Back in 2013 I reviewed Edenbridge’s “The Bonding”, for these hallowed pages and I stated that I had heard many Edenbridge releases, didn’t really gel with them and wasn’t really sure why. I’ve become kind of the go-to guy for Symphonic Metal on Ave Noctum and I really SHOULD like their albums…but I don’t. I have since begged our esteemed Editor to ask the other writers to see if anyone else would like to review them, and for the band’s last two albums Andy Pountney admirably stepped up and intelligently put into words what I had been trying to get across previously, whilst arriving at pretty much the same conclusion about the band as I have. So now the wheel turns full circle, and it’s up to me to once more to give the band another try, to challenge my own preconceptions and to try to embrace Edenbridge 2022.
In all honesty, I’m well aware that Edenbridge couldn’t give a rat’s arse whether any of us heavier-inclined Metal fans like them or not. And why should they? Plenty of other people love them, but I have my own personal hang-ups to confront, so I vowed to persist and approach this album from a fresh standpoint. There’s no denying Edenbridge’s musical class and pedigree, so let’s start there. Back in 2000, Nightwish released “Wishmaster” and Edenbridge weighed in with their debut “Sunrise in Eden”. The two albums weren’t a million miles apart in style with Edenbridge able to spin a better melody due to the softer, lighter, more rounded vocal delivery of Sabine Edelsbacher, who thankfully chose not to tread the soon-to-be-well-worn operatic vocal direction. Together with other founding member, guitarist Lanvall, they set the band on the musical path that they’ve not really deviated from since. Edenbridge should be applauded for this, they’ve stuck to their guns and got classier and more polished with each successive release.
They are assured enough in their style to open the album with an 8 minute epic, which will thrill existing fans and, as always, makes me think that this album will be a heavier, more powerful release than the last – but I’ve been lured in before, and I know this will be an album for Edenbridge fans, as well as fans of the more melodically orientated side of Symphonic Rock/Metal, which of course it is, but as the album develops, there appears to be a little more on offer. Edelbacher’s voice is so suited to the lighter side of Metal/Rock and she is truly excellent throughout, as always, especially on ballad-inclined songs. But the opening riff on ‘Freedom is a Roof Made of Stars’ for example, show that the band are still adept with dealing in light and shade, but in a subtle way, and just starting from a lighter area and going less shade-wards than others might.
As I found myself just about to embark on the 16 minute album’s ending crescendo (featuring great guest vocals once more from Eclipse singer Erik Martensson), I realised that I hadn’t had to endure a single dreaded Disney-style ballad that I hate so much (though ‘The Call Of Eden’ treads a fine line…). So obviously, I played the album again (surely I’d missed the ballads somehow?) and I enjoyed it again, appreciated the heaviness of ‘Hall Of Shame’ once more, as well as the nice use of flute on ‘Savage Land’ and although there’s plenty of ultra-melodic choruses, there’s no sickly-sweet ballads! It’s been 3 years since “Dynamind” and it’s been time well spent in the writing department for the band. This is a dynamically balanced album, yet at the same time more varied than others, which I think really suits the band. It is, actually, a little heavier and it will be interesting to see what the band’s existing fanbase makes of “Shangri La”, because personally I think it’s Edenbridge’s best album to date.
(7/10 Andy Barker)
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