Diabulus in Musica – The Wanderer

Building on their well received debut album Spanish symphonic metal band Diabulus in Musica return with their new album The Wanderer. Carrying on where Secrets left off but taking things to a higher and more defined level, the quintet from Pamplona have unveiled a release which stings and bites whilst taking the senses into dramatic realms full of melodic beauty and soaring harmonies. The album is often majestic, constantly absorbing and overall deeply satisfying.

Diabulus in Musica show two sides to their sound on The Wanderer in similarity to the recently released album from Xandria.  The difference though is where the majority of tracks from the German band wonderfully combined highly aggressive and harder metal intensity with their symphonic creativity within each song, the Spaniards apart from within No Time For Repentance use this blend either to just steel up the symphonic flows or to create distinct metal tracks which keep the grander sound at bay. This works well in an album that is eclectic in sound though at times one wishes the two elements actually clashed at full might to see what would emerge.

Formed in 2006, Diabulus in Musica are instantly notable for the great vocal range and skill of Zuberoa Aznárez, her voice wonderfully taking flight to impressively varying heights and depth. Complimented by the striking guitar play of Adrián M. Vallejo and the emotive and atmospheric keys of Gorka Elso the band frequently soar like eagles or swarm around the ear in persistent harmonious waves. Powerful though the guitar and riffs are the intensity is raised higher by the muscular bass and commanding rhythms of Alex Sanz and Xabi Jareño respectively. All components combined their strength and musicianship ensures the band is a formidable treat which even with seeds grown from the likes of Nightwish and more so Epica, forge their own enjoyable sound.

Released via Napalm Records, The Wanderer opens with the intro A Journey’s End and the sound of waves lapping gently as a storm brews before the idyllic calm is moved by an impending sense of menace and a crashing climax. This leads into the rampaging Ex Nihilo, a track unrelenting on pace and eagerness to consume the ear with glorious harmonies and enthusiastic riffs. With guitar, bass and drums pressuring, the vocals of Aznárez alongside the keys, rise and sweep around the senses to dazzle and caress. The melodic operatic tinged harmonies radiate and even the harsher male growls can only add an edge rather than over power their grace.

Sceneries of Hope comes next to show the diversity within the album, offering an electronic vein through and beneath the euphoric keys and voice. Only two songs in and one realises Diabulus in Musica with their large gothic sound and orchestral weaves know how to avoid straying into indulgence and excess, each song no matter the size of its design is tight and restrained, this ensures the likes of this song and the impressive Oihuka Bihotzetik never out stay their welcome or disengage focus.

Continuing the diversity the band brings in a classic rock edge for the explosive Blazing A Trail and then dip into folk metal with Hidden Reality each carried off with a confidence and surety in the results. With the terrific vocals ofAznárez as well as the skill of everyone else it does not take long to realise the limitations of the band is only defined by their own belief in what they are doing. An already pleasing album is elevated into impressive the further one ventures into it especially with the mighty assault of Shadow of the Throne. Here the band go into battle with metal alone. Crushing riffs march through  the ear like battalions whiles rhythms demand subservience. The vocals are solely male and delivered with a growl dripping venom and violence showing that the band can do metal as well as anyone and with invention as the teasing melodic extras and male vocal harmonies raining down upon the song show. It is glorious and despite the lack of Aznárez and her cultured sound is a big highlight even if they sound like a different band.

With the fiercely creative and almost experimental progressive No Time for Repentance (Lamentatio) and the simple but stunning folk driven title track, Diabulus in Musica reveal deeper pools  of aural nectar to feast upon. Though not perfect with the similarity to other bands unavoidable at times and a closer union between the majestic and metal side of the band maybe needed, The Wanderer is an excellent album which feels and sounds better play after play.

RingMaster 01/03/2012

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Interview with Marco Heubaum of Xandria

This month saw the return and release of the impressive new album from German symphonic metal band Xandria. After a long wait between previous album Salomé – The Seventh Veil in 2007 to new album  Neverworld’s End, which saw the departure of previous singer Lisa Middelhauve to be replaced by the wonderful voice of Manuela Kraller, Xandria has burst back with a new intensity, creativity and collection of songs which treat the senses to a feast of majestically soaring metal veined sounds. With a great deal of pleasure we had the opportunity to talk to band founder guitarist/keyboardist Marco Heubaum about the new album, new singer Manuela and other aspects of Xandria.

