Label: Sensory Records
Release date: 07 February 2021
Format reviewed: High-quality Digital Recording
Wow…where to begin with this one?
Everdawn has so far released their debut album and are now following up with a second full length album “Cleopatra” on the 7th of February. The 11-track long album is absolutely packed with great symphonic metal and to anyone who´s interest lay in that genre; you need to give this one a go.
“Ghost Shadow Requiem” is the first in line as a fantastic opener and really does set the bar for what is to come. Although one can immediately have Nightwish come to mind, but you can quite soon hear that its almost like Nightwish on steroids. Sure, the vocalist is similar to the style of Tarja, she is still a little bit weaker and takes it down just a notch. All in one this track is heavy, beautiful, aggressive, and calm, which is rather a large accomplishment in one go.
The title track “Cleopatra” is rather traditional in the melodic guitar sense and yet before the verse breakdown they do add a tasty neoclassic battle on the guitars. The choruses on the tracks so far have been this group´s strong suit. “Your Majesty Sadness” includes more matured vocals if so can be said, accompanied by male vocals for even further diversity and theatrics.
The dynamic of this band is really mastered and by “Pariah’s Revenge” you think they have probably have by now used their entire bag of tricks, but oh no, surely there is more to come! We are merely halfway through the album, right? “Heart of a Lion” only judging from the title made me think of Sabaton and even at first it doesn’t strive too far from Sabaton´s field, however this one is heavier than what has come so far with heavily palm muted guitars during the verses where both male and female vocals rely and help each other out.
Another of the instant classic sounding intros, “Rider of the Storm” is extremely traditional with tons of bells and whistles by the orchestrated elements. Again, its quite close to Nightwish, but Nightwish on steroids. The different influences aren’t far away, but that’s all that it is. No copy/paste. The last track of this ridiculously strong album is “The Lost Eden” which, after open chords, majestic orchestration and a vastly broad musical landscape turns out to be quite the generic, groovy and catchy track. You get the last-song-feeling, like they want to go out big and serves as a rather suitable ending to a banger of an album.
Well written, well performed and well produced. “Cleopatra” never becomes boring and would honestly serve as great introduction for those who want to take the step into metal as well as it will (I hope) blow the minds who enjoy this genre. 10/10 Julia Katrin
10/10 : Immortal Classic
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