| Musical Style: Power Metal | Produced By: Signum Regis |
| Record Label: Beyond The Storm | Country Of Origin: Slovokia |
| Year Released: 2019 | Artist Website: Signum Regis |
| Tracks: 12 | Rating: 90% |
| Running Time: 60:34 |
Power metal through and through, Senec, Slovakia based Signum does not fail to meet expectations with its European take on the form. Founded by bassist and songwriter Ronnie König in 2007, the group delivers the goods in the form of consummate double bass, neo-classical guitar proclivity, jazzy bass (courtesy of König himself), fast paced but melodic rhythms and varied vocals. It is with the latter in which this review is concerned, beginning with Göran Edman, whom fronted the first two Sigum Regis albums, Signum Regis (2008) and The Eyes Of Power (2010), with his expansive and soaring style.
When Edman stepped down, Signum Regis went the vocalist by committee route on 2013 third length Exodus, which as its title suggests conceptually bases around the Exodus of the Israelites from Egypt. Gracing the Exodus roster are the likes of (among others) Eli Prinsen (The Sacrificed, Sacred Warrior), Lance King (Pyramaze, Balance Of Power), Matt Smith (Theocracy), Daísa Munhoz (Vandroya) and Mayo Petranin (Castaway). Petranin made such a positive impression with his earthy and gritty style that Signum Regis recruited him to grace its roster for its next two full-length albums, Chapter IV: The Reckoning (2015) and Decennium Primum (2017), and EPs, Through The Storm (2015) and Addendium Primum (2017).
When Petranin stepped down, Signum Regis turned to Brazilian front man Jota Fortinho (Nine Circles) to fill its lead vocalist position in time to record its sixth full-length album in the fall of 2019 released The Seal Of A New World. I identify with Fortinho as the most versatile of the three Signum Regis vocalists. On one hand, he reveals a high-end bent to his delivery not unlike Geoff Tate (Queensryche) or the aforementioned Prinsen but matches it with a soaring proclivity akin to Mike Lee (Barren Cross) and Bruce Dickinson (Iron Maiden). On the other, when reaching down low, he can cut loose in darker, lower register fashion to bring to mind Russell Allen (Symphony X).
He best reveals his abilities on albums three opening tracks, beginning with “Kings Of The Underground” in which he highlights his classic tenor abilities on a double bass driven piece intrinsic to a positive disposition to see an uplifting refrain and guitar heavy instrumental moments hold sway. Likewise, he soars on “I Always Go All In”, another five minutes of inspiring power metal also traversing an upbeat course as classical bass and glossy keyboards align with the burnished scene.
On “Prisoners Elegy”, he lowers his range with swarthy elements of grit. It fits nicely with the song, which takes a mid-paced heading with a heavier disposition to give prominence to guitars allowing a bluesy edge (almost resonating of hard rock) and occasional lighter passages with acoustic guitar. Instrumental run starts atmospheric before Filip Kolus steps in with a stretch of bluesy leads.
“The City Of God” maintains the mid-tempo course. It reveals a semi-ballad aptitude, imparting layered vocal melodies and periodic acoustic passages with a gossamer feel but making room for sublime bass and Hammond B3 to taste. “A Memory” also trends towards the mid-paced, starting acoustically before moving forward to darker rhythms alongside a heavy keyboards mix and catchy vocal melodies. A cool Spanish guitar solo rounds things out instrumentally.
Albums title track returns things to the up-tempo. “The Seal Of A New World” launches at once in tenacious fashion, unveiling heavy hitting passages that point to a near thrash basis and others that temper in melodic form, all the while layered vocal melodies bolster the glistening scene. Lead guitar is of a fluid form.
Three that ensue reveal a melodic quality. “Phantasmagoria” separates as a melodic harmony masterpiece, wistful with its fusion-ish feel and airy keyboards but epic as well in light of its sweeping refrain and galloping disposition. Classical feel to bass again stands out. “Let Freedom Ring” kicks in at once to double bass in maintaining the mirthful resonance its length. It gives prominence to a medieval flair in comparison, punctuated by choir like backing vocals, momentous flair and lengthy instrumental stretch to close the final minutes.
