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[7.5/10] The Czech Republic isn’t all that well known for producing many metal acts, but that’s not to say that it doesn’t contribute some, with Limb Music Products’ latest signing up of Symphonity evidence of that.
Formerly known as Nemesis before reshuffling their line-up and being forced to change their name (although they did manage to release Goddess Of Revenge on the Italian label Underground Symphony in 2003), guitarist Libor Krivak and bassist Tomas Celechovsky set about rebuilding the band, and duly secured ex- Dionysus/Luca Turilli vocalist Olaf Hayer into their ranks, alongside keyboardist Ivo Hofmann and now-current Cradle of Filth drummer Martin Skaroupka to form Symphonity.
As you would expect (especially given the label they’re on), Symphonity play symphonic power metal, with Voice From The Silence being their debut full-length offering. And while there’s precious little under the sun that hasn’t been done before within the symphonic power metal scene, I’ll concede that Symphonity manage to impress with their debut effort.
After the rather short introductory track “La Morale Dell’ Immorale,” the band get the album off to a flying start with a brisk pace with “Give Me Your Helping Hand.” It’s clear that while there’s a strong Stratovarius influence within the band, the musicians certainly know their way around their instruments, while Hayer is a more than capable vocalist with his strong melody lines.
Both “Gates Of Fantasy” and “Salvation Dance” are as every bit as energetic as the opener, while the slower tempos in “Bring Us The Light” and the more rock based “Searching You” adds a little more variety to the overall album.
Of course, no symphonic power metal release is without its epic, and Voice From The Silence is no exception with the three part “The Silence” making up most of the middle third of the album. Beginning with an instrumental piano suite (“Memories (Part I.)”), “The Silence” then drifts in a progressive heavy middle section (“In Silence Forsaken (Part II.)”) that incorporates huge operatic vocals amongst its symphonic framework, before finishing up with the spoken work “Relief Reverie (Part III.).” As strong as the other songs are on the album, “The Silence” is definitely the stand-out track.
“Evening Star” is by far the fastest track on the album, but is thankfully broken up with some classical influenced sections, while the short piano instrumental “Afterlife” finishes up the album. Although uncredited, Symphonity close out the album with a cover of Nena and Kim Wilde’s 2003 hit single “Anyplace, Anywhere, Anytime,” which is actually not a bad version.
Although far from original, Symphonity’s debut effort is a great album in terms of its songwriting and performances, which will no doubt serve the band well in the future.
www.symphonity.com
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