Musical Style: Melodic Power Metal	Produced By: CJ Grimmark
Record Label: Independent	Country Of Origin: Sweden
Year Released: 2019	Artist Website: NARNIA
Tracks: 10	Rating: 95%
Running Time: 45:30

Stockholm, Sweden’s Narnia long has held a place in our hearts with its neo-classical influenced brand of melodic power metal.  The group traces to the mid-nineties and a joining of vocalist Christian Liljegren and guitarist Carl Johan Grimmark, whom signed with Nuclear Blast Records for the Malmsteem-like sounds of its 1998 debut Awakening and polished melodic metal to 1999 sophomore effort Long Live The King.  Narnia followed up in 2001 and 2003 with Desert Land and The Great Fall (both also Nuclear Blast), respectively, but elevating heaviness into more varied power to progressive metal territory.  A change to a new label in 2006, Massacre Records, also brought about a new musical direction for fifth album Enter The Gate by hearkening back to the melodic propensity to the earlier material but indicating of the heavier aspect of that to follow. 

Liljegren might have departed Narnia in 2008 but that did not discourage Grimmark, who persevered by releasing the sixth Narnia full length in 2009, Course Of A Generation, with new front man Germán Pascual only to disband the group a year later.  The end of Narnia, however, proved short-lived in that Liljegren and Grimmark reunited in early 2014 with a series of shows to celebrate the fifteenth anniversary to Long Live The King.  One thing led to another and the two soon started work on what would culminate in Narnia’s self-titled seventh studio album to see release (independently) in the summer of 2016.  It received somewhat of a lukewarm response on our part, noting the 75% review to describe it as a   ‘good album made up of good songs’ that we found ‘disappointing when factoring what Narnia are capable in light of previous releases’.  More specifically, ‘impression left is that the group failed to stretch and push its creative boundaries to their fullest extent’.

So how does eighth Narnia album From Darkness To Light (also independent) from the summer of 2019 measure up?  Well, it appears as if we are going to have to ‘eat crow’ as it pertains to Narnia in that what we have in From Darkness To Light is perhaps the group’s finest work, or at the very least ranks alongside Enter The Gate (also 95% Angelic Warlord reviewed) in this capacity.  Regardless, Narnia has made a remarkable transformation from one album to the next by taking up the challenge and pushing said creative boundaries, so that rather an album simply made up of good songs, it encompasses one great song after another instead!  In terms of specifics, Narnia draws upon its entire back catalog of the neo-classical, melodic, power and even progressive to create a work more than reaching (if not exceeding) the standards of its well regarded back catalog.  As not just a reviewer but also a fan, I could not be more pleased!

Upon hearing lead off singe “A Crack In The Sky” for the first time, I knew we were in for something special.  The song brings all the ingredients that make Narnia stand out: trademark neo-classical power metal basis infused with classical keyboards, melodic harmonies and all the commercial hooks you could ask (of the type akin to favorite Enter The Gate tracks “Enter The Gate” and “People Of The Blood Red Cross”).  Grimmark’s virtuoso soloing tops off a song in which Narnia continues to express its faith lyrically: 

Descending from the throne
King of Kings and Lord of Lords
Mountains are crumbling
Waves rolling high
From the horizon, in the blink of an eye
A final crescendo, the tide rises high
He finally opens the gate in the sky

“You Are The Air That I Breathe” sees Narnia extend into melodic hard rock territory reminiscent to Grimmark’s other band Empire 21.  Main difference, however, is that instead of the gritty and gravelly vocals of Empire 21 front man Ricard Hulteke, we have the welcoming clean and pure middle to at times high register delivery akin to Liljegren.  The song otherwise proves up-tempo, enlivening and full of almost as many catchy hooks as “A Crack In The Sky”.  Lyric snippet:

You have given, I have taken
You sacrificed though I’ve forsaken
Always learning, always yearning
For Your love, forever reaching for…

You, you are the air that I breathe
You are the truth that I seek   

One aspect setting From Darkness To Light apart from Narnia is how the groups varies its songwriting.  Enter “Has The River Run Dry?” in this regard, taking an earthy mid-paced approach in which a decided blues basis adorns rhythm guitars but also decelerating for an instrumental run to feature moving lead guitar along lines of The Great Fall track “No Time To Lose”.  Refrain reflects upon the anthem-like with its regal (and understated catchy) form.  Lyric snippet:

Yours is the Kingdom
All power and glory to You
Forever and ever
So let it be done, for all to see

Father forgive me,
I am down on my knees 

Speaking of varied, on “Armor Of God” Narnia returns to its power metal roots but with a flattering medieval bent.  Starting to bouncing keyboards and lofty guitars ensued by a mirthful beat not unlike Theocracy, “Armor Of God” gallops through its resplendent verse sections only to upraise tempo for a triumphant refrain that could not speak more of the grandiose (in the most positive sense).  Several runs of scintillating lead guitar touch upon the neo-classical.  Lyric snippet:

