#seventhwonder — Public Fediverse posts

Illusia – Mind over Matter Review

By Killjoy

In the music business, the line between hobby and professional endeavor is often blurry. For brand-new musicians, the line might even be non-existent. And, every once in a while, a record graces our promo pile that is undeniably pure and authentic in a way only possible if its creator pours something deeply personal into the music. There is little doubt that this was the case for Jason Tyler when he formed Illusia in Manchester, UK. He took on a few bandmates and guest vocalists to help bring his progressive metal debut Mind over Matter to life, though he retains most of the songwriting and recording duties. How well might his passion project connect with a wider audience upon first exposure?

In some respects, Illusia is to prog as Fellowship is to power metal. In addition to an overarching affirming narrative,1 Mind over Matter boasts tons of colorful, sing-along choruses and tunes that will surely strike some as corny. But, like with Fellowship, no one can deny that they come from a place of earnestness. Sonically, Mind over Matter is a joyous mashup of Neal Morse’s sentimental prog rock and Ayreon’s zany keyboard wizardry. Tyler is skilled at leveraging the instruments at his disposal in complex yet catchy ways. Organ, guitar, synths, bass, and piano are layered in lockstep to weave a rich melodic tapestry, often paired with intricate drum rhythms in a fashion reminiscent of Seventh Wonder or DGM. In lesser hands, this might sound like a complete jumble, but Illusia demonstrates a compositional maturity beyond its fledgling status.

Illusia generally prioritizes emotional resonance over technical showmanship. Perhaps the most defining characteristic of Mind over Matter is its heavy reliance on tranquil ballad-esque songs. Of these, “Daydream” is by far my favorite, its piano arpeggios and poignant strings creating an affecting mood. The softer tracks are generally interspersed well with the more upbeat ones, although the back-to-back placement of “Anemoia” and “Shine Through the Night” leads to minor engagement snags. Still, a record with this many ballads should not work as well as this one does. The more technical aspects of Mind over Matter manifest in somewhat subtle ways. Dec Doyle’s guitar solos and Tyler’s keyboard melodies, while primarily uplifting, can be dazzling as well (“Delirium,” “Solace Divine”). Also, though not the main highlight of Mind over Matter, Tyler is a sneakily talented drummer, deftly brandishing syncopated rhythms throughout “What If.”

However, the vocals are where the consistency fluctuates and falters. Jason Tyler handles the majority of the singing, though in Ayreon fashion, he enlists the talents of several guest vocalists to bring the story to life. When possible, Tyler sticks to his more comfortable mid-to-low ranges while letting the guests take the higher ones, a strategy which works well with DGM’s Mark Basile (“Solace Divine”) and Chrysalïd’s Emannuel Thorsen (“Delirium”). But when he reaches for higher notes (“Arrival,” “Alone”), his vocal strain weakens the music’s emotive impact. Additionally, his harmonization with the other vocalists often feels tenuous, particularly with Alessia Scolletti’s near-shouting in the final chorus of “Shine Through the Night,” an unexpected letdown given her outstanding prior work with Temperance. Mind over Matter’s lush compositions are crying out for similar-caliber vocal talent, a taste of which comes from Lisa Skinner’s (Sorceress of Sin) gritty and occasionally operatic performance in the punchy “Dream Dance.”

While much of progressive metal is meant to tug heartstrings, Illusia displays an unflinching degree of tenderness and vulnerability that I haven’t heard too often. Mind over Matter may be unpolished, but not nearly as much as one might expect from the very first attempt of a self-produced artist. The songwriting, musicianship, and production are warm and inviting, with few moments during the hour-long runtime during which my attention wavers. Despite—and maybe because of—some vocal imperfections, Mind over Matter feels genuinely and profoundly human. And in a world where art is becoming increasingly artificial and superficial, that’s ultimately what matters most.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: illusia.bandcamp.com | instagram.com/jtptyler
Releases Worldwide: August 22nd, 2025

#2025 #35 #Aug25 #Ayreon #BritishMetal #Chrysalïd #DGM #Fellowship #Illusia #MindOverMatter #NealMorse #ProgressiveMetal #ProgressiveRock #Review #Reviews #SelfRelease #SeventhWonder #SorceressOfSin #Temperance

