Immemorial

In the early 2000s, female vocalists in symphonic metal bands began shifting away from traditional operatic singing in favor of a more rock/pop-oriented vocal style, marking one of the most significant evolutions in the genre. Nowadays, pure soprano vocals are a minority in the symphonic metal scene, and the lines between symphonic and modern pop metal are becoming increasingly blurred. While some may view this trend as a loss, it is hard to deny that albums such as Nightwish’s Century Child (2002) or After Forever’s Decipher (2001) found a beautiful balance between the austere and dramatic nature of operatic metal and the accessible melodic approach of rock and pop.

On Immemorial, the sophomore album of the young Irish band Ravenlight, singer Rebecca Feeney achieves this same balance, transporting the listener back to the early 2000s when symphonic metal was still a burgeoning genre. The album is a treasure trove of references to the metal sound of those years, from Michał Bugajski's powerful, fast, and straight drumming in typical European power metal style, to John Connor's guitar work, which harkens back to the roots of the instrument, delivering an impressive amount of muscular riffs and plenty of melodic leads. In fact, the guitar lines define the melodic identity of the songs on Immemorial as much as Feeney’s vocals do, which is rare in contemporary symphonic metal where guitars often play a more secondary role. While Connor also plays piano and keyboards on the album, he uses these instruments with moderation to add symphonic texture to the songs, rather than making them predominant elements in the arrangements.

The arrangements are instead kept simple and, to some extent raw, providing an ideal backdrop for Rebecca Feeney’s mesmerizing performance. She excels both in technique and emotional expression, displaying impressive control and a remarkable low register that adds weight and gravitas to her singing. The transitions between operatic and powerful rock vocals are seamless and a major strength of the album.

While the preceding paragraphs may suggest that Immemorial is a record rooted in the past, with its nostalgic feel being its main appeal, Ravenlight are not simply looking back. The band also push forward by integrating interesting influences into the traditional European symphonic power metal sound. Songs like "Masque of Red Death" and "Left Behind" are darker and moodier than your typical power metal fare, incorporating occult rock influences that bring to mind bands like DOOL, Purson, or Avatarium. Feeney plays a significant role in this, partly because her voice reminds me of Avatarium's singer Jennie-Ann Smith, but also because her performance is particularly spirited, almost messianic, on these tracks. These songs, along with the outstanding heavy ballad "The Maze" and the more up-tempo "Reflections", are the strongest on the album and suggest an intriguing potential future direction for the band's sound.

Turning to some less positive aspects of the album, its tracklist suffers somewhat from the inclusion of slightly blander songs, particularly in the middle of the LP (“Spirit of Life”, “Paper Ships”, “Rain”, “Spiral”). Additionally, the production is subpar, with an unbalanced mix that often overwhelms other instruments with Feeney's voice. The drum sound is particularly thin, which is unfortunate because the music would benefit from a beefier rhythmic backbone. There is also a lack of polish in the recording and production, which is most noticeable in John Connor's solos. Don’t get me wrong: his rhythm guitar work is fantastic. However, his solos are somewhat lacking in melodic sense and fluid playing (“Reflections”).

Despite these limitations, Immemorial is a strong album that will appeal to a diverse range of listeners. Fans of early Nightwish and traditional European symphonic power metal will enjoy it, especially if they're seeking something less pop-oriented than most contemporary symphonic metal releases. However, Immemorial is more than just retrogressive symphonic metal and may resonate with metalheads who enjoy occult rock and even female-fronted progressive rock.

[Originally written for The Metal Observer]