Hello and welcome to The RingMaster Review, thank you for talking with us.

Marco: You are welcome, it´s a pleasure for us! J

First simple question is could you please describe the band in your words and introduce its members?

Marco: We are a German metal band that plays a symphonic, atmospheric and cinematic sound! We consist of five members: Gerit Lamm on the Drums, Nils Middelhauve on deep strings, Philip Restemeier and me on guitars and our new singer Manuela Kraller.

The band has been a vibrant force for a few years now but what was early Xandria like compared to now?

Marco: In the beginning Xandria was heavily influenced by nineties atmospheric, dark metal bands like Tiamat, Paradise Lost and other, and our debut Kill the Sun sounded like late nineties Tiamat only with female vocals. Much less bombastic than we are now and also more simple.

Has the evolution in sound and as musicians been completely organic or have there been times you have made a deliberate change in direction?

Marco: If you are calling picking up new influences and checking out what you can do with them organic, then it is this way. After the debut, influences like movie soundtracks and folk music emerged and our music became sounding bigger and more varied.

Relating to the last question your excellent new album Neverworld’s End has a more defined steel and harder edge to it than ever before was this deliberate or as I asked before a simply natural progression?

Marco: This time we had a clear picture of what the new album should sound like. We wanted to reach another level and to bring forward everyone´s favourite tastes more than before and thus we wanted the next album to be heavier, darker, and more complex.

What are your emotions on the eve of its release, trepidation, fear or confidence or …..?

Marco: We are very confident of what we have done on this album. Whatever the reaction will be, they will not change this, because this album is what we liked to do! But of course we are excited to hear people´s opinions, because it would also be great if our fans like it!

It has been roughly five years between Neverworld’s End and previous release Salomé – The Seventh Veil, why the time? Was it down to simply time taken writing the follow-up, the line-up change which we will talk about later or a mixture of factors?

Marco: Yes, the ones you mentioned have been the main reasons.

Though not openly active over that period to the outside the band must have been continuing in aspects of Xandria but how frustrating and hard is it to deal with things when all you want to do is play music to people live and for them to take home and immerse into?

Marco: We played our first South American tour in this time, and some more shows, all of them belong to the most successful live shows in our history, so there indeed has been something going on. But you are right; being not able to present a new album to the public because we had no permanent singer for the future was frustrating. Especially when you already know what you are about to create, that this is much more what you want to present than only the old songs over and over again. That´s why we already played at least one or two of the songs that have already been written live in this time.

As we touched on, the period between albums saw the addition to the band of vocalist Manuela Kraller, where and how did you all initially link up and meet with her leading to her eventually joining the band?

Marco: Because we started a public call for a new singer, we got lots of applications, and she has been the one we have been searching for! She sent us a very nice email with stunning samples of her voice and then we had invited her to our place to get to know her.

Replacing Lisa Middelhauve, Manuela has brought a new and impressive dynamic to the band but how much of an impact does a new singer have on the older already established songs and how a band plays them from that point on?

Marco: On stage it´s all about the chemistry between the musicians, and that is the most crucial thing. As this chemistry is absolutely great now with Manuela, this is what drives the songs, whether old or new, to new heights. It´s amazing to see how she can bring power to some of the old songs so they get a totally new dimension!

How daunting was it for Manuela to come into the band and bring alive these existing songs with her own ‘breath’.

Marco: I think she wasn´t too scared of this. She knows that we chose her because we believe in her voice and that she is the right one for us, so I think that gives her confidence. But I know that she – as we all do – has great respect for the older carnations of the songs as sung by Lisa, but we do not look back too much. We are the Xandria of now altogether and that´s how we see it when playing the songs.

The new album Neverworld’s End is a stunning release with as mentioned a new edge to the band’s sound, where did this new direction find inspiration and is this the future of Xandria?

