhythms, but a surprising twist with absolutely brilliant power belting for Alissa. It’s one of the most dynamically interesting tracks they have ever released. I am obsessed with this particular song. It took me a while to warm up to it, “Clean vocals in Arch Enemy? This is just weird.”. Deceiver, Deceiver is another classic Arch Enemy track that’s got that Hardcore Punk rhythm that you find in classic Death and Thrash. Also, House of Mirrors is another incredible track that is a perfect mix of Modern Melodeath and classic. It is reminiscent of Nemesis, but screams Alissa’s usual dynamics. This album, based on three tracks, is going to be the quintessential Arch Enemy. It is one of my most anticipated albums of the year as I think it’ll be way more successful and interesting than the last album.
Full disclosure: I have been a massive Eluveitie fan for twelve years now. I am Scot-Irish and German, so I’m a sucker for Celtic-style music, but Eluveitie is my favorite Celtic band. They flawlessly mix Death Metal and Celtic folk based on ancient Gaulish stories. The music is truly as crazy as it sounds if you’ve never heard it, but it 100% works. It feels like forever since the release of my favorite Eluveitie record “Ategnatos” in 2019, and Aidus is definitely my most anticipated album of the year. Eluveitie is a band of multi-instrument virtuosos. There’s a mix of Metal with blast beats and Thrashy guitars, and a medieval Hurdy Gurdy, impossibly fast Celtic violin from Nicole Asperger, Celtic Harp, and anywhere from Alpine yodeling vocals to fry screams to belts from immensely talented Fabienne Erni, and tin whistles and mandola and eclectic bagpipes. Everything you hear in Eluveitie is played live. The arranging by harsh vocalist, writer, arranger, composer, and pretty much Gaulish all-father Chrigel Glanzmann is spectacular. The new single, Aidus (Gaulish for Fire), is a feat that Eluveitie has never done before. It is a new era of charged dynamics. It is as if Heilung, Myrkur, and Arch Enemy had a very heavy Gaulish baby. It has every aspect of classic Eluveitie, but on utter steroids. I won’t spoil the surprise for you, but check out the vocals from Fabienne Erni. It is unbelievably amazing. It has quickly become one of my favorite tracks by them. If Aidus is any indication of what this record has in store, we’re all going to need time off to be crushed by this record.
Xandria
As you already saw on this page, Xandria is back in the world with a new single Reborn, and a new singer Ambre Vourvahis. It was a complete surprise to fans a week ago, and a great surprise at that. Xandria has been one of the most consistent Symphonic Metal bands for two decades now. Due to poor management and a constant scheduling battle with singers being reportedly overworked, the band went into hiding and lost five members including Dianne Van Giersbergen. Now, Xandria has seemingly figured out their issues after a much-needed break. Reborn is an addictive rhythmic track that throwback to the Middle Eastern timbre of Xandria’s music. It is stunningly rhythmic, layered with choirs and echoing orchestral, and then beautiful vocals that range from sweet and sultry to growls to soaring operatic. Ambre has so much range and style dynamics. From what I’ve heard, she may be the most fitting singer the band has ever had. I hope Ambre is treated with the immense respect she deserves, as previous singers have received the utmost pressure to the point of health issues. If not, Ambre no doubt has the talent to go far beyond Xandria. I am hopeful that Xandria will have this lineup for many years to come, and that another ego in Symphonic Metal doesn’t squelch the talent of a female singer.
I am a huge Power Metal fan, so loving Helloween and anything they release is no surprise. Getting a chance to hear two of the best male vocalists of the past forty years on the same record; It’s impossible not to be excited about. Michael Kiske and Andi Deris have created these mesmerizing dual male vocals, mixing raspy and soaring screams. So far, it’s sounding like a classic late 80’s NWOBHM album mixed with a mainstream catchiness like that of Priest’s Turbo Lover. I have no clue what to expect from the rest of the record, but being Power Metal, it’ll probably be consistent in style. This brand has been pretty consistent since 1984 and the classic release of Keeper of the Seven Keys in 1987. Check out the latest single below, and let me know what you think of this decade of Helloween.
Lorna Shore
Lorna Shore has become one of the biggest and most talked-about Metal bands in the last two years. I never expected a Deathcore band to be on the charts in America, let alone most of the planet. Lorna Shore’s EP And I Return To Nothingness bore the epic and bombastic track To The Hellfire in 2021 that showcases singer Will Ramos’ insane grunt range. This song took the world by wildfire, converting millions into Deathcore fans. While I believe tracks like this only arrive once in a career, that doesn’t mean new tracks will disappoint. No specific word on a new album yet, but they releases Sun Eater last month. The new track showcases more epicness from guitarist Adam De Nicco, possibly this decade’s virtuoso.
