Soprano. For many it will conjure up images of James Gandolfini collecting his newspaper in suburban New Jersey. Or Dame Kiri Tikawana warbling over an introduction to a Rugby international. For me, the word evokes images of Bianca Castafiore the “Milanese Nightingale” owner of an astounding emerald and pursuer of Captain Haddock’s loins in the Tintin tales of Herge’.
“What the fudge does this have to do with this review” you cry? Well Enemy of Reality from Athens , are fronted by Illiana Tsakiraki who possesses a powerful soprano. You may have heard her vocal talents on “The Great Mass” by Septic Flesh. Indeed, Christos Antoniou from SF composed the cinematic intro Medusa for “Rejected Gods”.
Enemy of Reality have been around since 2013 and are rounded up by Steelianos (guitar) Marianthe (keys) Thanos (bass) and drummer Phillip Stone. Illiana has appeared twice at Metal Female Voices Fest (just rolls off the tongue dunnit?) so you know she has the pipes for those that dig it.
I will start off by saying that Soprano vocals are not my favourite in metal. I can appreciate the talent but once the high warbling begins, blistering barnacles, I am with the Captain.
First track proper My Own Master featuring Mike Lepond from Symphony X is marred by awful production. It sounds like there is a large snake hissing in the background during parts of it and the keys are much too high in the mix – almost drowning the vocals, which surely are the focal point for a release like this. Illiana can certainly sing but the production spoils the symphonic feel.
Lifeless Eyes works better for me with a good cinematic feel and toned down keys and more accessible vocals. Fans of symphonic metal with operatic vocals will probably lap up every note of every song – so like the Dummies books – this is a guide for the rest of us.
Needle Bites has sections that sound like the chorus key on a cheap Casio keyboard. The syncopation reminds me of a third rate goff act from Battley. The keyboard sound throughout the album is not great – a more organic sounding “voice” on the keys would have enhanced the sound. The one Marianthe uses tends to pierce the tracks like an acid green latex dog collar on a black leather outfit. Ailyn Giminez from Sirenia guests on this which will excite fans of the sub-genre.
One Last Try gives Steelianos a chance to show off his chops and he unleashes a solo which is pretty good then it is back to the battle between the warbling and the keys . In this track, by the last 20 seconds Illiana’s vocals are hurting my ears and my appreciation of the metal they accompany is gone.
Her Descending Ghost is next with more of the same. Marianthe unleashes a twisted circus feel with her key line in this track, which works well and there is an air of the supernatural about it. I am able to accept that the vocals are not my cup of Darjeeling and listen to the track with some subjectivity. This track tells its story well and is reminiscent of King Diamond in its structure if not its execution.
The Bargaining features Androniki Skoula of Chaostar – a side project of Septic Flesh. The interwebs tell me Androniki is a mezzo soprano. Every day is a school day. Her voice certainly seems to compliment that of Illiana. Most interesting on this track, is the use of male rasped death vocal . This gives the track an added texture and works well. The riffs seem to toughen up as well on this track. It is more accessible for people outside the symphonic niche and could serve as a good taster. The keys sound epic and the drums keep things driving like a handsome cab through driving rain!
Grief Divine follows and I don’t know whether the arrangement is different or my ears have just adjusted but I am starting to enjoy this. The solos twist and turn interwoven around the vocal line with the rhythm section and keys holding my hand as I walk into the labyrinth. (Hey I think this is part of a 4 track sequence based on the Greek myth of Orpheus and Eurydice so allow me some classic metaphors please) .
The Intro to Torn Apart reminds me of Tetris. While I am busy trying to move coloured blocks about in my mind, the bad are getting going again. This song is ruined by the keyboards !” Utterly. Why oh why have they put something that would have sounded great on Horace Goes Skiing on the ZX 81 onto this track. I can’t listen to it! Gah!
Twist of Time is better and brings me back on track. Final track Step Into the Light features Maxi Nil of Jaded Star, ex Visions of Atlantis. It’s a ballad. Not a good one. The heavily accented English grates on my ears. I think use of the native Greek of both women would have been better . A sputtered firework at the end of this unremarkable album. And, like a failed firework, I will not return to it.
(5/10 Matt Mason)
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