Released By: Frontiers Records
Release Date: June 13th, 2025
Genre: Symphonic Power Metal
Links: https://www.facebook.com/Groupe.Fairyland.Officiel/
Line Up:
Archie Caine – Vocals
Willdric Lievin – Guitars, bass, backing vocals
Gideon Ricardo – Keyboards
Brieuc De Groof – Guitars
JB Pol – Drums
Tracklist:
1. Downfall
2. To Stars and Beyond
3. Karma
4. A New Dawn
5. We Shall Hunt the Sun
6. Hopeless Still
7. Samsara
8. Unity
9. Council of the Gods
10. The Chosen Ones
11. Unbreakable
12. Postscript
13. Suffering Ages feat. Elisa C. Martin
Times have been tough lately for French symphonic power metal band Fairyland, with their founding member, longtime keyboardist and main songwriter Philippe Giordana passing away in October of 2022. The band could have easily chosen to give it up or take an extended break to think things over, but instead remaining legacy member Willdric Lievin (guitars and bass) decided to recruit new members and keep the band going. Obviously, any new music from the band will have a very different feeling, but with their latest full-length release, The Story Remains, the band has proven they can still make excellent music and continue Giordana’s legacy.
Aside from Lievin, the only remaining member from the band’s previous album, Osyrhianta, is drummer JB Pol. The band recruited new guitarist Brieuc De Groof, keyboardist Gideon Ricardo, and vocalist Archie Caine to contribute to The Story Remains. From what I understand, Giordana had already written some material for the new album, but it was far from complete, so Lievin and the new members took it upon themselves to turn it into a full album worthy of the band’s legacy. Despite all the lineup changes and the loss of their founding member, the band has very much stayed true to their roots and produced an excellent symphonic power metal album with a very cinematic feel.
Guitars play a largely secondary role, and while they can often be heavy, they’re largely relegated to a supporting role, aside from during some fantastic solo sections and on a couple heavier tracks. Keyboards and orchestras largely dominate the show, with the album having a huge theatrical flair, as usual, and symphonic elements often dominate the overall sound, along with the keyboards, which have a very retro feel to them at times. Gideon Ricardo had a very tough job, with this being his first album taking over on keys, but he fits in perfectly, with his keys often being used to create some very beautiful melodies while also laying some atmospheric backdrops.
Compared to past albums, I notice an increase in folk elements, with folk instruments used on a few tracks, and sometimes even the guitar work has a strong folk influence, which helps add extra flavor to the music. Some tracks use these elements in short doses, while others use them as a main ingredient, and whenever they appear, they’re used very effectively. Progressive elements are also intact, with some tracks being fairly complex and doing a good job of subtly building up tension, and then exploding in short bursts. Power metal is obviously still a major part of the band’s sound, and there are still plenty of high octane passages, but I’d say this album definitely leans a bit more to the symphonic side of their sound overall. There are a couple tracks which stay pretty intense the whole way through, but most use the power metal elements as more of a secondary element, subtly building up to those explosive moments, and there are extended portions where the tempo is a bit more relaxed than some listeners may expect. As a whole, I’d say this is a very beautiful, very cinematic album, and while it does have moments where the band goes full blast, there are many times where they dial it back a bit to focus on a more relaxed, more melodic sound, and they pull this off extremely well.
Performances are strong across the board, with new keyboardist Gideon Ricardo making a strong first impression, and new guitarist Brieuc De Groof also fitting in nicely. Drummer JB Pol does a very solid job, often playing at a more relaxed tempo but going all out when needed, and obviously Willdric Lievin does an excellent job, as always. Perhaps the star of the show, though, is new vocalist Archie Caine, who instantly proves to be a perfect fit for the band. He has a light, smooth voice, which allows the softer portions in particular to really shine, but he does sound great during the speedier passages as well. He gets to show off his higher register quite a bit, which sounds excellent. He especially excels on choruses, which are often fantastic, if surprisingly a bit dialed back, and not as over the top or repetitive as many power metal bands.
Production is one element I’d say isn’t quite as strong as I’d like, though it’s still solid overall. Keys, vocals and symphonic elements are all very clear in the mix, while guitars and drums can sometimes be heard clearly, but other times they easily get lost in the shuffle. The more epic, cinematic moments, as well as the more folk-infused sections tend to sound the best, while the heavier moments can be a bit hectic and it doesn’t always sound as cohesive as I’d like. That’s really the only complaint I have about the album, though, and it’s not a big deal.
Songwriting is excellent across the board, and while there are a few tracks which go above and beyond to really stand out, there aren’t any less than great tracks here. I didn’t pay much attention to the lyrics, but I believe it continues with the band’s ongoing story. The early half of the album is fairly dark, but things take a more hopeful turn towards the end. Unsurprisingly, the album begins with an intro track, which makes effective use of orchestral elements and keys to create a rich cinematic landscape, and the bits of narration are done effectively to help set the tone for the rest of the album.
The first full-length track is lead single “To Stars Beyond”. It starts off with some epic orchestration, before settling into more of a slow-paced groove during the opening verse, with a nice mix of heavy guitars and epic orchestration. It picks up the pace briefly during some heavier sections, before eventually giving way to an epic, cinematic chorus, where the keys and vocals fully take over. It’s an excellent track, which does a nice job of showing off both the calmer and more explosive sides of the band, with the chorus and solo section in particular being the big standout moments. The guitar solo in particular is quite theatrical and impressive.
Next is third single “Karma”, one of the most explosive tracks on the album. It speeds up near instantly, with explosive drums, heavy guitars and flashy sounding keyboards and orchestral elements. The fast pace continues throughout the verses, which have a very classic power metal feel to them, and Caine’s voice is quite intense and powerful in these moments. The chorus slows things down a bit, alternating nicely between speedy passages and slower passages, and Caine’s voice really steals the show here, especially during the softer passages, which really showcase his upper register perfectly. The last run through the chorus is more explosive and is extremely fun, and then there’s another epic vocal section right near the end.