Illusia – Mind over Matter Review

By Killjoy

In the music business, the line between hobby and professional endeavor is often blurry. For brand-new musicians, the line might even be non-existent. And, every once in a while, a record graces our promo pile that is undeniably pure and authentic in a way only possible if its creator pours something deeply personal into the music. There is little doubt that this was the case for Jason Tyler when he formed Illusia in Manchester, UK. He took on a few bandmates and guest vocalists to help bring his progressive metal debut Mind over Matter to life, though he retains most of the songwriting and recording duties. How well might his passion project connect with a wider audience upon first exposure?

In some respects, Illusia is to prog as Fellowship is to power metal. In addition to an overarching affirming narrative,1 Mind over Matter boasts tons of colorful, sing-along choruses and tunes that will surely strike some as corny. But, like with Fellowship, no one can deny that they come from a place of earnestness. Sonically, Mind over Matter is a joyous mashup of Neal Morse’s sentimental prog rock and Ayreon’s zany keyboard wizardry. Tyler is skilled at leveraging the instruments at his disposal in complex yet catchy ways. Organ, guitar, synths, bass, and piano are layered in lockstep to weave a rich melodic tapestry, often paired with intricate drum rhythms in a fashion reminiscent of Seventh Wonder or DGM. In lesser hands, this might sound like a complete jumble, but Illusia demonstrates a compositional maturity beyond its fledgling status.

Illusia generally prioritizes emotional resonance over technical showmanship. Perhaps the most defining characteristic of Mind over Matter is its heavy reliance on tranquil ballad-esque songs. Of these, “Daydream” is by far my favorite, its piano arpeggios and poignant strings creating an affecting mood. The softer tracks are generally interspersed well with the more upbeat ones, although the back-to-back placement of “Anemoia” and “Shine Through the Night” leads to minor engagement snags. Still, a record with this many ballads should not work as well as this one does. The more technical aspects of Mind over Matter manifest in somewhat subtle ways. Dec Doyle’s guitar solos and Tyler’s keyboard melodies, while primarily uplifting, can be dazzling as well (“Delirium,” “Solace Divine”). Also, though not the main highlight of Mind over Matter, Tyler is a sneakily talented drummer, deftly brandishing syncopated rhythms throughout “What If.”

However, the vocals are where the consistency fluctuates and falters. Jason Tyler handles the majority of the singing, though in Ayreon fashion, he enlists the talents of several guest vocalists to bring the story to life. When possible, Tyler sticks to his more comfortable mid-to-low ranges while letting the guests take the higher ones, a strategy which works well with DGM’s Mark Basile (“Solace Divine”) and Chrysalïd’s Emannuel Thorsen (“Delirium”). But when he reaches for higher notes (“Arrival,” “Alone”), his vocal strain weakens the music’s emotive impact. Additionally, his harmonization with the other vocalists often feels tenuous, particularly with Alessia Scolletti’s near-shouting in the final chorus of “Shine Through the Night,” an unexpected letdown given her outstanding prior work with Temperance. Mind over Matter’s lush compositions are crying out for similar-caliber vocal talent, a taste of which comes from Lisa Skinner’s (Sorceress of Sin) gritty and occasionally operatic performance in the punchy “Dream Dance.”

While much of progressive metal is meant to tug heartstrings, Illusia displays an unflinching degree of tenderness and vulnerability that I haven’t heard too often. Mind over Matter may be unpolished, but not nearly as much as one might expect from the very first attempt of a self-produced artist. The songwriting, musicianship, and production are warm and inviting, with few moments during the hour-long runtime during which my attention wavers. Despite—and maybe because of—some vocal imperfections, Mind over Matter feels genuinely and profoundly human. And in a world where art is becoming increasingly artificial and superficial, that’s ultimately what matters most.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: illusia.bandcamp.com | instagram.com/jtptyler
Releases Worldwide: August 22nd, 2025

#2025 #35 #Aug25 #Ayreon #BritishMetal #Chrysalïd #DGM #Fellowship #Illusia #MindOverMatter #NealMorse #ProgressiveMetal #ProgressiveRock #Review #Reviews #SelfRelease #SeventhWonder #SorceressOfSin #Temperance

