Released By: Napalm Records
Release Date: November 10th, 2017
Genre: Symphonic Power Metal
Capri – Vocals
Tuomas Seppälä – Guitars, Keyboards
Emil Pohjalainen – Guitars
Jukka Hoffrén – Bass
Joonas Pykälä-aho – Drums
1. I’m the One
2. Skies Is Falling
5. Golden Coins
6. Luna My Darling
9. Breathe Again
10. Symphony Nr.1, Part 2 – Darkness of Eternity
Finnish symphonic power metal band Amberian Dawn has long been one of my favorites in the genre, but at the same time, I’ve always felt they had potential to be even better than they are if they could just be a bit more consistent with their songwriting quality. They’ve released some excellent albums in the past, to be sure, with 2009’s The Clouds of Northland Thunder, 2011’s Circus Black and 2015’s Innuendo being my personal favorites. However, I find even their best albums always manage to fit in one or two tracks that don’t quite do it for me, as the band often goes for some oddball tracks, some of which deliver big time and end up as major highlights, while others fall flat and end up stalling momentum on their respective albums. I’ve said all this to say, out of every album Amberian Dawn has released so far, Darkness of Eternity, their seventh full-length release, and one I was highly anticipating, is easily their most frustrating, inconsistent release to date, with some tracks that match their career highlights, while others simply feel odd and out of place on a metal album, and it all makes for a release where you can have songs placed together that conflict with each other and are so strikingly different, it feels like you suddenly switched to a different album. With all that being said, the high points of the album are good enough to make it easily worth enduring the low points, and it’s still a quality album overall, but it’s also incredibly frustrating.
Every Amberian Dawn album to date has a had a mix of different styles, ranging from speedy symphonic power metal with excellent guitar riffs and epic keyboard solos, to slower, more theatrical tracks, all while mixing in some classical flavoring throughout. All of this is true on Darkness of Eternity, however, while the speedy power metal portions are still intact on a few tracks here, a couple of which can be considered among the band’s best work to date, I find some of the slower songs here to be a bit off-putting and not really in line with what I want from the band. Obviously, they’ve never been the heaviest, most guitar-driven band in the world, as keyboards and orchestras have always been the most dominant elements of their music, however, some of the tracks here fall into straight up 80’s pop territory. Again, this is something they’ve briefly hinted at on past albums, with “The Court of Mirror Hall” from Innuendo being perhaps the most obvious example, but even a track like that felt more metal and more epic than a few of the tracks on this album. Take, for example, the second track, “Sky Is Falling”, a track dominated by bouncy vocal hooks, cheesy, pop-inspired keyboard lines and a catchy, overly pop-infused chorus. There’s absolutely nothing in that track I consider metal in any form, and even the brief flashes of guitar work sound so light as to have no effect, plus I don’t even notice any symphonic elements at all, effectively making the track feel more like a dance-pop track than anything else. I will admit, it’s a decent track in its own right, but I really don’t think it belongs on a metal album, even coming from a band that tends to stay on the lighter side of the genre most of the time. The song especially feels out of place when coming after such a classic sounding power metal track like “I’m the One”, and it’s the first sign that band leader Tuomas Seppälä is perhaps overreaching a bit in his attempts to be creative and ambitious.
Moving onto the biggest positive element of the album, Capri’s vocals remain as strong as they’ve been since she first took over vocal duties on the excellent re-recordings compilation Re-Evolution in 2013. As always, her voice is very powerful and deeper than many other female vocalists in symphonic bands, and she sounds as impressive as ever, be it during the heavier tracks like “I’m the One” and “Dragonflies”, or the lighter, more pop-infused tracks, all while sounding as varied in her approach as ever. In fact, she briefly does some semi-operatic vocals on “I’m the One”, making it an instant highlight. She’s also very effective on the two ballads, as expected, and her vocals are definitely the band’s biggest strength at this point.
