| Musical Style: Symphonic Metal | Produced By: Oliver Phillips |
| Record Label: Ex Cathedra | Country Of Origin: Canada |
| Year Released: 2024 | Artist Website: LEAH |
| Tracks: 12 | Rating: 90% |
| Running Time: |
The name LEAH has become synonymous with symphonic metal, medieval folk music, Celtic impressions and ambient aesthetics for good reason: Each of the Vancouver, BC based songstress’ albums deliver on these key components. Ex Cathedra Records February of 2024 fifth full length offering The Glory And The Fallen proves no exception from staying true to the artists self-proclaimed ‘Celtic fantasy metal’ bent in which fans and critics have come to identify with her as the ‘metal Enya’. Similar to its predecessors, The Glory And The Fallen ‘could easily serve as the soundtrack for shows like Game Of Thrones or Vikings’, while also allowing LEAH to ‘(embody) the archetype of the warrior queen to thousands of dedicated listeners around the world’ (as taken from her press material either way).
The Glory And The Fallen impresses this reviewer as delivering a heavier sound akin to 2015 third album Kings & Queens, a 95% Angelic Warlord graded work and album of the year recipient to ‘perfectly embody Leah’s prioritizing of seraphic melody and symphonic metal, steeped in Celtic influences’. Not that previous releases The Quest (2018) and Ancient Winter (2019) are in any way slouches, with former ‘(preserving) the high medieval to folk based symphonic fantasy metal standards’ and latter ‘embracing a winter holiday themed Medieval folk to ambient to Celtic musical bent’.
The Glory And The Fallen also finds Leah maintaining her penchant for recruiting talented guest musicians to appear, including but not limited to drummer Sander Zoer (Delain), guitarist and bassist Timo Somers (Arjen Lucassen, ex-Delain) and guest vocalists Mark Jansen (Epica, MaYaN), Oliver Phillips and Kyle MacCallum (SYR).
Album begins to a trio of songs featuring as immersing melodies you will find, beginning with opener and first single “Archangel”. Song proves atmospheric as delicate keyboards and pensive bass lead the way but also inviting in terms of the triumphal harmonies and lofty melody to intertwine. Substantial timekeeping of Sander Zoer lends an extra element of heaviness.
“No More Fear” ensues of equal quality but at a more upbeat tempo. It reaches for the grandiose, purposeful as embedded rhythm guitar speaks of the dignified (for the exultant verse sections) and regal with crowning melodies playing a defined role (pointing to the ennobled refrain). All the while medieval instrumentation impresses of the folk like.
The folk elements carry over to the start of “Unshakable”, as medieval overtures propel over rolling drumbeats until overflowing rhythm guitar takes over in affluent fashion. Song is blinding its remaining span with abounding heaviness, splendid vocal melodies and as beguiling a refrain you will find to perfectly embody the Celtic symphonic metal mindset.
Three songs in and it cannot be denied the enlivening lead guitar work of Timo Somers not to mention artists at times crystalline and ethereal and others expansive and powerful vocal abilities (she has invited comparison to Loreena McKennitt, Tori Amos, and Sarah McLachlan.for good reason).
A semi ballad direction manifests on fourth track, “Speak To me”. First three and half minutes mirror artists Celtic subtleties, as acoustic guitar, orchestration and classical nuances wistfully lead the palatial way. At moments notice, however, resounding guitar cuts in for a minute long explosion of furor only for momentum to settle down to a calmer tone for the final seconds. Beautiful.
Also of a melodic nature but in a duet form to see artist align with guest classic tenor vocalist Kyle MacCallum is one of albums top cuts, “Revive”. Song starts evenly to piano ahead of gradually building force, as burnished guitar edges and melodic bass flow in to regally lead the way to the verdant refrain interwoven with lushly done vocal melodies (very catchy and challenging to rid of your mind). All the while, the tasteful vocal trade off builds further reinforces the graceful tone.
The female and male vocal approach continues on “Victory”, noting mid-octave vocalists Oliver Phillips and Timo Somers. Intersperses are moments both lighter - noting medieval laced tinctures at moments notice - and starker, revealed in storming drums and assailing fortitude playing decisive roles. Tying everything together are periodic appearances of angelic choir vocals.
Final duet tune is albums heaviest, “Sleeping Giant”. Song finds Mark Jansen providing periodic ‘growled’ vocals alongside artists more delicate tone, with the contrasting coalescing mirroring the aggressive and compelling. “Sleeping Giant” otherwise separates as ominous in capacity, starting to ringing bells before setting a forthright tone flowing ahead in reveling in a darker semblance to embody crushing guitars alongside lighter Celtic folk aspects.
My album favorite moments revolve around those progressive to include showstopper “Before This War Is Over”. Song opens to symphonic keyboards prior to turning into a militant anthem, echoing of the contentious with its pulsating double bass and fractious guitars but also underlined by lighter and dainty moments smoldering of irascible spiritual warfare themes. I particularly take to how a keyboard solo at the end extends things an addition minute.
Second progressive number “Wings Of Time” begins to breathing bass and angelic choirs only to smoothly saunter ahead until making a tempo change a minute and half in to a more forward direction. Guitars might not make quite the decided impression as some cuts but impress all the same, particularly for the elevated chorus with a catchy but poignant semblance. The classically laced instrumental moments stand apart no less.
Long constructive commentary revolves around how I wish LEAH had further explored the progressive facet to her songwriting, at least compared to previous releases. The Quest, for instance, starts to its epic ten-minute title track, while Kings & Queens includes three songs in excess of six minutes and one approaching eight. Which brings us to albums three remaining tracks, “Dream Voyage”, “Little Stars” and “Glow”, that while good in featuring distinct melodies and artists Celtic residuals, leave me feeling she played it too close to the vest in that perhaps she could have taken some risks, stretched musically and extended one or two well in excess of their four minute span.
The Glory And The Fallen nonetheless equates to a high quality symphonic fantasy metal album made up of material I find to rate alongside artists finest. The plethora of talented guest performers lends significant values, as does the artists complementary vocals not to mention the flawless production and cover art. All aspects of the project were done with the highest attention to detail and quality in mind. If a fan of symphonic metal with a Celtic-medieval-folk bent then you can do no wrong with The Glory And The Fallen.
Review by Andrew Rockwell
Track Listing: “Archangel” (4:19), “No More Fear” (5:21), “Unshakable” (5:16), “Speak To Me” (4:53), “Dream Voyage” (3:58) , “Revive” (5:16), “Little Stars” (4:06), “Wings Of Time” (5:02), “Sleeping Giant” (5:29), “Before This War Is Over” (5:57), “Victory” (4:51), “Glow” (4:08)
Musicians
LEAH - Lead Vocals
Kyle Maccallum, Timo Somers, Oliver Phillips, Mark Jansen - Lead Vocals
Elektra, Victory, Geneva - Background Vocals
Timo Somers - Guitars & Bass
Sander Zoer - Drums
Flutes & Pipes - David Celibeerian
Orchestration - Oliver Phillips