Illusia – Mind over Matter Review

By Killjoy

In the music business, the line between hobby and professional endeavor is often blurry. For brand-new musicians, the line might even be non-existent. And, every once in a while, a record graces our promo pile that is undeniably pure and authentic in a way only possible if its creator pours something deeply personal into the music. There is little doubt that this was the case for Jason Tyler when he formed Illusia in Manchester, UK. He took on a few bandmates and guest vocalists to help bring his progressive metal debut Mind over Matter to life, though he retains most of the songwriting and recording duties. How well might his passion project connect with a wider audience upon first exposure?

In some respects, Illusia is to prog as Fellowship is to power metal. In addition to an overarching affirming narrative,1 Mind over Matter boasts tons of colorful, sing-along choruses and tunes that will surely strike some as corny. But, like with Fellowship, no one can deny that they come from a place of earnestness. Sonically, Mind over Matter is a joyous mashup of Neal Morse’s sentimental prog rock and Ayreon’s zany keyboard wizardry. Tyler is skilled at leveraging the instruments at his disposal in complex yet catchy ways. Organ, guitar, synths, bass, and piano are layered in lockstep to weave a rich melodic tapestry, often paired with intricate drum rhythms in a fashion reminiscent of Seventh Wonder or DGM. In lesser hands, this might sound like a complete jumble, but Illusia demonstrates a compositional maturity beyond its fledgling status.

Illusia generally prioritizes emotional resonance over technical showmanship. Perhaps the most defining characteristic of Mind over Matter is its heavy reliance on tranquil ballad-esque songs. Of these, “Daydream” is by far my favorite, its piano arpeggios and poignant strings creating an affecting mood. The softer tracks are generally interspersed well with the more upbeat ones, although the back-to-back placement of “Anemoia” and “Shine Through the Night” leads to minor engagement snags. Still, a record with this many ballads should not work as well as this one does. The more technical aspects of Mind over Matter manifest in somewhat subtle ways. Dec Doyle’s guitar solos and Tyler’s keyboard melodies, while primarily uplifting, can be dazzling as well (“Delirium,” “Solace Divine”). Also, though not the main highlight of Mind over Matter, Tyler is a sneakily talented drummer, deftly brandishing syncopated rhythms throughout “What If.”

However, the vocals are where the consistency fluctuates and falters. Jason Tyler handles the majority of the singing, though in Ayreon fashion, he enlists the talents of several guest vocalists to bring the story to life. When possible, Tyler sticks to his more comfortable mid-to-low ranges while letting the guests take the higher ones, a strategy which works well with DGM’s Mark Basile (“Solace Divine”) and Chrysalïd’s Emannuel Thorsen (“Delirium”). But when he reaches for higher notes (“Arrival,” “Alone”), his vocal strain weakens the music’s emotive impact. Additionally, his harmonization with the other vocalists often feels tenuous, particularly with Alessia Scolletti’s near-shouting in the final chorus of “Shine Through the Night,” an unexpected letdown given her outstanding prior work with Temperance. Mind over Matter’s lush compositions are crying out for similar-caliber vocal talent, a taste of which comes from Lisa Skinner’s (Sorceress of Sin) gritty and occasionally operatic performance in the punchy “Dream Dance.”

While much of progressive metal is meant to tug heartstrings, Illusia displays an unflinching degree of tenderness and vulnerability that I haven’t heard too often. Mind over Matter may be unpolished, but not nearly as much as one might expect from the very first attempt of a self-produced artist. The songwriting, musicianship, and production are warm and inviting, with few moments during the hour-long runtime during which my attention wavers. Despite—and maybe because of—some vocal imperfections, Mind over Matter feels genuinely and profoundly human. And in a world where art is becoming increasingly artificial and superficial, that’s ultimately what matters most.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: illusia.bandcamp.com | instagram.com/jtptyler
Releases Worldwide: August 22nd, 2025

