| Musical Style: Symphonic Metal | Produced By: Oliver Phillips |
| Record Label: Inner Wound | Country Of Origin: Canada |
| Year Released: 2018 | Artist Website: LEAH |
| Tracks: 10 | Rating: 80% |
| Running Time: 52:16 |
The fall of 2018 reveals the third at bat for Vancouver, British Columbia based symphonic metal songstress Leah McHenry with The Quest. Her first, the independently released Of Earth And Angels from 2012, represents her initial excursion into what she refers to as 'Celtic fantasy metal' to effectively combine ethereal ambiance, Middle Eastern and Medieval folk music with a progressive symphonic basis. Better known as LEAH, she stepped to the plate a second time in 2015 on Inner Would Recordings with the critically acclaimed Kings & Queens, a 95% Angelic Warlord graded work (not to mention album of the year recipient) in which she makes the metal aspect a stronger focal point within similar Celtic fantasy leanings. Which brings us back to The Quest, also an Inner Wound Recordings release, that finds her backing off (at least somewhat) from the heavier propensities of Kings & Queens while maintaining the distinct folksier interpretation that sets her apart within all things symphonic.
As my first exposure to LEAH's art, Kings & Queens left a positive impression from how it proved symphonic but not to a fault as another Epica clone. No, nothing wrong with Epica or its contemporaries, but I appreciate how LEAH does not overemphasize symphonic trappings in the form of orchestral arrangements, epic overtures, cinematic keyboards and choir vocals but rather takes a more song orientated approach to highlight her handsome melodies. Vocals play no small role in this regard in that as opposed to the theatrical if not operatic form of many within the genre, she plays up a diverse style I like to define as celestial and ethereal and at times expansive and lyrical folk like. When further factoring her Celtic fantasy metal ways, LEAH proves a musical breath of fresh air in what amounts a symphonic segment that can at times be all too predictable.
This again brings us back to The Quest, an album that actually took a certain amount of time in which to grow into, at least in comparison to my Kings & Queens experience. Perhaps it was due to exceedingly high expectations, but on initial listen the album came off a bit flat with the majority of its material seeming to flow together with a too sound the same alike quality in which the distinct LEAH melodies went over my head. So what was the missing ingredient? Time and patience, particularly on my part, in that I set the album aside for several weeks before revisiting it on a recent road trip to Tucson - the fall weather in Arizona can be majestic - only to have the clear-cut LEAH melodies begin to assert themselves. Songs that initially came across indistinguishable now started to separate and stand apart, with The Quest representing the LEAH I have come to know and expect!
Albums first five tracks pick up where Kings & Queens leaves off, beginning with the ten-minute progressive magnum opus title track. "The Quest" starts to a gradual build up to feature catchy vocal melodies and ethereal keyboards until guitars step in at the three-minute mark. The song presents with its share of transition moving ahead, affirming moments both assertive, as forward guitars continue to imbue the mix, and reticent, with keyboards and harmonies bolstering the imposing landscape. Instrumentally, Timo Somers highlights his incredible lead guitar work. Lone complaint is that she dips into the 'Oh, oh, oh, a-ooh, a-ooh' vocal melody well a few too many times; still a great song in which the artist deserves credit for having the confidence to open the album in such epic length fashion (similar to Theocracy with "I Am" on its third album As The World Bleeds).
Ensuing singles “Edge Of Your Sword” and “Lion Arises” are of similar quality. With keyboards to start giving way to a rolling drumbeat, “Edge Of Your Sword” takes a calmer, acoustic based form in which the artists medieval leanings come to fruition in a high melody environs. Rounding things out are cinematic keyboards and periodic darker overtures. “Lion Arises” strays into heavier mid-paced territory, playing up the emotional with its ennobled vocal melodies but also accessible in terms of one of the albums more august (and catchy) refrains. The conspicuous work of bassist Barend Courbois further builds upon the sublime aura.
“Heir” and “Ruins Of Illusion” maintain the songwriting aptitude. Former effortlessly flows from the start to dramatic guitar and keyboard interplay, taking a decided mid-paced tone as periodic double bass and a galloping flair speak of the legendary and heroic. I particularly appreciate the medieval tinged instrumental moments. Latter maneuvers its first half calmly to piano and flute in yielding big doses of melody (as revealed in the immaculate refrain) only to switch to a pensive direction over its final seconds as rhythm guitar makes a firmer statement. A catchy folk rock bent rises to the surface in the process.
