LEAVES’ EYES
Symphonies Of The Night
Napalm (2013)
Rating: 6/10
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Leaves’ Eyes was formed in 2003 by vocalist Liv Kristine who was unceremoniously dismissed from Norwegian trendsetters Theatre Of Tragedy, one of the first bands to incorporate the clean female vocals with gruffer male vocals as well as incorporating electronic parts into metal music.
In addition to Kristine, Leaves’ Eyes includes the entire line-up of German death metal band Atrocity. Initially offering a very gothic and flowing sound, the band have evolved over the years, allowing the influence of Atrocity to seep in more. This culminates in their latest release, Symphonies Of The Night, a much darker and more “metal” album than their prior releases, although still recognizable as Leaves’ Eyes.
The album kicks off with ‘Hell To The Heavens’, which is a solid example of exactly what I am talking about. Although Kristine’s gorgeous vocals and the symphonic harmonies still are at the forefront, they split space almost equally with beefier guitars and growling vocals.
‘Maid Of Lorraine’ is another similar moment emotionally; while not leaving behind any of the beauty, the angrier and darker side of the band flourishes more than usual here. The chugging guitars and sharp sounding string section give it a much uglier feel. For me, these songs (and a couple of others) just lean too much towards the Atrocity side of things and Kristine feels like an extra rather than focal point.
Despite the heavier parts becoming more prominent, there are still a number of moments here that hold water with the band’s other works. The orchestra driven folksiness of ‘Saint Cecelia’ is one of the highlights from this side of the album for sure. Featuring a choir alongside Kristine, it plays like a classic hymn or a traditional Christmas tune even. It’s powerful in its simplicity.
Meanwhile, ‘Angel And The Ghost’ and ‘Symphony Of The Night’ allow the band’s more commercial side to come to the fore. I’ve always like this aspect of Leaves’ Eyes the best, so naturally I would consider them highlights. I love how Kristine’s voice soars over the buzzing, rarely still guitars, and how the band perfectly captures the melody line. Both of these songs are incredibly infectious.
Overall, I’m not in love with Symphonies Of The Night in total. It gets off to a rocky start with all the heavier material in my opinion, but the second half of the album finds its feet with the more melodic and anthemic tunes. If this were 1989, I’d certainly keep rewinding Side B over and over again.
Mark Fisher
