lukretion Vision of Atlantis’ debut album Eternal Endless Infinity firmly belongs to the symphonic power metal subgenre that Nightwish popularized in the late 1990s and early 2000s. Closer to home, fellow Austrian band Edenbridge are another reference for the six-piece formation from Bruck an der Mur. As per the genre’s aesthetics, the line-up is comprised of two vocalists, one male (Christian Stani) and one female (Nicole Bogner), and a keyboard player (Chris Kamper), in addition to the standard metal/rock instrumentation (guitars: Werner Fiedler, bass: Mike Koren, drums: Thomas Caser).

If you are familiar with the genre, you won’t find many surprises in Eternal Endless Infinity. The formula the band follows throughout the LP’s ten tracks is tried and true. A tight double-bass drumming dictates a fast tempo in most songs, which the guitars and bass follow diligently by providing a satisfying low-end chugginess to the music. Chris Kamper’s symphonic flourish are very prominent and very very good, spanning a wide range of timbres and styles, from classical orchestration to electronic effects (“Eclipse”). Folk influences are occasionally blended into the music, too. Instrumentally, the album’s ten songs offer top-notch material, showcasing the four musicians’ technical proficiency (listen to Thomas Caser’s high-speed drum fills), but also their taste and skills in writing and arranging the songs.

However, two things hold this album back. First and foremost, the production is terrible. To put it bluntly, the sound quality is closer to that of a demo than a professional studio album. The guitars sound raw and at the same time lack presence. The bass is inaudible. The drums sound poor as well, flat and lifeless. Meanwhile, the vocals seem to have been recorded with the singers placed two meters away from the mic: their voices often struggle to emerge from the background and at times completely disappear behind the other instruments (are those muffled noises in “Lords of the Sea” and “The Quest” supposed to be growls?). Talking about vocals, this is the other main drawback of the record. Granted, they have not been recorded very well, but it is also clear that the two singers, Christian Stani and Nicole Bogner, are not yet in full control of their voices. Nicole in particular seem to struggle with her power, and her mezzosoprano vocals at times sound incredibly feeble and tentative. On the other hand, she seems to have a good timbre and a decent range. Christian Stani’s delivery is more satisfying, although he seems to have an inferior range and technique compared to Nicole. Overall, both their performances do not sound fully convincing, albeit for different reasons, which is of course a massive problem given that the band’s chosen genre requires the focus to be placed on the vocals.

Having said that, I must also concede that Eternal Endless Infinity does possess a special charm. Part of it comes from the spontaneity and enthusiasm the band clearly put in the songwriting, which is simple and by no means perfect, but also bursts with an energy and genuine passion that one may not always find in more accomplished releases. In many ways, Vision of Atlantis’ spontaneous approach reminds of Nightwish’s early records, which were similarly imperfect and eager to impress. Another contribution to the album’s special charm comes from Christian Stani’s vocal delivery. I criticized his technique earlier, but it is also true that his shouted, almost goth/punk approach stands out in a positive way in the context of this record, especially because it creates a beautiful contrast with the power metal stylings of the compositions.

Ultimately, these factors are Eternal Endless Infinity’s redeeming grace and save it from total disaster. It is not enough, however, to elevate the album beyond a “collectors only” status, in my opinion. Better examples in this subgenre abound, both from other bands and from Vision of Atlantis themselves. Eternal Endless Infinity is thus interesting to explore only if you are a fan of the band and want to dig deeper into their origins.

DippoMagoo It’s always exciting to see a band that had long been solid but nowhere close to the top tier in their respective genre, finally break through and release a masterpiece. I was never expecting to be able to say this about Austrian symphonic metal band Visions of Atlantis, a band I have long been a fan of but never been blown away by, but finally, it has happened! Their first two albums left a lot to be desired, to say the least, but with the likes of Trinity, Delta, and Ethera, the band showed themselves to be just a step off from being something special, with a mix of lackluster male vocals and inconsistent songwriting being the two issues holding them back. The band has gone through many line up changes over the years, but it seems no matter who the musicians or female vocalists were, everything mostly sounded solid, and yet their full-length albums up until now had all failed to reach their full potential. With their sixth full-length album, The Dark & the Deep set for release later this week, the band has finally upped their game and delivered not only their best release to date but an early contender for best symphonic metal album of the year.

Going into the album, the band went through their biggest lineup change yet, with only original drummer Thomas Caser remaining from their previous lineup, while both singers, the bassist, and guitarist were all changed. Yet somehow, The Dark & the Deep still very much delivers everything fans of the band would expect, while also managing to be a far more consistent and enjoyable release throughout, with by far their best songwriting to date. Stylistically, listeners can expect some very melodic symphonic metal, with a heavy emphasis on vocal melodies, allowing for two clean vocalists throughout, which has always been a Visions of Atlantis staple. There’s a ton of variety in the songwriting, with the expected mid-paced and super catchy symphonic tracks being present, as usual, but there’s also quite a good amount of speedy power metal tracks, as well as a couple ballads. While this isn’t a particularly heavy album, the guitar work is very solid, with some great melodic leads throughout, as well as some very nice solos and a few really good riffs on some of the heavier tracks, especially the more power metal oriented songs. The songs are all excellent, and everything flows perfectly, unlike on some symphonic albums I’ve reviewed in the past, which have occasionally dragged at times.