Marco: The inspiration came from the things we liked most in our previous music, the atmospheric, bombastic and heavy moments, but we wanted to take this even further. There also have been influences by classical metal bands we always loved, like Iron Maiden, Pantera, Dream Theater, Emperor, Judas Priest, Metallica and also movie soundtracks. Of course there are also the likes of such fantastic symphonic bands like Nightwish that inspired us to go some steps further and unleash everything that was only sleeping in us until now.

The impressive blend of metal forged intensity and the soaring vocal command of Manuela is a seamless and creative mix but has songwriting for the album been as it has been on previous releases, how you go about crafting songs?

Marco: Well, as the main songwriter, I first gather ideas and work on them for myself, in my own fantasy I try to make the best out of them, and when I think they have become good songs, I show them to the other guys and then we are working on them together, everyone bringing in ideas to the arrangement. This main scheme has been working best since the very beginning of the band, when I founded it back in the late nineties to bring my musical visions to life. But also sometimes the other guys come up with ideas for songs and then we are working on them the same way.

Many bands stiffening up their attack with darker metal edges might have brought in additional coarser male vocals to play across from Manuelas tones, was this ever a thought approached and dismissed?

Marco: We thought about a male singer´s guest appearance on one song, but not as a permanent addition to our sound. And it didn´t happen in the end. Well at least you can hear me  doing some spoken stuff, backing vocals and also some screams in the finale of Soulcrusher – listening to Children Of Bodom while driving the long distances between the recording studios inspired to do something like that (laughs). But it´s nothing too obvious and we are not really thinking about hiring a permanent male singer…

I must be honest my favourite tracks on a album of nothing but highlights is the meatier likes of Euphoria, Soulcrusher , and Cursed but are there any tracks or just elements of parts that you are most proud of or even surprised you at how well they have emerged?

Marco: I am most proud of the more complex, heavy and long songs, because this is something I never done before but absolutely wanted to.

This is your fifth album, how has the bands approach to recording and the studio changed over the years?

Marco: This time the production has been lying in our hands and we also recorded most guitars and bass at my home studio, this is something new for us. It gave us a lot of freedom but also big responsibility. If something would have run terribly wrong, we couldn´t blame someone else for it (laughs). But we had a lot of great people working with us, the Principal studio´s boss Jörg Umbreit who recorded the drums and did the mix, Corni Bartels with whom we recorded the vocals in his Weltraum Studios in Munich, and also the amazing talents of our orchestral arranger Joost van den Broek and the musicians who played authentic Celtic and Arabic instruments. These brilliant artists accompanied us very well and so we always had faith in what we were doing. Also we have been well prepared after this long time of rehearsing the songs and letting them mature.

Do you now have a more defined destination each time you enter a studio that you do not need or welcome outside ideas or has it worked the other way and you are more open to suggestions than ever before?

Marco: Both. We had a strong picture of the album and its sound in mind when we started with the actual recordings, but ideas from our orchestral arranger or other involved parties had been always welcome, though this didn´t affect the big picture as a whole.

Your retrospective album Now & Forever – The Best Of Xandria that came out in 2008 was a kind of summary and rounding up the band to that point, should we have seen it as that and was it a kind of that was us then release and now for something new?

Marco: Exactly. At the point of planning this best of  it was an idea of our old label, a natural thing when contracts have been fulfilled, I think  we already knew that our former singer would leave and that we would be heading for new directions. The title was not only referring to our song of the same name, but was meant as a hint that we would carry on with the band for sure.

Though generally it is a compliment do you get frustrated at the early Nightwish comparisons even with the new album which we feel definitely holds a distinct sound of your own far removed from theirs?

Marco: It´s right, Nightwish sounds different today, at least because they don´t have a classical sounding singer anymore (laughs), but for sure there are parallels in the overall musical vision, I think we share a lot there. As they are a real great band and have been one of the launchers of this kind of metal, it is a compliment when someone says “I think you are as great as…”. But of course we don´t like if someone says we are copying them. This is not our intention, we want to go our own way, we just share a lot of the destinations.

Is there to be extensive touring to promote Neverworld’s End?

Marco: We hope so, but we are just in the middle of planning things. So keep checking our tour dates in the next time, there will be news!  

It is always too soon to ask really what is next for Xandria, but we will all the same.

Marco: Playing live as much as we can!