#2025 #35 #Aug25 #Ayreon #BritishMetal #Chrysalïd #DGM #Fellowship #Illusia #MindOverMatter #NealMorse #ProgressiveMetal #ProgressiveRock #Review #Reviews #SelfRelease #SeventhWonder #SorceressOfSin #Temperance

Illusia – Mind over Matter Review

By Killjoy

In the music business, the line between hobby and professional endeavor is often blurry. For brand-new musicians, the line might even be non-existent. And, every once in a while, a record graces our promo pile that is undeniably pure and authentic in a way only possible if its creator pours something deeply personal into the music. There is little doubt that this was the case for Jason Tyler when he formed Illusia in Manchester, UK. He took on a few bandmates and guest vocalists to help bring his progressive metal debut Mind over Matter to life, though he retains most of the songwriting and recording duties. How well might his passion project connect with a wider audience upon first exposure?

In some respects, Illusia is to prog as Fellowship is to power metal. In addition to an overarching affirming narrative,1 Mind over Matter boasts tons of colorful, sing-along choruses and tunes that will surely strike some as corny. But, like with Fellowship, no one can deny that they come from a place of earnestness. Sonically, Mind over Matter is a joyous mashup of Neal Morse’s sentimental prog rock and Ayreon’s zany keyboard wizardry. Tyler is skilled at leveraging the instruments at his disposal in complex yet catchy ways. Organ, guitar, synths, bass, and piano are layered in lockstep to weave a rich melodic tapestry, often paired with intricate drum rhythms in a fashion reminiscent of Seventh Wonder or DGM. In lesser hands, this might sound like a complete jumble, but Illusia demonstrates a compositional maturity beyond its fledgling status.

Illusia generally prioritizes emotional resonance over technical showmanship. Perhaps the most defining characteristic of Mind over Matter is its heavy reliance on tranquil ballad-esque songs. Of these, “Daydream” is by far my favorite, its piano arpeggios and poignant strings creating an affecting mood. The softer tracks are generally interspersed well with the more upbeat ones, although the back-to-back placement of “Anemoia” and “Shine Through the Night” leads to minor engagement snags. Still, a record with this many ballads should not work as well as this one does. The more technical aspects of Mind over Matter manifest in somewhat subtle ways. Dec Doyle’s guitar solos and Tyler’s keyboard melodies, while primarily uplifting, can be dazzling as well (“Delirium,” “Solace Divine”). Also, though not the main highlight of Mind over Matter, Tyler is a sneakily talented drummer, deftly brandishing syncopated rhythms throughout “What If.”

However, the vocals are where the consistency fluctuates and falters. Jason Tyler handles the majority of the singing, though in Ayreon fashion, he enlists the talents of several guest vocalists to bring the story to life. When possible, Tyler sticks to his more comfortable mid-to-low ranges while letting the guests take the higher ones, a strategy which works well with DGM’s Mark Basile (“Solace Divine”) and Chrysalïd’s Emannuel Thorsen (“Delirium”). But when he reaches for higher notes (“Arrival,” “Alone”), his vocal strain weakens the music’s emotive impact. Additionally, his harmonization with the other vocalists often feels tenuous, particularly with Alessia Scolletti’s near-shouting in the final chorus of “Shine Through the Night,” an unexpected letdown given her outstanding prior work with Temperance. Mind over Matter’s lush compositions are crying out for similar-caliber vocal talent, a taste of which comes from Lisa Skinner’s (Sorceress of Sin) gritty and occasionally operatic performance in the punchy “Dream Dance.”

While much of progressive metal is meant to tug heartstrings, Illusia displays an unflinching degree of tenderness and vulnerability that I haven’t heard too often. Mind over Matter may be unpolished, but not nearly as much as one might expect from the very first attempt of a self-produced artist. The songwriting, musicianship, and production are warm and inviting, with few moments during the hour-long runtime during which my attention wavers. Despite—and maybe because of—some vocal imperfections, Mind over Matter feels genuinely and profoundly human. And in a world where art is becoming increasingly artificial and superficial, that’s ultimately what matters most.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: illusia.bandcamp.com | instagram.com/jtptyler
Releases Worldwide: August 22nd, 2025

Show 1 footnote

1. About an individual who retreats within their mind to escape the injustices of reality and their unseen struggle to find inner peace. ↩

