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Many things have happened to Visions of Atlantis during the last three or four years: the release of one of the most controversial metal albums of all time, "Cast Away" (I think it's good, but a lot of people completely disliked the new symphonic-metal idea that the album offered), the departure of their female vocalist Nicole Bogner (finally they got rid of her lack of experience) and the announcement about the new female vocalist's identity: the highly-talented and experienced Aesma Daeva's former singer Melissa Ferlaak. More than one must have been surprised about this, maybe because Melissa was already a very prominent singer of the genre.
Of course, it also meant that a new album was coming soon. This was confirmed some time later: yes, a new album was going to be released, and its name would be "Trinity". When the day of the release finally arrived, I think that a very big number of people doubted about buying the album, probably because of Cast Away's remaining portents. But I acquired it recently (it took me months to find it in this city), and when I first listened to it, I almost passed out. I said: "This can't be Visions of Atlantis. Or, at least, it can't be the old Visions of Atlantis".
The album is completely different from what the band has released before. It's not only the new female singer, it's the entire music! The band changed from the "sweet" symphonic metal style they played back on their early days to something more mature, more powerful, and more symphonic. "Trinity" was the album that made the difference and that cleared the gray skies that followed the band after "Cast Away".
For many people, the orchestra may look like "repetitive" through the album. For me, it's not like that. Every song is different from the others, and only the references to the seas and oceans unify them. Because of that, it can't be talked about a chronology or a concept.
Eleven songs, most of them as good as the best symphonic metal songs of all time, appear in the album. But their order is peculiar: seemingly they are randomly listed, but if we pay attention we can notice that the speed of the album goes from top to bottom and vice versa very often and surprisingly harmoniously.
Of course, "Trinity" is not a complete departure from the old Visions of Atlantis. The vocals are still equally shared, this time between Mario and Melissa, except for a couple of songs where Melissa sings entirely alone.
There are may outstanding songs due to its quality and style, and they are: "At The Back of Beyond" (the first song of the album, powerful and very symphonic, an excellent beginning), "The Secret" (one of the two songs whose lyrics were written by Melissa; this one is an excellent song with a good appearance of the orchestra), "The Poem" (a beautiful slow and symphonic ballad, the longest song of the album), "Return To You" (the other song written by Melissa, a sad ballad, and the slowest song of the album), "Through My Eyes" (if you want something that you're used to, forget it with this song: the verses are performed by both vocalists, and the chorus is leaded by Melissa and backed by Mario; the vocal order is completely inverted) and "Seven Seas" (the best song of the album indeed, one of the closest songs to perfection that I've ever heard).
Conclusion: The album is excellent, too much better than the other two albums, musically and spiritually. But maybe this is the last album with this wonderful sound, because the "Curse of Female-Fronted Bands of 2007" (that had already reached Tristania and Sirenia) also reached Visions of Atlantis: Melissa and Wolfgang (the other then-new member of the band and Melissa's boyfriend) are not part of the band anymore. How sad.