The keyboard player comes from Dragonforce and Powerquest, while this international UK-based collective, who have ratched up a healthy four albums in seven years, have opened up for Dream Theater. That gives some clues, but the key word here is “melody”, which infuses every part of this mobile work.
There can be no complaints over the value for money here: 13 songs over 70 minutes. Although the titles and the lyrics suggest dark themes, the music bubbles along and what could be a trial is actually a pleasure. I could accuse “Symphony of Sin” of bouncing jollity and strained platitudes which come from the dictionary of power metal, but Eden’s Curse manage to overcome this by never resorting to slush and varying their route. The epic, part-orchestral structure of the opening title track contrasts with the rock-like feel of “Sign of the Cross” later in the album. Each track has good progression, and is a flamboyant, all-out gutsy affair with solos and identity. Even the unchallenging “Unbreakable” and “Fallen from Grace” distinguish themselves with engaging rhythms and nice, well considered song structures. There’s more than an air of pop metal about these songs. “Losing My Faith” shares this quality. Life bubbles through it, the sound is happy and there’s plenty going on musically. It’s not surprising that this all spills over into power metal territory, but whilst there is pomp and bombast, the mobile melodies keep the silliness away. “Devils in Disguise”, and “Wings to Fly”, as its title suggest, are of a power metal orientation.
For me, there are two stand-out tracks: “Evil and Divine” and “Rock Bottom”. I read afterwards that “Evil and Divine” is the first single of the album. I am not surprised. It’s a typically jolly romp with good guitar riffs and solos. The singer has a fine voice, never outstretching himself or looking for unnecessary heights. There’s even some growling on this otherwise silky smooth song. This is more divine than evil. At first I thought that “Rock Bottom” wasn’t going to set buildings alight, as it swung from its power metal flourish to pop metal. But it’s one of those songs where the lyrics, and of course the associated melody, become instantly memorable: “drifting away … with nothing to say”. It’s thematically a morose kind of song but the movement is impeccable. There’s a delightful interlude, outstanding guitar solo and a vocal – musical combination which capture the melancholy but remaining within the spirit of this song’s rhythmic qualities. I found myself humming “Rock Bottom” after listening to it. The final track “Where is the Love?” is worthy of mention too, as it cements the album nicely, moving and grooving and ensuring it ends on an epic note.
I can’t say I listen to this kind of music every day but this was 70 – 140 – 210 minutes well spent, I thought. “Symphony of Sin” stuck to me with its melodic pop and power metal structures. It has a warm and fresh vibe and after a couple of listens, became like a friend.
(8.5/10 Andrew Doherty)
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