#2025 #35 #Aug25 #Ayreon #BritishMetal #Chrysalïd #DGM #Fellowship #Illusia #MindOverMatter #NealMorse #ProgressiveMetal #ProgressiveRock #Review #Reviews #SelfRelease #SeventhWonder #SorceressOfSin #Temperance

Carmeria – Tragédie D’amour Review

By Kenstrosity

In my estimation, power metal lives and dies by the sword chorus. A band may showcase the world’s greatest guitar wizardry in the universe, the widest vocal range humanly imaginable, and the most boisterous percussive acrobatics, but I need a chorus that makes me want to shout to heavens to tie it all together. Others might offer a different experience, but I’ve yet to meet a power metal record without big, showstopping choruses that stuck with me for longer than a couple of weeks. Armed with this unwavering condition in my mind, body, and soul, I approach Australian symphonic power metal troupe Carmeria and their sophomore record Tragédie D’amour.

Carmeria’s debut record, Advenae, spanned over an hour of lush, but often basic symphonic power metal. Folks familiar with mid-period Kamelot, Serenity, and Seventh Wonder would recognize the blueprint implemented by these Australians in an instant. As you might guess, one of that record’s greatest strengths were its choruses. That strength not only carries over to this new outing, but also blooms with vivid new brilliance. Embracing the gothic romanticism of HIM and translating it into ridiculously catchy love songs that recall the same indelible infectiousness as many of Night Flight Orchestra‘s hits, Tragédie D’amour represents a tightly written and delightful clinic of gigantic choruses, backed by decent, if still unremarkable, power metal instrumentation.

Even on their weakest cuts, Carmeria’s choruses constitute some of the most memorable material I’ve heard all year. Massive, stadium-rocking tunes like “Thorns” and “Leading the Lyre” make for surefire crowd pleasers, boasting soaring lines and muscular stomps that work in tandem to alight the soul with surging fire. “Call Forth My Sorrow,” “A Thousand Winter Rains,” and “Shadow’s Throne” represent the heaviest offerings, showcasing Carmeria’s surprisingly strong harsh vox while still providing deadly sharp vocal and percussive hooks at every corner. Meanwhile, gorgeous and fleeting ballad “Whispers of Forgiveness” evokes an olden, mystical tone that maximizes the earnest character imbued deeply throughout the record. In a way, that track—despite being the lightest and gentlest application of Carmeria’s sound—represents the bleeding heart of the record, the fount from which the hopelessly romantic emotions that fill Tragédie D’amour springs.

And yet, Tragédie D’amour’s unreal value argument for memorability can’t obscure the relative lack of showmanship displayed by guitars and synths. Where bands like Kamelot and Night Flight Orchestra, to pull from two different pools, both effectively utilize hooky, memorable writing for their guitars and synths, Carmeria’s writing lacks flair in either department. An overwhelming majority of Tragédie D’amour’s riffs, leads, and solos lack distinct personalities, save for rare exceptions like the beautiful acoustic accompaniment in “Whispers of Forgiveness,” the main themes of “Leading the Lyre,” or the noodly synth solo at the final third of “Call Forth My Sorrow.” Consequently, Carmeria’s instrumental material is only ever strong enough to play a support role to the vocals. This, in turn, leaves a lot of potential for even greater musicality on the table that could’ve made a wholly fun record into an undeniable showstopper.

Interestingly, despite my initial claim that power metal needs strong chorus work to resonate with me, Carmeria’s newest release needed more robust instrumentation to be great. Tragédie D’amour’s choruses are easily some of the best I’ve heard all year—not a one misses the mark. However, that metallic essence brought into the affair by guitars, and the whimsy brought by synths, leaves a lot to be desired. With more inventive instrumentation, this album could’ve easily threatened the top spot of my year for new releases. As is, Tragédie D’amour remains a thoroughly enjoyable and easily replayable record tailor-made to lift you up and make you sing.

