If you bought Leaves’ Eyes last EP ‘The Black Butterfly’ in December of last year then you will already have a good idea as to what this full length sounds like. Indeed Leaves’ Eyes affection for Nordic sagas continues with this gargantuan sonic chronicle that conceptually surrounds itself around Norway’s King Harald III also called Hardrada (The Hard Ruler) who was in fact killed in the Battle Of Stamford Bridge which was led by English King Harold Godwinson, even though his victory was short-lived as he was defeated three weeks later by the Normans at Hastings. Interestingly this historical event is studied in English schools in some detail at GCSE level as the band tackles the Norwegian King Harald in great detail through 14 bombastic and infectiously addictive songs after scouring many books to keep this album truly authentic in its content.
Since the departure of founding member Liv Kristine and the arrival of her replacement Elina Siirala the bands dynamics have changed ever so slightly with more streamlined songs for the most part, catchier choral breaks and pulsing songs that capture the bands bouncing vitality in the live environment (remember those days). That’s not to say the band didn’t write catchy songs with Liv, of course they did, but this new album completely embraces that side of the song writing and immerses the listener within the sphere of medieval upbeat jollity but backed up back by more soulful linkages that imbue this album with bristling morphing dynamics. The moment the album kicks off with the dramatic intro styled ‘Death Of A King’ there is that epic texture as Elina’s haunting tones permeate the mix along with the symphonic backing that bursts into ‘Chain Of The Golden Horn’ with its rousing riff base and galloping pace. The backing choral vocals work a treat even though I’m not a fan of the woah woah style generally. Elina is in top form and any doubts that she cannot do justice Leave’s Eyes ethos are dispersed as she stamps her authority on this album entirely.
‘Dark Love Empress’ is a morose piece initially with piano work creating a sombre aura before the surging choral vocals and symphonic texturing. Again Elina indelibly marks the song with her mournful toning as the guitar work channels into an epic riffing style with expansive strains. Gothically enamoured ‘Black Butterfly’, which fans have heard previously on the aforementioned EP, has a sadness on its opening moments before the track erupts forth beautifully. The bands catchy vibe manifests fully here, boasting guest vocals by Clémentine Delauney (Visions Of Atlantis) and continues into ‘Serpents And Dragons’ as the song channels its energy via double kick that is enhanced hugely by the enveloping vocal arrangements. Embedding the deeper vocals by Alex has always been a facet of the band as his rich dense tone adds weight to the song but in truth, and I’ve said this before, it isn’t needed, but I understand why for the contrasting nature.
‘War Of Kings’ and ‘For Victory’ couple together sublimely, truly absorbing and massively anthem driven the pairing is grandiose. The former being having an overriding density with punchy riffing and the latter unveiling a majestic symphonic opulence via the opening string arrangement that is utterly addictive, especially with the melodic guitar hook that infests the song, as the switching guitar riff leads into a cracking straight metal vibe. Distinctly atmospheric ‘Serkland’ with its horn and string arrangements has folk like touches that are peppered throughout the release as a whole, but it is Elina’s infectious bounce on the vocals that really catch the ear, her soaring capacity is stratospheric as Alex plunges the tone down when he inserts his line.
Like the last couple of albums this one contains a mammoth composition in the form of the title track, a ten minute extravaganza that encapsulates the whole ethos of Leaves’ Eyes, a truly epic construct that begins with an ominous dramatic sequence and deep horn like sound, producing a foreboding sign of what’s to come. A sort of sonic foreshadowing to some extent as to the songs potential as those horns sound like a call to battle, as a mournful vocal comes with brief drum work before a slow desolate guitar riff. The song is oppressive initially producing a build-up flavour that is layered until Elina drifts hazily into the mix. The alternating deeper vocals work well here, creating that sense of theatre, a grandiosity as the song delves into acoustic posturing accompanied by tribal like drum work and pagan styled vocals in the background. I can just see this song live with the lavish stage set up as the song unleashes a cool riff and surging change in tempo. Tuneful and bursting with energy the track pours sumptuous lead work on the listener alongside the excellent choral vocals as the song again switches mood for a grating riff base that takes the song towards its elaborate energised finale.
In some respects you’d expect that epic title track to be the albums conclusion, but no, the album finishes with the morose doom laden ‘Break Into The Sky Of Aeon’ a far more sombre offering with doleful vocals and string adornments. It acts as a total contrast to the preceding songs and sends your mood plummeting down with its solemnity and is a fitting conclusion to the saga surrounding King Harald III.
(9/10 Martin Harris)
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