Obviously, the most important aspect of the album is the vocals, an area where I’ve always somewhat struggled with Visions of Atlantis. I was not a big fan of previous male vocalist Mario Plank, but with him out of the picture, Dragony vocalist Siegfried Samer has stepped in and he does an excellent job. While he clearly plays second fiddle on some of the tracks, he has a very strong, somewhat theatrical voice which fits in great with the music, and he does an excellent job of carrying the melodies while adding a classic power metal feel to the vocals. His counterpart and the main vocalist throughout most of the album is Clémentine Delauney, who has been very active in recent years, from her one album tenure with Serenity to being in the all-female band Exit Eden. Out of everything she’s done, though, this album does the best job of showcasing her talents, as she’s given a ton of space to work with, and she’s able to show much more of her range than ever before. She has a very soft and pleasant voice which carries melody very well, and at times she sings more normally, while at other times she does some pretty epic operatic vocals, and occasionally she even does some more powerful, rock style vocals, and she sounds excellent no matter which style she uses. With Visions of Atlantis always being a band centered around dual vocalists, it’s important that both singers do their job well, and this album is the first time where I can confidently say that has happened, which makes a huge difference.

Songwriting is the biggest area where the band has frustrated me in the past, as all of their past albums have had a mix of great songs, mediocre songs and occasionally some downright terrible songs. Thankfully, that isn’t the case on The Deep & the Dark, as everything here is excellent, and there’s enough variety here that all fans should be happy with the album. Up first is the title track, which opens with a nice symphonic intro, before quickly picking up the pace. The main riff is quite nice, though overall it’s a fairly light and upbeat track, with slight power metal elements. Keyboards and symphonic elements dominate the track, while the guitar work is solid throughout, and Siegfried is mostly relegated to backing vocals, while Clémentine leads the way and instantly impresses, with some very smooth, yet powerful vocals. The chorus is melodic and super catchy, making the song an instant favorite, while the melodic guitar solo, later on, is also quite good. Overall, it’s a very fun opening track and a great way to start the album.

After that comes the first single, “Return to Lemuria”, which is one of the most power metal oriented tracks on the album. Following a nice symphonic opening, the track quickly introduces some excellent keyboard melodies and a great main riff, before fully speeding up during the verses, where we get out first real taste of Siegfried’s vocals, as he and Clémentine split vocal duties throughout the track, and sound excellent together, with the male vocals adding a bit of theatricality, while the operatic female vocals are as smooth and beautiful as always. The guitar solo in the second half is excellent, and overall it’s one of the fastest paced, catchiest and overall most enjoyable tracks on the album, with the chorus, in particular, standing out in a positive way. Continuing with the speedier songs, next is “The Silent Mutiny”, another very fast paced track with slightly heavier guitar riffs throughout, and it has a very classic power metal feel to it, with Siegfried again adding to the power metal feel whenever he sings, while Clémentine leads the way and is excellent, as always. It has another catchy chorus, more great symphonic elements, and a great solo, and overall it’s another great track. Perhaps the heaviest track on the album is “The Grand Illusion”, which has some very thick and heavy guitar riffs, and Siegfried sings a bit deeper than usual, while Clémentine uses some of her most epic operatic vocals throughout the super speedy and addictive chorus. It’s another very fast paced track, which is once again very catchy and has some great instrumental work throughout. The last really the fast paced song is “Words of War”, which opens up with some great keyboard melodies, before speeding up and turning into another heavier track. It has perhaps the catchiest chorus on the album, as well as more fantastic vocals from both singers, and it has another excellent solo. It’s the shortest track on the album, but also my favorite, as it’s simply so addictive and so catchy, I can’t help but love it.

On the slower side, “Ritual Night” is a nice mid-paced symphonic track with beautiful folk melodies thrown in from time to time, as well as some nice melodic guitar leads throughout, while Clémentine dominates the vocals, singing calmly and very smoothly. The chorus is another standout, and it’s definitely another great track overall. Another track with some very slight oriental influence is “Book of Nature”, another mid-paced track which has a slight kick to its guitar riffs, and both vocalists are on full display here, delivering another excellent chorus, which is one of the best on the album. It’s the longest track on the album and has some of the best instrumental work out of all the songs, making it yet another highlight. The first of two ballads Is “The Last Home”, a very nice piano ballad, which serves as a great showcase for Clémentine, who mostly uses a lower register, though she delivers some powerful vocals during the chorus, and it’s another great track overall. In between two of the heavier songs on the album is the lighter “Dead Reckoning”, a more relaxed and mid-paced keyboard driven track, which is again dominated by excellent vocals from both singers, and it has another great chorus where the pace picks up a bit, as well as bursts of great guitar riffs, and another great solo in the second half. Lastly, we have the closing ballad “Prayer to the Lost”, another piano ballad where Clémentine takes lead and sings softly but very beautifully. The chorus is excellent and gets better as the track goes on, and the guitar solo in the second half is very beautiful. Overall, it’s a great track and a very nice way to end the album.