One of my favorite bands of all time and great people, Seven Kingdoms, spent their spring killing it on Kickstarter to fund the print and release of 2022’s Zenith. This band has come farther than 99% of the bands out there. It’s a complete evolution from 2007 from a small Power Metal Fantasy act, to an absolutely thrilling Speed Power Metal band with one of the best singers I’ve heard since Ann Wilson. Sabrina Valentine joined the band in 2009, and I think the band has really found its sound since then. The EP Empty Eyes released in 2019 really showed this evolution flawlessly and skyrocketed the band to open for titans Unleash the Archers and Beast In Black. The band has a blue-collar shredding and down-to-business attitude with absolutely gorgeous vocals and 1980’s vibes, working their way into every crowd’s hearts they play to. “Zenith” is my most anticipated album of the year. Tracks like Empty Eyes, Diamond Handed, and Universal Terrestrial is heart-pounding and full of juicy layers (just like a good cheeseburger). It’s shocking how good this band is, and yet even more shocking that no one has ever heard of them. I hope this record skyrockets this band of genuine and talented human beings to the success they deserve. This will undoubtedly be the independent album of the year.
Swedish Melodic Death Metal Vikings have been pounding out incredible albums since 1992. But, the rise in Viking and Lord of the Rings popularity has served this band well in this new millennia. These guys play hard, fast, and with a passion beyond anything, I have ever seen. If there’s ever been battle-ready music, it’s written by Amon Amarth. Berserker in 2019 is possibly one of my top twenty albums (trust me, that’s a big deal). Listening to Amon Amarth’s music is a ritual for me and for the fans out there. It is not unlike Wardruna or Heilung, and yet the music is the complete opposite. It’s transcendent music that takes you to another place, maybe the shores of Iceland with Erik The Red screaming to row your ass off as crows sit upon the boat’s edge. The new track “Put Your Back Into the Oar” is a perfect example of this sound. But, this time we’re rowing our journey to the shores of Great Britain to invade the powerful catholic Englund. I imagine you could watch Vikings whilst listening to this record and have the Viking experience in your own home. “Get in the Ring” is an absolutely sinister track with a more classic Amon Amarth sound than Berserker. The dueling guitars chime in, and I am transported to the 90s where Thrash still reigned supreme. “The Great Heathen Army” is sounding to be an eclectic mix of everything Amon Amarth. It is out on August 5th with Metal Blade Records. It’s a long wait, but always worth it for these guys.
Texas Doom Metal band, Oceans of Slumber have made a unique cornerstone in this Avant-Garde Soul aspect that the world has simply never heard before. It’s old-school Doom and old soul Blues, but such a new take on Metal. Once I heard the first album, Winter, with Cammie Gilbert I was swallowed in this gloomy and moody aesthetic. She is a poet, a songstress, and one of the most unique voices I have ever heard. She captures you like a siren wading up on the shore. Underneath her sultry, emotional, and even belting vocals is a million layers of sound from an eclectic mix of influences. There are blast beats, Death Metal finger bass, howling guitars with delay, intense and passionate piano composition, and driving rhythm guitars. It’s incredibly difficult to put this band in a genre box, and they refuse to be pigeonholed. The New album, Starlight and Ash (out July 22nd), is even different than Oceans of Slumber (self-titled) in 2020. It’s even more Doom-centric with Texas Rock and Soul-laden throughout. It’s an album of a lifetime. Check out the two new singles below.
Dark Sarah
The symphonic Gothic Metal band led by genre veteran Heidi Parviainen is coming back in 2022 with another bombastic album Attack of Orym. The group has put out concept albums that may even make Tuomas Holopainen of Nightwish cry. Every Record this band puts out is a brilliant Symphonic Rock album in the making. This band begs for a full orchestra, choir, and theatrics in a live setting. It’s certainly not for your average Metal listener, but its quality outweighs the ridiculous stigma against Rock Operas. Heidi’s voice is incredibly smooth and light, dancing upon the melodies and the rhythmic chugging guitars. Attack of Orym is a “cinematic Metal” album crowd-funded to 108% on indiegogo.com. It combines orchestral with a horror-themed story. There’s not much more on the album yet, but I bet my ass it’s going to be epic.
