|Genre||Symphonic Power Metal|
|Release Date||21 June 2019|
Sick of having the same shitty female fronted metal experience over and over and over and over (and over) again? Me too. And, this year has had no shortage of them. Hell, this month alone has thrown six of them at me already. Don’t let it ruin your summer, though, because Moonlight Haze deliver a fucking killer debut.
Formed by ex-Temperance members Chiara Tricarico and Giulio Capone 2018, Moonlight Haze is a symphonic metal project that combines the talents of musicians from Elvenking, Sound Storm, and Epica to create a melodic, emotionally dynamic, technically-pleasing work of female fronted metal that stands high above your typical Delain or Nightwish ripoff.
Right off the get go we’re greeted with chugging riffs, driving orchestrations, and climbing synth lines to let you know exactly what De Rerum Natura is about. Every arrangement is a ton of fun, and it manages to combine elements of folk, jazz, techno, and various vocal styles to create its own, unique brand of symphonic power metal. I’m painfully aware of how many bands claim to have their own “unique brand of symphonic power metal”, but this is on a whole other level.
One of the better examples of this experimental approach is ‘Dark Corners of Myself’; it begins with epic string and keyboards and has some thoughtful pulled back sections, straight heavy metal verses, choirs, clean and operatic female vocals, a furious neoclassical guitar solo, Chinese folk instruments, and even a Latin bossa interlude. But, despite all of these different pieces, there’s not a moment when it sounds messy and it flows as smoothly as the tamer songs on the album.
As far as favourites go for me, it’s im-fucking-possible for me to narrow it down, because there are so many things I love about this album. Chiara’s vocal performance is incredible, with the highlight being in ‘Ad Astra’ where she unleashes absolute hellfire in the prechorus. Right beside her is the talented Giulio, who takes over both the keyboards and drums. As far as the songs themselves, one of my many favourites is the closer, ‘Goddess’, which sounds a bit like something from Dark Moor’s Elisa Martin days, but minus the head-splitting virtuoso power.
So, yeah. This is probably my favourite symphonic album of the year so far. There’s not a thing I dislike about it and, even though I’m not nearly done with this record, I’ll be happy to see what they come up with next!
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