DippoMagoo Out of all metal bands to come out of Brazil, my favorite is progressive power metal band Vandroya, who absolutely blew me with their 2013 debut One, and so even in a month as crowded with big new releases as April 2017 has been, their sophomore release Beyond the Human Mind was one I absolutely had to hear. One was an album where everything just clicked with me immediately and I loved the seamless blend between power and prog elements, as well as the amazing lead vocals, and so I had very high expectations for Beyond the Human Mind. Thankfully, there’s no sophomore slump for this band, as they have delivered another excellent album that very much falls in line with their debut, while also having a slightly rougher, more raw sound that works out quite well.

On One, Vandroya managed to take influences from bands such as Angra and Symphony X, while very much developing their own sound, and this continues on Beyond the Human Mind. If anything, I’d say the two main influences from the debut, while still there at times, are much less noticeable here, and I mostly notice some Helloween in the rawer sound and in the energy of some of the speedier passages. This is definitely a rawer, harder-hitting album in compared to their debut, with the duo guitars very much being the focus of the music, and the production is definitely a bit less polished this time around, but if anything that just makes the music all the more hard-hitting and powerful. At the same time, while the music is definitely aggressive at times, there’s still some great melodies here and the vocal lines are every bit as brilliant as on the debut. Where the debut was a more even mix between power and prog, most tracks on this release tend to lean closer to the former, while occasionally adding in elements of the latter, and so most tracks are fairly fast paced and a bit more straight-forward compared to songs on the debut, although there’s still some more complex instrumental portions, especially on the 10 minute epic title track that closes the album.

As much as I loved the music on One, my favorite element of that album was vocalist Daisa Munhoz, and that remains as true as ever on this album. Her voice is as fierce and powerful as ever, and on the heavier tracks, she provides some very aggressive and energetic vocals that match the intensity of the music, while still being able to rein herself in enough to deliver huge choruses, all while stealing the show every time she sings. On the debut, she also excelled during softer portions, where she was able to soften her voice up and sing a lot more calmly and very beautifully, while also singing with a lot of emotion, and of course, that also remains as true as ever on this release. In short, she has once again given one of the best vocal performances I’ve heard on a metal album in recent years and remains one of my favorite vocalists in all of metal.

Songwriting is another area where the debut was pretty much flawless, and this is again true of Beyond the Human Mind. There’s a nice variety between the tracks, and everything flows very nicely. The album begins with the intro track “Columns of Illusion”, which starts out as your typical epic orchestral intro, before the drums and guitars slowly kick in midway through, and then later on the guitar starts to dominate with some great solos and the music picks up in intensity, serving as a great beginning for the album. After that, opening song “The Path to the Endless Fall” kicks in and is the kind of straight-forward, high-speed assault fans would expect as the opener for a power metal album. The guitars are heavy and sound great right out of the gate, and the track moves at a frantic pace, very much having a classic power metal feel, and the rawness of the guitars can immediately be noticed, before Daisa takes over and delivers excellent vocals throughout the verses, and then completely steals the show during the chorus. The solo section is also very energetic and quite memorable, and all around it’s an excellent opening track.

The next track, “Maya”, has a slightly more modern feel to it, with slightly punchier guitars. It starts off with some fast riffs, before turning into more of a mid-paced prog song with slight power metal leanings. During the opening verse the guitars remain heavy, but as it moves along the keyboards slowly kick in, and we get a more relaxing section before the amazing chorus shows up for the first time, and the track does a nice job of alternating between heavy guitar led sections and calmer keyboard driven sections, all while allowing Daisa to shine throughout. It’s solo section is also really nice and features some great guitar work, as usual. Next is “Time After Time”, the first of a couple tracks where I notice a slight hard rock edge in the guitars, though for the most part it’s a speedy power metal track, where the chorus effectively uses a slow section to build up energy before the music again goes full speed, and it’s a really awesome chorus, easily one of my favorites on the album. The last two speedy tracks are “I’m Alive”,a fairly simple and fast paced track which also has a slight hard rock edge to its riffs, as well as one of the more fun solo sections on the album and a fun chorus, and “You’ll Know My Name”, possibly the fastest, most energetic track on the album, which has some very heavy riffs and catchy vocals during the verses, and keeps the energy going throughout, with a great chorus and another memorable extended instrumental section in the second half. ‘