On the softer side of things, second single “A New Dawn” is a much more keyboard-driven track, while also being the first track to feature an extensive use of folk elements. The main melody is very folk-infused and quite beautiful, and it’s a fairly slow-paced, very soft track overall, almost enough to be considered a ballad. The track has a nice rhythm, with the limited use of guitars doing a nice job of adding just a bit of metal into an otherwise very laid-back track. The chorus is fantastic, with some awesome vocal melodies and fantastic choral vocals, and the instrumental section features a nice mix of keys and folk instruments, with the folk influence getting to take over for a bit, leading into a very beautiful guitar solo.
Following a brief interlude, “Hopeless Still” is another fairly soft, slow-paced track, which subtly builds up momentum throughout. It has more of a progressive feel, with a strong use of atmospheric keys and orchestration, while drums and guitars start off fairly calm, slowly building up before fully unleashing explosive bursts. The portions leading into the chorus are quite explosive, while the chorus itself is very laid-back and keyboard-driven, with Caine delivering some very soft vocals. The solo section is the heaviest part of the track, and it leads into an epic bridge, where Caine gets to go all out, and that leads to a really nice keyboard solo, followed by a nice, soft vocal section.
Next is “Samsara”, another folk-infused track, and one of my personal favorites. It’s another track which stays fairly calm for most of its duration, with some very soft folk-infused passages giving way to keyboard-driven vocals, where prog elements again take over. The chorus is epic and larger than life, with some of the best vocal melodies on the album, and the section leading into it is quite explosive, with the drums and guitars very briefly going all out. The instrumental section is also excellent, but as great as everything else is, the chorus is definitely the highlight of the track.
Another softer track is up next, in “Unity”, another very light, keyboard-driven track, with some beautiful folk melodies throughout. The verses are very slow and calm, with a nice mix of keys, orchestras and vocals, along with brief interludes where the folk influence gets to take over for a bit. The chorus is a bit more intense, with some very powerful vocals, though for the most part it’s a very relaxed track, with a large focus on atmosphere, as well as some fantastic melodies. The instrumental section is the biggest highlight, with the folk elements taking over for a while, and then the folk melodies are fluidly recreated with guitars, leading into an extremely speedy, explosive section, which is absolutely fantastic. The blend of symphonic, folk, prog and power metal elements all combine to help make it another absolutely unforgettable track.
Following another brief interlude, “The Chosen Ones” is a more mid-paced affair, led by some very atmospheric keys and some nice choral vocals. It moves at a fairly moderate pace throughout, never fully speeding up, but it definitely has a more lively, upbeat feel than any of the previous few tracks. Choral vocals are used effectively throughout, and the track has a nice groove, very subtly picking up intensity leading into the chorus, which itself is very epic, catchy and melodic, with the keys and vocals in particular leading the way.
The main event of the album is “Unbreakable”, a 10-minute epic, which has extensive sections where the orchestral elements fully take over, and it’s easily the most cinematic track on the album, at least out of the metal tracks. There are times where the mix of theatrical elements and prog elements reminds me a bit of Symphony X, in a very good way. Once the track gets going, though, it’s an explosive symphonic power metal track, with heavy guitars and explosive drums going full speed ahead, while Caine’s vocals are a bit deeper and more powerful compared to usual. The chorus is insanely epic, with a fantastic blend of guitars, epic orchestral elements, keys and some of Caine’s best vocals on the entire album. There are some extensive keyboard and guitar solos on and off throughout the track, with a couple in particular having more of a classic prog feel to them. All the while, the more theatrical side of the band is on full display throughout the entire song. There’s a lot going on, but it never drags, and it’s by far the most epic and engaging song on the album. Even the brief use of narration towards the end is used effectively, and the final vocal section is absolute perfection.
Following such a fantastic climax, “Postscript” essentially feels like an epilogue. Running over 8 minutes, it’s an entirely instrumental orchestral track, with a mix of sections that recreate moments from throughout the album, as well as some unique pieces, and it feels like the moment of reflection someone may have at the end of an epic journey. It’s an epic track, with all kinds of memorable moments, and like the previous track, it just flies by every time, moving from one highlight to the next.
Closing out the album is “Suffering Ages”, which very much feels like a bonus track, but it’s certainly a welcome one. It’s a heavier, more guitar-driven track, with explosive drumming and guitar work throughout. It’s fairly simple compared to most tracks, with a very classic symphonic power metal sound and an extremely catchy chorus. Moreover, it has a strong nostalgic feel to it, thanks to the presence of original Fairyland vocalist Elisa C. Martin, who’s in absolute top form, delivering a fiery, powerful performance.
I wasn’t sure what to expect from Fairyland, following the passing of Philippe Giordana, but thankfully they’ve managed to carry on and deliver another fantastic album. The Story Remains is certainly one that will please fans of the band, delivering the same brand of epic, cinematic symphonic power metal they’ve come to expect from the band, while also adding in some folk-infused sections. New vocalist Archie Caine fits in perfectly and delivers a standout performance, and the songwriting is excellent throughout. Aside from some minor issues with the production, there really isn’t much to criticize here, as from a pure musical standpoint, this is an absolutely fantastic album, and it proves the band may still have a bright future ahead of them, if they choose to continue on.
Ratings: 9/10
Written by: Travis Green
My Global Mind – Staff Writer
Travis Green is a Canadian based writer for My Global Mind, with a particular passion for power metal, as well as an interest metal in all its forms.
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