Thank you so much for sharing time to talk to us, good luck with the album though one doubts you will need it.

Would you like to leave us with a final thought or comment regarding anything?

Marco: Thanks for this statement, but good luck is always needed, we just hope people haven´t forgotten us and give us a chance with our new singer and the new album!

Neverworld’s End is available now via Napalm Records

Read the Neverworld’s End @ http://ringmasterreviewintroduces.wordpress.com/2012/02/17/xandria-neverworlds-end/

RingMaster Review 28/02/2012

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Xandria – Neverworlds End

It has been five years since German symphonic metal band Xandria caressed the ear with new material, the band to some extent taking a break but the wait is over with the release of their new album Neverworlds End, and what an impressive release it is too. The band returns with a new vocalist and the continuation of the majestic soaring sounds that set them up as one of the more important bands in the genre. This continuation does not mean it is more of the same though as the quintet has unveiled an album and sound that whilst retaining all the grace and elegance they always effectively offer, has a real bite to its sound now. The band has fused into their music a clear metal vein, a powerful and at times intimidating intensity which is glorious. This new flavour intensifies the album, its blending of menace and beauty into a formidable and striking release deeply inspiring.

Formed in 1997 by guitarist/keyboardist Marco Heubaum, Xandria has constantly built up a fervent fan base and impressive acclaim from debut album 2003 Kill the Sun and especially with their subsequent albums Ravenheart and India in 2004 and 2005 respectively, to Salomé – The Seventh Veil in 2007. Renowned for their stirring and dynamic live shows too the band in 2008 had to take stock with the departure of vocalist Lisa Middelhauve. With a couple of changes in between the band found and recruited Manuela Kraller (ex-Haggard and Swiss band Forty Shades)to front the band in the dying weeks of 2010, her live debut coming a few brief weeks after. Whether she was part of the instigation for the new approach found on Neverworlds End time will unveil but the band has returned with a new energy and intensity that takes them and the genre to greater heights.

Released via Napalm Records worldwide by the end of February, Neverworlds End as mentioned marks the debut of Kraller. With a style reminding of former Nightwish vocalist Tarja Turunen though with more restraint and self control, Kraller swoops and soars within the songs caressing the ear constantly but also finds a complimentary tone for when certain tracks bristle and pace with the metallic energy the album unleashes.

The opening track A Prophecy Of Worlds To Fall immediately indicates the new intent in town, the gothic vocal harmonies and keys from Heubaum soon joined by an ominous dark presence soon emerging as predatory riffs and rhythms. The track sweeps into warm symphonic realms bringing a theatre and emotion the band is known for but always there is the darker threat waiting, lurking for its moment to seize the senses. Kraller from the off shows her stature as a singer and a very satisfying skilled delivery, her voice riding easily upon the rest of sound created by the keys and guitar of Heubaum and fellow six string maestro Philip Restemeier.

The album has a strength and beauty throughout, tracks like Forevermore, Blood On My Hands, and The Dream Is Still, stylishly bringing together alluring melodies and harmonies with firmer and heavier intense elements. There is a drama and immense emotive grandeur throughout the album that sweeps one up on its eager arms. As good as previous releases were Xandria feel like a new band on Neverworlds End, as if they have emerged from an aural journey to a new plateau they were destined to build. There is still a place for their power ballads within this new direction as in The Lost Elysian and A Thousand Letters, but with an iron intent now guiding their flight.

It is when the band really crank up their metallic side the album really excites. The rampant energy of the heroic sounding Euphoria, the glorious imposing might of Soulcrusher, and the wonderfully chaotic aggression of the excellent Cursed, are magnificent tracks that fuse monumental beauty and grand melodies into a colossal potent metallic grip and attack. Drummer Gerit Lamm holds authority with his impressive demanding rhythms whilst bassist Nils Middelhauve casts grumbling and growling basslines into the ear with the utmost skill. He is a highlight in every song; his prowling attitude drenched playing masterful.

Neverworlds End is a total delight and announces the return of Xandria as an event to immerse oneself into. The band has evolved into a mighty handsome animal and with a hope they continue in this new intense and mighty vein, symphonic metal has never seemed so attractive.

RingMaster 17/02/2012

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