If quality dips over the albums final half it is slight and not over a cliff. “Labyrinth” comes across airy and tranquil with its focus on bass and keyboards serving to highlight the artists enchanting vocal melodies (noting another fantastic solo from Somers), while “Abyss” proves heavier with its leading guitar accent and double bass not to mention closing choral vocals (reinforcing how the use of bagpipes brings to mind U2’s “Tomorrow”). “Oblivion (Between Two Worlds)” comes across in the form of a folk rock ballad, atmospheric with its opening piano and keyboards but also majestic as it slowly builds until cresting for the imperious refrain. Artists’ crystalline vocal abilities stand out accordingly.
“Ghost Upon A Throne” is albums only track to fail to register with me. Not that in any way is it a misstep, but rather I find it not memorable or epic as those previous. Musically, it traverses slower territory with symphonic keyboards leading the way in rotating between moments both pensive to feature uplifted guitars and gentler as flute makes a soothing statement. Closing things is “The Water If Wide”, albums shortest at just over three minutes in being carried by calming vocals and atmospheric keyboards.
Similar to Kings & Queens, The Quest lyrics reflect upon heroic and high fantasy themes while lightly touching upon the artist’s faith:
“Edge Of Your Sword”:
And it feels like a knife in the back of the door
You opened and closed it forevermore
And it feels like tonight is the edge of your sword
All the pages of this book are torn
The scroll is open, but the story’s over
The seal is broken
I’ve lost my composure
“Lion Arises””
And I won’t be afraid
I will lay my head down and sleep
I will feel morning sun on my face
Even though I’m surrounded
Enveloped on every side
I’m at peace as the lion arises tonight
“Ruins Of Illusion”:
Quiet falls upon the glade
As ancient stones call upon my name
No one in this landscape dream
Still, my beating heart is beckoning
Nothing but shadows running from me
Come follow me through iron gates
To the meadows of solitude
Enter now a wild, wild woodland
Take for yourself refuge in
The ruins of illusion
“Labyrinth”:
Once upon a time I was so lost inside this labyrinth
Let me dream on
Within these walls both saint and sinner will fall
The chains which bind us all
Voices trapped in abandoned castles, this madness
Read the ancient scrolls
Calling out to the heavens
Amidst a shattering palace
Release my soul
The five opening The Quest cuts maintain the high medieval to folk based symphonic Celtic fantasy metal standards to Kings & Queens, with those remaining representing a slight drop off (in my opinion) but by no means falling flat on their face either. Lone point of contention actually revolves around production from featuring too much compression for my taste, noting how guitars can sound held back as if struggling to escape from a small, enclosed space. To bring out the best in music of this sort it really should be recorded using analog equipment, which is easier said than done when factoring the high volume of guest performers (from literally all over the world) to grace The Quest line up. To the artist’s credit, she also did not attempt to record in The Quest the same type of metal album that is Kings & Queens, so comparison might not warrant itself but deserves note all the same. In the end, The Quest might not be an album of the year candidate but is a solid work all the same. Still, those into symphonic music in all its forms (not to mention LEAH’s back catalog) or any type of hard music with a medieval bent (Wytch Hazel comes to mind) would be wise to make it a priority purchase.
Review by Andrew Rockwell
Track Listing: “The Quest” (10:19), “Edge Of Your Sword” (5:02), “Lion Arises” (4:41), “Heir” (4:08), “Ruins Of Illusion” (4:19), “Labyrinth” (5:16), “Abyss” (5:33), “Oblivion (Between Two Worlds)” (5:05), “Ghost Upon A Throne” (4:30), “The Water Is Wide” (3:19)
Musicians
LEAH - Leas Vocals, Keyboards & Orchestration
Timo Somers - Rhythm & Lead Guitars
Barend Courbois - Bass Guitar
Chen Balbus - Middle Eastern Saz & Oud
Troy Donockley - Pipes & Flutes
Sander Zoer - Drums & Percussion
