Diabulus In Musica are a female fronted Spanish symphonic Metal band. Unusually for one of Napalm Records’ recent signings, they have no pretensions to wearing chainmail. Pretensions they do have in abundance, but involving flowing dresses, the supposed virtues of opera, and orchestras. Diabulus In Musica (“the devil in music” – a classical reference, tediously), would really really, like to be Epica.
In terms of power they have the edge over femme fronted pseudo-orchestral supposedly gothic classical-oriented Power Metal bands. The thrashiness evident on this, their second album, distinguishes them from the sickliest of their ilk, the ever-vapid Within Temptation and arch fakers Evanescence. Although Diabulus In Musica do not demonstrate the remotest wisp of originality, they have a huge asset in lead vocalist Zuberoa Aznarez, whose voice and presence effortlessly carries ‘The Wanderer.
As many a mad scientist has noted immediately prior to his messy demise, the drawback to cloning is that defects in the original are magnified in copies. In importing chunks of of Epica’s DNA, Diabulus In Musica paired operatic female lead vocals with a death metal vocalist. This actually doesn’t do much for Epica either, but where Epica’s grunting is merely crap, Diabulus In Musica’s argle blargers (Adrian Vallejo on “harsh” and Gorka Elso on “death” according to Encyclopedia Metallum – the band boasted about the London Philharmonic on their site but forgot to identify themselves) are a duo of dismal dolts dedicated to disaster. Where Aznarez’s trilling supplies the ethereal, mystical quality this type of music requires, Elso and Vallejo are channeling The Cookie Monster. Their witless interventions are a terminal blight on the album.
Although execrable as vocalists, Elso and Vallejo have other uses. As guitarist and keyboard player respectively, with Alex Sanz on bass and Xabier Jareno on drums they produce everything you would expect from a band copying Epica. “The Wanderer” soars euphorically, stomps angrily, widdles and diddles and occasionally rambles into mawkish whimsy. With strings, orchestras, choirs, and a Metal band lurking beneath relentless layers of production, the sound is huge. At its best “The Wanderer” is epicity on a stick.
“The Wanderer” starts with haunting keyboards, before heading straight into “Ex Nihilo”. Aznarez is immediately into the action, following a strong verse with a full-blown opera chorus, reminiscent of Tarja Turunen. It is exultant, exuberant stuff, this kind of music at its best. This is followed by “Sceneries of Hope”, which could have been lifted from “My Winter Storm”, keeping the album on a dramatic high.
“Blazing A Trail” commences with twin lead guitar and Aznarez starts to do her stuff. Here finally though, “The Wanderer” begins to founder on the rock of Elso andVallejos’ vanity. In answer to Aznarez’s wailed introduction, they supply a pair of gargling orcs for the verse. “Argle grishnakh hruk!” they proclaim in the dark tongue. The band restores order with “Hidden Reality”, a restrained prog-ish track finishing stupendously on an opera high note.
Then things go off the rails. “Shadow Of The Throne” boasts an impressive Sepultura-ish stomp, but with no Aznarez, and Elso and Vallejo apparently attempting a tribute to Oderus Urungus, the track is a disaster. The atrociously named “Allegory Of Faith, Innocence And Future” (I said they are pretentious), pairs Aznarez with some classical guitar, and features an opera mid-section before another orc chorus.
“Sentenced to Life” by contrast, is a well executed ballad featuring a duet between Alznarez at her most sweepingly gorgeous, and a good male vocalist. It is reminiscent of Within Temptation at their best.
“Oihuka Bihotzetic” again shows opera vocals before some dreadful Death Metal, and “No Time For Repentance” again shows that Diabulus In Musica do heaviness so very badly. Only Alznarez and a choir distinguish it from a thousand teenage death metal acts.
The album ends on a high with the title track, a restrained Spanish guitar piece. Serving as a reminder of Diabulus In Musica’s strengths. It is needed after several songs playing carefully to their weaknesses.
“The Wanderer” contains some very good songs. “Ex Nihilo”, “Sceneries of Hope”, “Sentenced to Life” and “The Wanderer” show that Diabulus In Musica at their best can rival giants of the genre. Conversely, on the heavier tracks they are barely average.
The band’s biography shows they are well supported by Napalm Records and veterans of impressive support slots with Saxon, Immortal and Manowar. There is evidently an appetite for their music, but the question it not if they have the ability to capitalize, but whether Aznarez and Elso s’ vanity will allow them to.
The key is Zuberoa Aznarez. If they concentrate on writing around her vocals Diabulus In Musica might do great things. They also really need Aznarez and Elso to stop singing completely.
Guys – I think she’s got this.
(6/10 Graham Cushway (1 point docked for inept death metal vocals))
08/02/2012 at 5:32 pm
Well said. I felt this was a big step up from their last effort but still pretty average stuff on the whole. My review was probably quite favourable because in comparison to the Xandria it’s much better.