On the calmer side of things, the album has two ballads “Last Breath” and “If I Forgive Myself”. Usually, I don’t like when power metal albums have two ballads, but these two tracks are both excellent and they’re spread out perfectly so that that they don’t slow down the momentum of the album. Both tracks feature some of the best vocals I’ve heard from Daisa, with some stunning choruses and bridge sections. “Last Breath” is led by acoustic guitars, while “If I Forgive Myself” is a piano ballad, and while I love both tracks a lot, it;s the former that slightly wins out for me, mostly because it has probably the best vocal section on the entire album, followed by a really beautiful guitar solo.

Lastly, the title track is a mostly mid-paced progressive metal track, with some heavy guitars throughout. It almost serves as a power ballad throughout the first half, but then in the middle we get a very long instrumental section where the guitars get heavier and becomes a more complex, prog track with some excellent solos, and this section is definitely one of the highlights of the album, while Daisa sounds as amazing as always on the chorus.

Overall, Beyond the Human Mind feels like a natural evolution from One, leaning a bit more towards a classic power metal sound, while still including some modern prog elements and some excellent instrumental sections. It’s a rawer, more powerful sounding album, and once again it features some incredible songwriting as well as one of my current favorite vocalists in metal. Just as in 2013, Vandroya has delivered one of the best progressive power metal albums of the year, and I highly recommend this release for existing fans of the band, as well as any prog and power metal fans who want something that mixes together both genres nicely, while featuring some incredible vocals.

originally written for myglobalmind.com: http://myglobalmind.com/2017/04/21/vandroya-beyond-human-mind-review/

adg211288 Brazilian progressive power metal act Vandroya have a history that actually dates all the way back to 2001, but those who know their name probably heard it through their debut album One (2013), released twelve years later. Their only prior release was the Within Shadows (2005) demo. They've again left it a few years but the group is now back with their second full-length album Beyond the Human Mind (2017), though they did release the two track EP Heavenly Shadows (2016) in the meantime.

Beyond the Human Mind basically picks up with where One left off. That means guitar driven, progressively inclined power metal topped with the excellent and powerful voice of Daísa Munhoz. The production seems a little less polished on this album compared to the previous but I actually see that as a positive thing as it gives the guitars of Marco Lambert and Rodolfo Pagotto more grit and that never hurts a power metal band in my view. The band's progressive elements are perhaps a little less obvious this time around, but the band have included their longest song yet which is the title track, which really shows off this side of the band.

Power metal is one of those ironic genres though: it's music is based around speed, yet the bands are also more likely to include ballads compared to other forms of metal. I find that most power metal artist's ballads end up being their weakest tracks, disrupting otherwise strong albums. It's all very well being able to play the actual power metal parts well, but the best artists are the ones who actually manage to get their ballads right. Blind Guardian are the masters of this, but Beyond the Human Mind proves that Vandroya are made of the same kind of stuff when they deliver anthemic power ballads like Last Breath and If I Forgive Myself. Daísa Munhoz is an excellent vocalist for power metal, but its during these songs where she shines the brightest. This is some very emotive singing right here. Some listeners may find it a small issue that a power metal album has two such tracks, but the band do them so well that it shouldn't be too much a surprise that they doubled down on a good thing.

I do think that overall I preferred the band's previous album One by a small margin, but this is an excellent follow-up from Vandroya that shouldn't leave anyone feeling dissatisfied. So far in 2017 power metal albums of this kind of calibre have been in short supply, so Beyond the Human Mind should be a priority for any fan of the genre to check out.

UMUR "One" is the debut full-length studio album by Brazilian power metal act Vandroya. The album was released through Inner Wound Records in December 2012/January 2013. The band already formed in 2001 where they initially started as a cover band. They released a demo in 2005, but it wasn´t until late 2010 that they started recording "One". Obviously getting the album recorded and released have been a long process, as it´s taken almost 2 years.