Unfortunately, the area where the album struggles the most is in perhaps the most important area of all, that being the songwriting. The band at least gets things off to an exciting start with “I’m the One”, a very speedy, classic sounding symphonic power metal track with some excellent guitar leads, epic symphonic arrangements, a huge, catchy chorus with awesome operatic vocals, and an amazing keyboard solo. For all the flaws in the songwriting department, the band still displays some great musicianship throughout the album and this track is certainly one of the best examples of that. It’s also extremely catchy, while still sounding metal and it would definitely feel right at home on one of the band’s earlier albums. While that song is probably my personal favorite here, “Dragonflies” isn’t too far behind. It has some pretty heavy guitar work throughout, with a darker feel than many of the other tracks, though Capri’s vocals still help add a lighter tone to the track, and she excels throughout as always. It has incredible instrumental sections, with some very chunky guitar riffs and epic orchestras accompanying an excellent keyboard solo, and of course, the chorus is spectacular as well. From a purely instrumental standpoint, I think this is probably the best track on the album, and I love how the guitar manages to have come excellent neoclassical flavoring while still being very heavy. Also in the speedier category, are“Golden Coins” and “Abyss”, with the former again having a very classic Amberian Dawn vibe throughout, with epic keyboards and some very impressive, classical flavored melodies, while the latter is brief but very fun and perhaps the speediest track on the album, with some more excellent keyboard work and vocals.
On the slower side of things, we start with the previously mentioned “Sky is Falling”. I’ve already mentioned why I’m not so fond of it, with the biggest reason being that it really throws off the pacing, being thrown in there right next to such epic speedy tracks as “I’m the One” and “Dragonflies”. Well, I wish I could say it was one-speed bump and that the album fully recovered afterward, but sadly that would be a lie. Two tracks later, we get lead single “Maybe”, another very pop inspired track, with some cheesy keyboards, bouncy vocal lines, a catchy chorus and a general lack of anything resembling metal. Again, I know the band has done tracks like this in the past, but this feels very pop like even by their standards, and while I do slightly notice symphonic elements on this track, they aren’t enough to prevent it from having an “Abba with guitars” feel, and the thing is, if I wanted to hear dance pop, I’d listen to dance pop, not a symphonic power metal album. Even worse, the track feels like it’s cut off at the end, as the keyboard lines simply fade out instead of actually reaching a conclusion. I’ll admit it’s certainly a catchy and well-written track, but it simply isn’t what I want from the band, and that ending does come across as a bit sloppy.
Moving into the second half, there are two ballads and two tracks which feel like a blend between the two dominant styles on the album. Firstly, “Luna My Darling” is a pretty solid track, starting with an epic vocal section before moving onto some bouncy, pop-infused melodies during the verses, which give way to a slightly heavier, more epic chorus. The highlight of the track is in the second half when the music speeds up and we get epic dueling guitar/keyboard solos. See, if I’m going to get obvious pop elements in my symphonic metal, I prefer it to be done in this way, as at least this track has a nice blend of both pop and power metal, and is a nice track overall. Similarly, “Ghostwoman” is a speedy track, which also has a power metal feel to it, though it sounds a lot bouncier than the other up-tempo tracks on the album, especially during the verses, and even the chorus is pretty pop like as well. It’s a fun track, and the chorus is very catchy, though not really one of my favorites. The highlight is the epic guitar solo in the second half.
Lastly, we have the two ballads which close out the album. Yes, just in case the overall flow of the album wasn’t already completely out of whack, the band decided to end with not one ballad, but two ballads! First is “Breathe Again” which starts out slowly and calmly, serving as an excellent showcase for Capri’s vocals, before the music picks up in the second half, with some epic orchestral arrangements and some heavier guitar work at points. It’s an excellent track overall and probably the better of the two ballads. After that, we have the closing title track, which also happens to be the second part of “Symphony Nr.1”, the epic sequence the band started on Innuendo. Where part 1 was an epic, complex symphonic metal track, with many twists and turns, this track is a pure ballad throughout, with some nice classical piano serving as the main focus, though there are also some nice orchestral elements in the background. Capri does a wonderful job as always, and it’s a nice track overall, but because part 1 was so epic and especially because this one serves as a title track, I was expecting a bit more from the track overall.
And that about sums up my feelings towards Darkness of Eternity on the whole: It’s a nice enough album, which at times has some big standout moments that equal some of the band’s best works, but overall it’s simply a messy, inconsistent album that left me wanting a whole lot more. Power metal fans, in particular, are likely to have mixed feelings, as “I’m the One” and “Dragonflies” are sure to get them excited, while many of the more pop-infused tracks are likely to frustrate them just like they frustrate me, and the overall focus on bouncy keyboards over epic symphonic arrangements on many tracks here is a rather puzzling choice, as is the decision to end an already oddly paced album with two ballads. Overall, longtime fans are sure to find some songs here to be satisfying, but I consider this to be Amberian Dawn’s weakest album to date, and I have a hard time recommending it to my fellow metal fans.
Written by: Travis Green