Put your trust in the Lord
In the strength of the belt of truth
We put on the armor of God
And His righteousness

Bring us the light, bring on the fire
In the darkest night, lifting us higher

“MNFST” is Narnia’s ‘statement of faith” song along similar lines as Petra’s “Creed” (off Beyond Belief from 1990):

I believe in the Holy Father
Who gave His only Son
I believe in the Holy Spirit
Who raised Him from the dead

I’m not ashamed of Jesus
Who gave His life for me
I believe in the Resurrection
The King is coming back

Musically, it separates as traditional melodic metal akin to “You Are The Air That I Breathe” but with the heavier bent - noting the gradient bass line - and Liljegren reaching low to lend some soulful grit to his delivery (and further building upon the commanding scene).  Of note is the near mesmerizing - and quite adept - keyboard work of Martin Harensam.

On “The War That Tore The Land”, Narnia steps outside the box by heading in a direction I identify with as ‘symphonic worship metal with a progressive edge’.  It works is one of the albums finer tracks.  Airy keyboards get things going in underlining its lone verse:

He saved us from
The war that tore the land
And we sing our song
To the Holy One

Moving forward decisive guitars cut in that give way to a female voice repeating ‘hallelujah’, which is replaced by angelic choirs to repeat the same to create a setting that aligns with the august if not all out sublime.  In between, Grimmark lets loose with a lead guitar run to show him as one of the hard music scenes top performers.

“Sail On” sees Narnia maintaining its stride, establishing a mid-paced melodic metal bent in which buoyant keyboards decorate the backend but infused with periodic appearances of some of the catchiest guitar harmonies you will hear.  Refrain is of a galloping and soaring form.  Favorite part might be the dual instrumental runs, including the extended closing break to carry the song out to nearly six minutes.  Lyric snippet:

Sail on when the tides are rising
Guided by the Spirit, the Word
By the compass
Sail on when winds are changing
One way, eternal, forever and free

This is the time to kneel
This is the time to heal

“I Will Follow” invites a light progressiveness. It maneuvers majority of its span bouncing between heavier guitars as ever-presents keyboards play an enlivening role, but at a moments notice it softens to acoustic entwined passages as Liljegren sings even and calm.  With its low-key and resonant demeanor not to mention understated melody, “I Will Follow” would sound right at home on Enter The Gate.  Lyric snippet:

Listen to me now
I’ve got something to say
Jesus is my King
No matter what they say

I will follow
Sing and give my praise

Albums two-part, nine-minute title track further builds upon the progressive.  ‘Part 1’ opens its first minute and a half instrumentally to orchestral overtures and classical keyboards that at once give way to piano.  Calm vestiges continue to uphold as acoustic guitar and added piano waft the subsequent ballad like two and a half - to remind of the moody and melancholic The Great Fall title track - only to have force exponentially increase for the power metal-laced guitars to carry the dramatic finale.  Of note is the precise timekeeping of long-term Narnia member Andreas Johannson.

‘Part 2’ is instrumental to highlight Grimmark’s abilities, but not in a jamming or shred sense but more moving and emotional - do I detect a hint of Pink Floyd? - to align with its equally laid-back ‘Part 1’ cohort.  Of note is the piano a minute and a half in that gives way to a protracted run of bluesy lead guitar played with a great deal of feeling and emotion.  Grand piano effectively sums things up.

It deserves mention the eye catching cover art to feature a lighthouse in the foreground and lightning flashing in the distance, which is a step up from the plainer feel to the self-titled predecessor to include the bands logo over a pastel backdrop.  Production as always is up to the high Narnia standard.

To be fair it deserves mention it can take a certain amount of time for a band to hit its stride when regrouping its classic lineup.  Stryper, for instance, might have reformed in 2003 but it took ten years for it to release what (in my opinion) is its finest album in No More Hell To Pay.  The same applies with Narnia when factoring at the time Liljegren and Grimmark joined forces again in 2014, the two had not worked together since 2006, so it is understandable the group might need a couple years before regaining its prime form.  Such is the case with From Darkness To Light, an album brimming with great songs: “A Crack In The Sky”, “Has The River Run Dry?”, “The Armor Of God”, “The War That Tore The Land” and the albums two-part title track among my favorites.  Liljegren, Grimmark and company continue to perform at a high level.  Unless something significant happens to change my mind in the coming months, this is album of the year.    

Review by Andrew Rockwell

Track Listing: “A Crack In The Sky” (4:25), “You Are The Air That I Breathe” (4:12), “Has The River Run Dry?” (5:10), “The Armor Of God” (4:17), “MNFST” (4:27), “The War That Tore The Land” (4:31), “Sail On” (5:43), “I Will Follow” (4:02), “From Darkness To Light (Part 1)” (5:00), “From Darkness To Light (Part 2)” (3:44)

Musicians
Christian Liljegren - Lead Vocals
Carl Johan Grimmark - Guitars
Martin Harenstam - Keyboards
Jonatan Samuelsson - Bass
Andres Johansson - Drums