I’ve had quite a few Israeli bands in my review pile this month from various quarters as this sextet releases a debut of ambitious power metal complete with soaring operatic vocals. I have a penchant for this scene that started way back in the mid 90s with Therion whose groundbreaking albums of that period catalysed a sub-genre of music that has now become global phenomena and not restricted to the confines of the underground.
The band is bold and unafraid to challenge the accepted norms for the scene by compiling an album of songs that stick to a formulaic power metal but harness the powerful vocals of Ksenia Glonty to the maximum level and it is here that I feel the debut is slightly flawed as whilst the lady can obviously sing the glass breaking higher tones are very difficult to assimilate. The opening calm intro leads into “Consumed” and starts with a scorching archetypal power riff with galloping double kick for added vitality. Surrounding the vocals are a myriad of guitar hooks and tempo shifts but kept within the power metal template. Undoubtedly the playing ability is with the best of the scenes players and when focussing purely on the music and ignoring the vocals I really enjoyed this album and is akin to bands like Stratovarius, Symphony X, Kamelot and their ilk, where brazen guitar acrobatics are thrust forth like swords in battle.
I do not want to come across as too critical of the operatic vocals as they are unquestionably excellent but struggle to gel with the music as even on the calmer elements they dominate the mix and render some of the guitar subtleties bereft of being noticed. This is a factor on “Haunting Verity” as the towering high pitched vocal line practically suffocates the deft guitar work that is going on in the background. The acoustic start of “Thousand Of Stars” is ballad like in style with some excellent tranquil playing creating a mystical aura of early Nightwish. Here Ksenia’s vocals work well marrying with the guitar work as a symphonic atmosphere is experienced like the soundtrack to a fantasy film’s romantic scenes.
A drenching of symphonics starts “People Of The Midnight Lands” and initially has a Rhapsody feel (which ever version of the band you’re thinking of) as a chugging riff juts into the tune alongside the vocals. Here the tones work fairly well but the high end styled ones were too much for me unfortunately and I would advise the band listens to Enemy Of Reality to get a sense of how to merge this vocal style without making your rib cage resonate to shattering point or reach for the ear plugs. I cannot fault the playing ability of Sensorium it is up there with the best of the scene but I do think a mix of vocal styles would engage the listener far more even adding some clean male vocals would help in the flow and approach but this is my personal opinion purely.
Sitting in between the straight symphonic power and operatic female fronted sub-genres this will appeal to both on different levels but not attract both genres equally. I hope the band has started on new material for release in 2016 as I am especially keen to see how the sophomore sounds and listens. Fans of Therion, Epica, Stratovarius for varying reasons will like this in parts but not in its entirety. Yes the link address is correct if you’re wondering about the spelling.
(7/10 Martin Harris)
Leave a Reply