Vandroya play "classic" Euro power metal with the occasional progressive section (the faster paced tracks are not completely unlike early Sonata Arctica). The musicianship is incredibly tight and the music is delivered with great passion. The basic instruments are bass, drums, two guitars. Keyboards are present on most tracks, but are generally used tastefully and not placed high in the mix. So while the music is still rather polished as it´s custom in the genre, the more secondary role of the keyboards do provide "One" with a slightly more raw edge than you´ll usually hear on a Euro power metal release. It´s on the lead vocalist spot that Vandroya really stand out though. First of all because Daísa Munhoz is a woman singing in a power metal band, but also because she is not the "angelic" type female vocalist. Her voice has a lot of character and her delivery is slightly hoarse, even though she can also hit the high notes. Her choir and harmony vocals are also rather spectacular. She´s a rather unique vocalist and provides Vandroya´s music with a slight bit of originality.

"One" is both well played, well produced and well written, and features just enough original ideas to stand out from the pack and to be a success to my ears. Yes all the usual Euro power metal elements are there are accounted for (Neo-classical leanings, double pedal drumming, galloping rythms, uplifting anthemic choruses and so forth), but Vandroya are one of those few acts that fuse all those well known elements into something that doesn´t sound generic. Their high energy level and passionate delivery are of course also great assets, that help "One" be the great album it is. A 4 - 4.5 star (85%) rating is deserved.

Kev Rowland Brazilian act Vandroya started life as a covers band, but as they became more involved in the metal scene they started writing their own material, which led to the ‘Within Shadows’ EP which was released in 2005. It took until 2010 for them to start work on their debut album, and until 2013 for it to be released. So, although it has taken a while to get to this point, now they have let’s all hope that they get the recognition they deserve. As is my preference, I played the album the first few times before I had read the press release and to my ears they sounded like a cross between Angra and Helloween with some Stratovarius thrown in for good measure. So, when I saw that they are countrymates of Angra then it started to make some sort of sense.

This is power metal, with elements of symphonic (and even some prog metal to be honest), and the guys are musicians of the top order and seem to be at their happiest when they can storm through a song in the manner of Dragonforce. Mind you, the break in the middle of “Within Shadows” is way more laid back with a great bass line and funky piano. But, what takes this band to the next level are the powerful vocals of Daisa who is an incredible singer. She has no problem standing loud and proud in front of a metal band, knowing that she is always totally in control of the situation and can handle whatever they are throwing into the mix. No matter if they are running along as if they are Helloween reborn, or if it is something slower, she is always there taking centre stage. But, this is very much a band effort with singer and musicians in perfect harmony creating some incredible metal.

It is hard to realise that this is just a debut album, as it rarely gets much better than this. For more details visit www.vandroya.com

J-Man Hailing from Brazil, Vandroya is a progressive-edged power metal act that has received a fair amount of praise for their 2013 debut entitled One. A well-composed and professional effort indeed, One features the tremendous vocals of Daisa Munhoz (a name I recognize from her contributions to Soulspell releases) alongside strong musicianship and arrangements. Vandroya's sound doesn't come across as revolutionary to these ears, but their fine mix between various power and prog metal styles makes for an enjoyable listen from start to finish.

Most of the music on One bears a strong resemblance to European power metal, with its massive choruses and speedy riffs not sounding too dissimilar from Helloween or Stratovarious. Vandroya also incorporates touches of progressive metal into their sound, usually by way of proggy keyboard arrangements and riff structures unconventional by power metal standards. This side of the band can be heard on tracks like “No Oblivion For Eternity”, “Anthem (For the Sun)”, and “Solar Night”, but there are also plenty of more straightforward power metal tunes like “The Last Free Land” and “Change the Tide” to keep things varied. There's even a power ballad in the form of “Why Should We Say Goodbye?”, which is admittedly a somewhat cheesy track, but still manages to sound effective within the album's context.

I don't see most of the songwriting here as anything terribly remarkable, but the vocals Daisa Munhoz really bring this album up above the 'average' mark - I sense a rising star in the power metal world judging by her dynamic performance here! Though most other aspects of One are more promising than masterful, the end result is still a very solid debut from this Brazilian power metal outfit. Vandroya is an act to keep an eye on!