Sometimes a band starts off well and goes down a path that seems correct at the time, but three albums down the line they start to sound constricted, trapped and a little unoriginal. That, for me, was Delain. Stuck with Roadrunner (the label, not Wile E’s foe) playing the role of Within Temptation’s little brothers and sister I really feared for their longevity. Many of us did. Then last year, proudly sporting a new label, an extended EP emerged and, as the expertly observed, stunningly intelligent, thoroughly insightful review elsewhere on Ave Noctum states (!), things were looking up. Now the album proper is here, and is it a return to form or more of the same?
Well…
Oh the Suspense…
Yeah Delain are back! Damn Right! This has to be the best thing they’ve done since their debut…actually it might just be better, due to it’s added maturity, passion, continuity and the fact that Delain seem to have finally found their niche – they really do not sound particularly like anyone else! I can now hear any track on this album and know instantly “That’s Delain!”. OK, as expected with any release nowadays, many elements on “The Human Contradiction” can be given an “in the vein of” prefix, but it’s always SO Delain. For instance, the opener ‘Hear Come The Vultures’ (with it’s telling message about being moulded by “people in the music biz” – who could it be…?) has a Tarja musical feel…but doesn’t really sound like Tarja. ‘The Tragedy Of The Commons’ has a good smattering of After Forever, ‘Army Of Dolls’ has hints of Stream Of Passion, and of course there’s a little Within Temptation in some of the riffs and guitar sound, plus maybe Sirenia in a few of the choruses – but still it’s all so undeniably Delain. Just check out the ultra-catchy ‘Stardust’ for a prime example of this happier band at the top of their game.
This really is one rejuvenated band, yet whilst they’ve cleverly managed to capture earlier energy and passion, also re-invent themselves, they have not disregarded or ignored their most recent releases either. And why would they? Every Delain album has had it’s moments…it’s just that this one seems to have LOTS more of them! The fabulous Marco Hietala (Nightwish/Tarot) is roaringly back on a couple of tracks (the brilliant ‘Your Body Is A Battleground’ and the equally memorable, heartfelt and passionate ‘Sing To Me’) which is always great to hear – the way his and Charlotte Wessels vocals work together is a highlight of the first two Delain albums for me (Here’s an idea Marco, if Delain ever want a bassist/vocalist, how about knocking Nightwish on the head and leave Tuomas to his Scrooge McDuck soundtracks!). Another nod to the debut is the inclusion of grunts from Orphanage’s George Oosthoek, a great addition to the heavy, heavy ‘Tell Me, Mechanist’. But welcome as these guests are, Delain don’t really need them, there’s plenty going on in each song anyway. Every musician – guitar, bass, keys and drums – just seems a little more liberated, braver even, and vocally Charlotte Wessels appears to be happy to mix it up a little more. She’s always note perfect and professional, but it’s nice to hear as the band are pushing the boundaries a little more then so is she.
Delain are touring Europe with Within Temptation this year, and I think even more of the latter’s fan’s are going to be won over by this excellent band’s new-found energy. The U.S. Tour with Sonata Arctica and Xandria is a prospect I feel the band will relish more. An opportunity to shine to a new audience, I reckon Delain will return even more confident, even more motivated. If this had been the album that actually followed their debut I think Delain would now be The Netherland’s top female-fronted act…and that’s saying something when you weigh up the competition. Napalm Records, you have signed an absolute winner!
(9/10 Andy Barker)
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