Rating: Good!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Self Release
Websites: facebook.com/CarmeriaMusic | carmeria.bandcamp.com/music
Releases Worldwide: August 23rd, 2024

#2024 #30 #Aug24 #AustralianMetal #Carmeria #HIM #Kamelot #NightFlightOrchestra #PopMetal #PowerMetal #Review #Reviews #SelfRelase #Serenity #SeventhWonder #SymphonicMetal #TragédieDAmour

Carmeria – Tragédie D’amour Review

By Kenstrosity

In my estimation, power metal lives and dies by the sword chorus. A band may showcase the world’s greatest guitar wizardry in the universe, the widest vocal range humanly imaginable, and the most boisterous percussive acrobatics, but I need a chorus that makes me want to shout to heavens to tie it all together. Others might offer a different experience, but I’ve yet to meet a power metal record without big, showstopping choruses that stuck with me for longer than a couple of weeks. Armed with this unwavering condition in my mind, body, and soul, I approach Australian symphonic power metal troupe Carmeria and their sophomore record Tragédie D’amour.

Carmeria’s debut record, Advenae, spanned over an hour of lush, but often basic symphonic power metal. Folks familiar with mid-period Kamelot, Serenity, and Seventh Wonder would recognize the blueprint implemented by these Australians in an instant. As you might guess, one of that record’s greatest strengths were its choruses. That strength not only carries over to this new outing, but also blooms with vivid new brilliance. Embracing the gothic romanticism of HIM and translating it into ridiculously catchy love songs that recall the same indelible infectiousness as many of Night Flight Orchestra‘s hits, Tragédie D’amour represents a tightly written and delightful clinic of gigantic choruses, backed by decent, if still unremarkable, power metal instrumentation.

Even on their weakest cuts, Carmeria’s choruses constitute some of the most memorable material I’ve heard all year. Massive, stadium-rocking tunes like “Thorns” and “Leading the Lyre” make for surefire crowd pleasers, boasting soaring lines and muscular stomps that work in tandem to alight the soul with surging fire. “Call Forth My Sorrow,” “A Thousand Winter Rains,” and “Shadow’s Throne” represent the heaviest offerings, showcasing Carmeria’s surprisingly strong harsh vox while still providing deadly sharp vocal and percussive hooks at every corner. Meanwhile, gorgeous and fleeting ballad “Whispers of Forgiveness” evokes an olden, mystical tone that maximizes the earnest character imbued deeply throughout the record. In a way, that track—despite being the lightest and gentlest application of Carmeria’s sound—represents the bleeding heart of the record, the fount from which the hopelessly romantic emotions that fill Tragédie D’amour springs.

And yet, Tragédie D’amour’s unreal value argument for memorability can’t obscure the relative lack of showmanship displayed by guitars and synths. Where bands like Kamelot and Night Flight Orchestra, to pull from two different pools, both effectively utilize hooky, memorable writing for their guitars and synths, Carmeria’s writing lacks flair in either department. An overwhelming majority of Tragédie D’amour’s riffs, leads, and solos lack distinct personalities, save for rare exceptions like the beautiful acoustic accompaniment in “Whispers of Forgiveness,” the main themes of “Leading the Lyre,” or the noodly synth solo at the final third of “Call Forth My Sorrow.” Consequently, Carmeria’s instrumental material is only ever strong enough to play a support role to the vocals. This, in turn, leaves a lot of potential for even greater musicality on the table that could’ve made a wholly fun record into an undeniable showstopper.

Interestingly, despite my initial claim that power metal needs strong chorus work to resonate with me, Carmeria’s newest release needed more robust instrumentation to be great. Tragédie D’amour’s choruses are easily some of the best I’ve heard all year—not a one misses the mark. However, that metallic essence brought into the affair by guitars, and the whimsy brought by synths, leaves a lot to be desired. With more inventive instrumentation, this album could’ve easily threatened the top spot of my year for new releases. As is, Tragédie D’amour remains a thoroughly enjoyable and easily replayable record tailor-made to lift you up and make you sing.

