Review Summary: Symphonic Death Metal... that just goes to show you that in metal everything can be done... in short - MaYan rocks.
Before I begin there are three things I'd like you to know:
a. This is my first review, so forgive me if it's horrible.
b. I don't listen to Epica and After Forever so I don't know the difference between Simone Simons' and Floor Jansen's voices, so I'll just refer to them as a "female voice" (though they apparenately both have an amazing voice from what I've heard)
c. I love keyboards so if I overrate a song that uses them a lot don't kill me...
Now that I have cleared those things up let the review begin:
Almost all the songs on the album have this type, more or less, of this build:
Guitar/Keyboard Intro => Stanza + Chorus => Semi-operatic parts with female vocals => Solo => Chorus => Chorus with some changes => Outro
1. Symphony of Aggression (7:52)
This track opens to an eerie distorted guitar/keyboard riff with double bass drums and changes beats a lot, but somehow returns to the main riff. The song itself is very good and the riffs are cool, but I don't extremely like the constant change in the rhythm. 4/5
2. Mainstay of Society (5:30)
The track opens with a catchy slow riff that is repeated throughout the song, mostly on keyboards in the background, and is emphasized in the chorus by guitars. This song is not as aggressive as the one before, and the solo is slower and more melodic. I loved this one and it deserves a 5/5
3. Quarterpast (1:35)
This song is pretty much a filler. What saves it from being just your average filler is that it's the creepiest song I know. It starts as a slow, very quiet symphonic act and gets a bit louder as the song progresses. During the last 20 or 30 seconds there's a children choir. That's not very creepy, right up to the point where you get the lyrics (something about cold dead bodies being slaughtered). Now get this picture: the scary kids from Children of the Corn singing this song. Well, now I'll have nightmares. Thanks, MaYaN. 3/5
4. Course of Life (6:10)
This song starts with a slow riff compared to the others, it leads us to the main riff and then we get a surprise – clean male vocals! I don't really know what to say… the singer's obviously good and the song rocks but it loses some of its aggressive qualities. Luckily there are grunt breaks every line and I love the chorus that uses heavy keyboards and screams. It doesn't get a 5/5 because the clean male vocals are sort of kitschy so 4.5/5
5. The Savage Massacre (5:30)
This one, too, starts with a slow riff that sounds like something Slipknot would have happily taken. However, it changes to a fast and intimidating riff. It's all great right up to the part where the clean male vocals start interfering and slowing down the song. The great thing about the chorus is that, just like in a guitar battle where the two sides show off, you have the brutal aggressive parts with grunts and growls. This one isn't as good as the other clean vocal tracks… 3.5/5
6. Essenza di te (2:08)
Well, this one's pretty much a filler… just some kitschy ballad sung in a female voice. I don't understand the language, so the lyrics can be good like the rest, but I don't really know. 2.5/5
7. Bite the Bullet (5:21)
This song opens with an energetic and fast riff that leads into a slower one. And then guess what - yet another song with clean male vocals! But this time, the vocals sound actually aggressive, which makes the song all the better. Then we have the chorus that sounds like something any power metal fan would appreciate. In short, this is the best track on the album to feature clean male vocals. 5/5
8. Drown the Demon (5:05)
I'll start reviewing this song by a short confession – this is probably my favorite song off the album. It starts in a symphonic act that after about 30 seconds goes to the main guitar riff, which is great. Well here, too, we have a nice solo and everything so there's nothing that really stands out in this song… maybe except for the high-pitched female vocals in the middle, but hell, I love this song anyway! 5/5
9. Celibate Aphrodite (7:26)
This song opens as an aggressive riff that goes into a dark song that reminds me of Cradle of Filth (the old and aggressive)… only it's with growls, and clean [male] vocals only in the chorus and another not extremely long part. The thing that marks this song out from the rest is the solos. Instead of a one short solo we have three not-so-short ones that are sometimes melodic and sometimes not. In short this song gets a 5/5
10. War on Terror (4:33)
Like Track 8, it opens as a symphonic act; only this one is longer and sounds a bit more Mediterranean. The symphonic act ends in a menacing dissonance and we get a kick in the balls with the fastest riff and probably the most aggressive on this album. This is the only track in the album that doesn't feature a clean vocalist, either male or female. So this song is highly recommended. Oh and by the way there's a music video for this one so you can go and check it out. 5/5
11. Tithe (0:50)
This is just War on Terror's riff on keyboards, so I guess it's just a filler… but it's a cool riff so I'll give it a 2.5/5
12. Sinner's last Retreat (7:44)
Well, there's an unusual opening… the operatic female voice stuff in the beginning… anyway it's a pretty nice track, nothing extremely special from the other tracks in the album. The chorus though is kind of annoying with the clean vocals… but the solo's pretty cool, half slow and melodic and half shredding. 4/5
Band members:
Mark Jansen - Screams & Growls
Isaac Delahaye - Rhythm Guitar
Frank Schiphorst - Lead & Rhythm Guitar
Jack Driessen - Synths, Piano & Screams
Jeroen Paul Thesseling - Bass
Arien van Weesenbeek – Drums, Grunts & Spoken word
Guest musicians:
Henning Basse – Vocals on Tracks 1, 4, 5, 7, 9 & 12
Simone Simons – Vocals on Tracks 1, 2, 7, 8 & 12
Floor Jansen –Vocals on Tracks 1, 4, 7, 8 & 12
Laura Macri – Vocals on Tracks 5, 6 & 9
Trinity Boys Choir – Vocals on Track 3
