This ninth album sort of marks a twenty year anniversary since Leaves’ Eyes’ first album, ‘Lovelorn’, was released in 2004 and since that time they have spearheaded the symphonic metal genre and spawned the creation of hundreds of other bands that have been influenced by them. The band has always amalgamated straight heavy metal riffing with symphonic structuring to such a degree that you can virtually identify them instantly from any of the songs they have written. The only negative factor I can assign to the band is the constant revolving door members that may have plagued the band but not hindered the actual output helmed by the exceptional talent of Alexander Krull, who has his irons in practically every aspect of the bands history, whether artistically, sonically or on the engineering side.
I have followed Leaves’ Eyes since the inaugural debut some twenty years ago and since that time I have been honoured to see the band numerous times and have always been impressed by the sheer professionalism and dogged determination to succeed from a band that is one of the hardest working on the metal circuit. Like previous albums Leaves’ Eyes explore various historical topics but this time they have branched into Eastern European themes as their rich tapestry of sonic education shows no signs of running short of ideas. Previously when I reviewed the band’s ‘The Last Viking’ album I hinted that there was a channelling into more commercial catchy realms and this is extremely applicable to ‘Myths Of Fate’ as I feel the whole release is as balanced and cohesive as any album the band has previously released. I’d go so far to say it is potentially the bands best to date.
Opener ‘Forged By Fire’ typifies what Leaves’ Eyes are about, sumptuous orchestration laden with grandiose catchy riffing set against the wondrous vocal tones of Elina Siirala who I think has produced her best performance to date. With her soaring vocals enhancing everything this album has to offer you are left in no doubt that the ghost of the bands previous vocalist have been firmly laid to rest. I couldn’t find a song I didn’t like as it continues with the folk tinged ‘Realm Of Dark Waves’ replete with catchy chorus breaks you can sing along to. There is a hint of melancholy to the song too something the band has always had in their songs to some degree but here it is subtly ingrained into how the track is delivered.
‘Who Wants To Live Forever’ is a fine composition, its calm piano opening with orchestration is delicately executed before the masterful metal inserts itself. Again it has a slight morosity alongside the massively catchy chorus as you can feel the cohesion the album has as it flows from one song to another. Ominous and slightly less upbeat we get ‘Hammer Of The Gods’ as the lingering vocal line adds passionate potency and contrasts with the more folk like ‘In Eternity’. The anthemic drive of its initial soaring vocal line surrenders to leave Elina’s vocals and a tribal like drum pattern. The song is very sorrowful, but not ballad like, its melancholy is soaked in uplifting atmospherics courtesy of Elina but also the excellent guitar work. I have not mentioned Alex’s vocal contribution yet and as always his deep resonating tones add a layer of texture to the songs you either love or loathe within the band’s music. Strings adorn the opening of the superb ’Goddess Of The Night’ where the vocal softly interjects, as here we get an almost ballad styled song and it is songs like this that Elina really stamps her authority on the album.
Rousing with bombast is ‘Sons Of Triglav’ the deeper vocals chant precedes the much denser riffing the band is renowned for allowing Alex’s vocals to take full focus and is bolstered by one of the albums finest lead breaks, something we have in droves throughout the whole listening experience. With an isolated vocal opening ’Elder Spirit’ is typical of the band, saturated in musicality and ornate arrangements the song is supremely catchy but steeped in sadness created by the mournful vocal display but also the much darker riffing style. Massively folk inspired ‘Einherjar’ is hugely upbeat and I suspect this song will be aired live when they hit our shores this month, I sincerely hope so. Closing the album is ‘Sail With The Dead’, where percussive elements are blended to choral vocal arrangements and orchestration. It is highly dramatic due to the orchestration as I feel this aspect of the band has been especially focused on the release making the whole album that bit more luxuriant and epic. It is a majestic track to conclude the album with as the alternating vocal styles offer deep contrast amidst the songs very melodic foundation.
I am always surprised and thrilled when Leaves’ Eyes release a new album, but with this ninth full length they have really pulled out all the stops to unveil possibly their finest and most accessible album they’ve ever released.
(9.5/10 Martin Harris)
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