Rating: Good!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Self Release
Websites: facebook.com/CarmeriaMusic | carmeria.bandcamp.com/music
Releases Worldwide: August 23rd, 2024

#2024 #30 #Aug24 #AustralianMetal #Carmeria #HIM #Kamelot #NightFlightOrchestra #PopMetal #PowerMetal #Review #Reviews #SelfRelase #Serenity #SeventhWonder #SymphonicMetal #TragédieDAmour

Carmeria – Tragédie D’amour Review

By Kenstrosity

In my estimation, power metal lives and dies by the sword chorus. A band may showcase the world’s greatest guitar wizardry in the universe, the widest vocal range humanly imaginable, and the most boisterous percussive acrobatics, but I need a chorus that makes me want to shout to heavens to tie it all together. Others might offer a different experience, but I’ve yet to meet a power metal record without big, showstopping choruses that stuck with me for longer than a couple of weeks. Armed with this unwavering condition in my mind, body, and soul, I approach Australian symphonic power metal troupe Carmeria and their sophomore record Tragédie D’amour.

Carmeria’s debut record, Advenae, spanned over an hour of lush, but often basic symphonic power metal. Folks familiar with mid-period Kamelot, Serenity, and Seventh Wonder would recognize the blueprint implemented by these Australians in an instant. As you might guess, one of that record’s greatest strengths were its choruses. That strength not only carries over to this new outing, but also blooms with vivid new brilliance. Embracing the gothic romanticism of HIM and translating it into ridiculously catchy love songs that recall the same indelible infectiousness as many of Night Flight Orchestra‘s hits, Tragédie D’amour represents a tightly written and delightful clinic of gigantic choruses, backed by decent, if still unremarkable, power metal instrumentation.

Even on their weakest cuts, Carmeria’s choruses constitute some of the most memorable material I’ve heard all year. Massive, stadium-rocking tunes like “Thorns” and “Leading the Lyre” make for surefire crowd pleasers, boasting soaring lines and muscular stomps that work in tandem to alight the soul with surging fire. “Call Forth My Sorrow,” “A Thousand Winter Rains,” and “Shadow’s Throne” represent the heaviest offerings, showcasing Carmeria’s surprisingly strong harsh vox while still providing deadly sharp vocal and percussive hooks at every corner. Meanwhile, gorgeous and fleeting ballad “Whispers of Forgiveness” evokes an olden, mystical tone that maximizes the earnest character imbued deeply throughout the record. In a way, that track—despite being the lightest and gentlest application of Carmeria’s sound—represents the bleeding heart of the record, the fount from which the hopelessly romantic emotions that fill Tragédie D’amour springs.

And yet, Tragédie D’amour’s unreal value argument for memorability can’t obscure the relative lack of showmanship displayed by guitars and synths. Where bands like Kamelot and Night Flight Orchestra, to pull from two different pools, both effectively utilize hooky, memorable writing for their guitars and synths, Carmeria’s writing lacks flair in either department. An overwhelming majority of Tragédie D’amour’s riffs, leads, and solos lack distinct personalities, save for rare exceptions like the beautiful acoustic accompaniment in “Whispers of Forgiveness,” the main themes of “Leading the Lyre,” or the noodly synth solo at the final third of “Call Forth My Sorrow.” Consequently, Carmeria’s instrumental material is only ever strong enough to play a support role to the vocals. This, in turn, leaves a lot of potential for even greater musicality on the table that could’ve made a wholly fun record into an undeniable showstopper.

Interestingly, despite my initial claim that power metal needs strong chorus work to resonate with me, Carmeria’s newest release needed more robust instrumentation to be great. Tragédie D’amour’s choruses are easily some of the best I’ve heard all year—not a one misses the mark. However, that metallic essence brought into the affair by guitars, and the whimsy brought by synths, leaves a lot to be desired. With more inventive instrumentation, this album could’ve easily threatened the top spot of my year for new releases. As is, Tragédie D’amour remains a thoroughly enjoyable and easily replayable record tailor-made to lift you up and make you sing.

Rating: Good!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Self Release
Websites: facebook.com/CarmeriaMusic | carmeria.bandcamp.com/music
Releases Worldwide: August 23rd, 2024

#2024 #30 #Aug24 #AustralianMetal #Carmeria #HIM #Kamelot #NightFlightOrchestra #PopMetal #PowerMetal #Review #Reviews #SelfRelase #Serenity #SeventhWonder #SymphonicMetal #TragédieDAmour