Devin Townsend, the creative Progressive Metal madman from Canada, has been working on a project called Lightwork for nearly two years. And when Devin has too much time to think about a project, you know it’s going to take longer than he anticipates. Though, his projects are always worth the wait and reading convoluted descriptions of said projects. I love Devin; He’s undoubtedly my favorite artist of all time. He is a genius and a virtuoso far beyond any normal standard. Empath, released in 2019, was a proving ground of soloist measures for Devin after disbanding DTP. Empath was a concept that was larger than life, big picture themes, along with enormous layers of sound. It is one of the craziest albums I have ever heard and I love everything about it. It was 100% unfiltered and untamed Wild Canadian Boy on speed. But, I truly believe Devin is at his best when he is challenged and dialed back by a producer. This second voice shunts Devin’s perfectionism and musical neurosis, allowing him to relax into the music and not overcomplicate the sound to live up to his unrealistic expectations. Transcendence, produced by the incomparable Nolly Getgood, was an exemplary example of this. However, I expect an even greater example of Devin’s music.
Lightwork, from what I gather, is going to be a mix of Epicloud, Dark Matters (disc 2 of Z2), and Empath. It is going to be heavy, but more friendly and entry-level than Empath. It sounds interesting. I have yet to hear any clips from it or get any succinct descriptions, but I expect it’ll be pretty Riffy and Vocal-centric based on the information Devin has given out. We shall see what he conjures up this time. Out in September
I used to be an avid fan of the newer genre, Symphonic Metal. I foamed over bands like Epica, Delain, Within Temptation, After Forever, Stream of Passion, and the older catalog of Visions of Atlantis and Amberian Dawn. I truly believed that this was the world’s best music. I thought that these bands contained the best musicians since Bach, Beethoven, and Tchaikovsky. I grew up listening to classical music, even taking classes and studying music theory. Symphonic Metal piqued these roots and moved me more than most music ever had before. I saw Epica live in 2012 and it led me to start this blog and explore Metal in depth. I’ve seen Nightwish, Delain, Xandria, Epica, and Within Temptation and it was an absolute blast to experience. Symphonic Metal didn’t keep my interest much longer, however. I became entranced by the sheer raw power, speeds, and lack of backing tracks of vocals of Power Metal.
I gave up on a lot of Symphonic Metal, finding that new bands were contrived and new releases formulaic or boring. I love the classics still, but my attention and admiration have gone to other genres. You can imagine my surprise when hearing the first single from “Pirates” by Visions of Atlantis. Legion of the Seas blew me away. I had written this band off originally due to vocalist changes that disheartened me, and I quickly learned I made a mistake. Visions of Atlantis bring Symphonic and Power Metal together with gooey cheesiness that I love. Pirates convinced me Symphonic Metal isn’t dead. This is the best record of the genre since Dark Sarah’s “Grim”.
Visions of Atlantis pulls out all the classic Symphonic aspects, mixing with Clémentine Delauney’s Classic Soprano vocals, and Michele Guaitoli’s Power Metal belts and perfect vibrato. “Pirates” is straight out of the realms of Nightwish and Blind Guardian. While not a groundbreaking or immensely innovative album (Pirates and Metal go together like green chili and burritos), is it a fresh new take on an inundated genre. It is epic and exciting beyond the usual keyboardist egoist-ridden records with long pointless interludes. “Pirates” melds rhythmic driving riffs and drums with all-consuming melodies. It flows effortlessly between power and airy piano. Catchiness is also a huge factor with tracks like Melancholy Angels, Legion of the Seas, Clocks, and Master of the Hurricane. Interesting Folk touches like flutes and horns come into play, breaking up the Power Metal instrumentation. But, it is not over-saturated with layers, leaving room for two brilliant vocalists to thrive. The harmonization is spectacular, some of the best I’ve heard. This album has everything the Symphonic Metal fan desires, but can also cross over into the Power Metal head’s realm of battle music. There’s something so reminiscent of Hans Zimmer, which is ironic because he wrote the soundtrack to the brilliant Pirates of the Caribbean. This album ticks so many boxes for good Metal.
“Pirates” surprised the hell out of me. It has restored my faith in the Symphonic Metal genre and even brought me back to listening to it again. It’s unpretentious, playable live, and brings a new dual vocal style that I haven’t heard since Floor Jansen first joined Nightwish. It’s a familiar sound, but so refreshing to me. I’ve liked newer Epica releases, Illumishade’s debut, Dark Sarah, and Ad Infinitum, but “Pirates” from VoA is a marriage of sound I’ve been dying for. They delivered on every aspect I critique albums on; Emotion, execution, instrumentation, repetitiveness, movement, lyrical themes, and notation. It deserves an even more positive reception.
Metal Valkyrie 