There’s comfort in familiarity. But around these parts, we love a band that pushes boundaries. Sure, I still spin the occasional album that came out before I was born, but in general, it seems that my favorites are the ones that offer at least something new. After Infinity, the solo project of guitarist and keyboardist Zsolt Szilagyi (Dreamtale) of Finland, may deliver in that respect. For sophomore release Beyond Eternity, Szilagyi has brought on a whole bunch of musicians, an ambitious vision, and fifty-one minutes of power metal. How does that ambition pan out?
The main thing of note about Beyond Eternity is its ensemble “cast;” like Avantasia, the project is not content with a single vocalist, instead employing the talents of six. Unlike Avantasia, this decision is not in service of a story, but rather to give each song “a specific tonal identity.” It’s a fine concept, and allows Szilagyi to collaborate with members of groups like Leverage (Paolo Ribaldini) and Battle Beast (Nitte Valo). Despite this, Beyond Infinity feels grounded in style and concept, with standard European power metal tracks like “King with No Crown” and “Eternal Resentment” setting the stage for upbeat, energetic early Sonata Arctica experiences. There’s a definite AOR influence as well, with songs like “Infinite Feeling” leaning heavily on big keyboards and a bigger chorus that make me think Brother Firetribe. The singers all do a reasonable job and the many changes in vocalist don’t give any impression of a fractured identity.
And yet, despite their performances, Beyond Eternity is not a very energetic album. The idea that seems to prop up After Infinity is an interesting one, a thesis of “who needs a story to hire a bunch of guest vocalists?” that, in theory, should make for a lively listen. But none of the eight guest musicians Szilagyi collaborates with here play drums. Instead, the percussion is played through a drum machine1—and it sounds like it. It’s an odd choice, one that robs Szilagyi’s power metal of its, well, power. This leaves a lot of heavy lifting to Ville Koskinen’s bass, and it’s just not up to the task. How could it be? Six vocalists, excitable orchestrations, an upbeat tempo—all of these things demand energy and Beyond Eternity does not deliver in that respect.
Unfortunately, After Infinity does not quite deliver in another important way, and it’s in the songwriting. Beyond Eternity feels so safe, so familiar, so much an homage to its many influences, that it doesn’t leave me with much impact afterwards. “Maybe She’s Crying” is the clearest example, the token ballad that tells the story of a man who sees a woman crying at a wedding and decides to make it all about himself. Ribaldini puts in an earnest performance, but other than that it’s nothing you haven’t heard before. Similarly, “Everlasting” makes great use of Sara Strömmer’s impressive voice, but lacks energy and memorability (though I will say that Szilagyi puts in a strong guitar solo towards the end). Even the interlude track, “Mortal Vessel,” feels like it’s just filling space, and adds salt to the wound with what sounds a lot like an AI-generated voiceover.2
I’d like to end this review on a positive note anyway, and say that Beyond Eternity does as well: “Hands of Time,” the closing twelve-minute epic3 is, conceptually, the album’s most interesting song. It shows a progressive and ambitious side to Szilagyi’s music that makes me think this is a project worth keeping an eye on. After Infinity has a clear Euro/Italian symphonic power metal influence, and a clear desire to stand amongst those giants. It just doesn’t do enough to distinguish itself from its influences. The end result feels stale.
Rating: 2.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Rockshots Records
Websites: facebook.com/afterinfinityofficial
Releases Worldwide: October 23rd, 2026