My favorite of the trio is positive metal piece “Never Surrender”. Inspirational in form, the song allows bass to hold sway over its opening verses until upbeat momentum steps in, with initiative gradually building until peaking for the melody driven Theocracy style refrain. Momentum only slows at the halfway mark for a vocal harmony laced passage to give way to an intense lead guitar stretch.
Album finishes to three of its more distinctive songs. “Fly Away” highlights a progressive edge. With drum solo to start, the song transitions from epic flavored riffs to gritty guitars backed by organ to lighter acoustic moments (back and forth and back again) only to crest for the perfectly placed flowing refrain. “Shalom” represents albums lone ballad. A good one it is, with acapella vocals and church organ to start but moving forward to gently tinged guitars and larger than life backing vocals in echoing an abundance of emotion and feeling.
Vocalist Eli Prinsen guests on closer (and bonus track) “Scheme Of Lies”. It finds him revealing his high-pitched vocal style on a driving cut distinctive to ominous bass and slogging guitars to make an irascible statement but without trending towards the heavy handed, as revealed in the understated melody. Lead guitar aligns with the snarling essence at hand. I cannot help but be reminded of Seventh Avenue.
Lyrics range from faith based to positive in nature, noting the work of König (mostly) either way. “The City Of God” stands out in this regard:
From the highest mountain
I could see the Holy Light
It came down from heaven
Oh, it shined so bright
See the new Jerusalem
Built of Jasper and Gold
Home of God and of the Lamb
A glory to behold
As does “Shalom”…
My peace I give, I will leave with you
Not as the world promises to give
Don’t let your hearts be filled with fear or be concerned
I go away to prepare a room
My Father’s house build for you to live
I’m coming back to bring you with me
In a place long yearned
… and “Never Surrender”:
That voice you can hear
Inside of your mind
That’s your guardian angel
He’s leading you to the Light
Oh Lord, I’m reaching out to You
No longer I’m a pretender
Set my cold heart on fire
And I’ll never surrender
“I Always Go All In” separates as a positive metal piece:
Just when you thought, you’ve been there
And that you have seen it all
You will soon be reminded
That you know nothing at all
See me where I stand
All odds are now against me
Been dealt a poor hand
But I always go all in
Likewise with “Let Freedom Ring”:
Call me old fashioned but I hold high
Those who work hard to get by
Those who would never sell their pride
For a convenient lie
There’s no easy way
There’s a price to pay
A work to be done
A battle to be won
It’s been this way... since the human dawn
Whereas I remain a fan of Mayo Petranin, Jota Fortinho lends another dimension to the Signum Regis sound with his versatile - high end to soaring to lower register - vocal flavorings. Upshot is a work in The Seal Of A New World that might stay true to the Signum Regis power metal roots, also comes across more accessible in terms of how it explores the groups more melodic and even progressive sides. It also proves consistent front to back in that (at least to these ears) no song stands out less than the rest; in other words, twelve equally good songs I can see fans of European power metal embracing. In the end, I see The Seal Of A New World presenting a strong challenge to rank within the top ten albums of 2019.
Review by Andrew Rockwell
Track Listing: “Kings Of the Underground” (5:07), “Prisoner’s Elegy” (4:39), “I Always Go All-In” (5:00), “The City Of God” (5:16), “The Seal Of A New World” (4:04), “A Memory” (3:54), “Phantasmagoria” (5:28), “Let Freedom Ring” (6:19), “Never Surrender” (4:15), “Fly Away” (5:36), “Shalom” (5:34), “Scheme Of Lies” (5:21)
Musicians
Jota Fortinho - Lead Vocals
Filip Koluš - Guitars
Ján Tupý - Keyboard
Ronnie König - Bass
Jaro Jančula – Drums
Additional Musicians
Eli Prinsen - Lead Vocals
Magnus Karlsson - Guitars