I was excited about The Deep & the Dark when I saw who the two singers were, but I would never have expected it to turn out as well as it did! Visions of Atlantis have finally reached their full potential, delivering by far their best album to date, with a nice mix of folk-tinged symphonic metal and power metal, and this is an album I’d recommend for any longtime fan of the band, as well as any symphonic or power metal fans who enjoy dual leading vocals, as it can’t be done much better than this!

originally written for myglobalmind.com: https://myglobalmind.com/2018/02/16/visions-atlantis-deep-dark-review/

Conor Fynes 'Ethera' - Visions of Atlantis (5/10)

As has become the case with virtually every sub-genre of metal, there are now stereotypes associated with symphonic metal. Though the term simply means to denote the use of symphonic, or orchestral instruments in their music, it’s difficult to consider the style without thinking of a commercially-viable, goth-infused type of melodic metal, most typically fronted by a pretty white girl in a dress or other gender-specific attire. While symphonic metal could be used to describe bands as far-flung from this stereotype as Septic Flesh and Fleshgod Apocalypse, there is no denying the prevalence of bands that go for the specific, above-mentioned style. Visions of Atlantis are one such band, and though the intriguing album art may have conjured impressions of some epic mythological ordeal, there isn’t much the Austrian act does to make themselves any different from the rest of the female-fronted European horde. “Ethera” is sure to appeal to fans of the Epica and Within Temptation, but for those looking for something a little more distinctive, Visions of Atlantis haven’t made enough of an impression on me to warrant a wholehearted recommendation.

With this latest release being their fifth full-length recording to date, I’m surprised I haven’t heard of Visions of Atlantis before. Browsing through their earlier work however, it’s clear that “Ethera” is a fairly different sound from their early work. Originally, Visions of Atlantis took the operatic sound of Nightwish and fleshed it out with a greater presence of power metal. Their original vocalist- the soprano Nicole Bogner- has since passed away, though she has not been the band for close to a decade. Their 2009 album “Delta” introduced the vocal presence of one Maxi Nil, possibly best known as the touring live singer for Moonspell. Bringing a much more pop and goth-oriented vibe to the band’s sound, Visions of Atlantis have taken a shift to accommodate Maxi’s different vocal style, putting more of a focus on ‘dark’, chugging riffs and a greater focus on melody. In a big way, this change from opera to a poppier vocalist draws parallels with Nightwish. In Nightwish’s case however, they balanced Anette Olson’s voice with a grander scope of musical ambition and epic songwriting, a change that made their music all the more interesting to me. This positive transformation is not shared by Visions of Atlantis sadly. Instead of trying to give Maxi’s voice a counterweight to compliment it, they lean towards a single style collective and ultimately sound colorless. The gothic-symphonic style has been done to death, and Visions of Atlantis aren’t doing enough with it to stand out.

In regards to songwriting, it can be said that Visions of Atlantis kknow how to make the symphonic element work to their advantage. “Ethera” enjoys a clear, detailed arrangement and production sense. Although it’s not always evident upon first listen there always seems to be a symphonic arrangement around to bolster the metal. With that being said, Visions of Atlantis never take the symphonic approach by the proverbial horns; there are no keyboard arrangements here that could stand on their own. As generic and tame as their approach may be, it’s executed with taste and efficiency. Above all, “Ethera” is a vocal-centric album. Although there is the occasional memorable riff, you’re bound to come away from the album specifically remembering the vocals. Maxi and the male vocalist Mario Plank each have a strong voice. Though they- like much of the band’s craft- come across as being middle-of-the-road and generic, they make the familiar ‘beauty and the beast’ dynamic work rather well. Maxi Nil’s voice is in a lower range than Visions of Atlantis’ previous singers; she has a grittier tone to her voice well suited to the band’s sound. The vocal melodies are pleasant enough, but there’s rarely a passage here that stirs my heart or even gets me humming along. Considering the band’s decidedly poppy approach, this is a pretty sure sign that the shift towards being relatively ‘accessible’ hasn’t worked well for them.

There’s always a degree of risk when it comes to a band changing vocalists, let alone their style. In some cases, this has worked very well for the band- Iced Earth have thrived with Stu Block, and Nightwish’s “Dark Passion Play” was the best album I’ve ever heard them make. Visions of Atlantis are a tight, skilled musical unit, but I can’t help but feel disappointed that their style is so typical of symphonic metal. The power metal edge that made their early stuff promising is absent, replaced by a focus on the same radio-friendly stuff the ‘symphonic metal’ term seems to have come to signify. “Ethera” is an album with quality enough to appeal to fans of the style. Visions of Atlantis have the innate talent and skill to make something impressive, but with this latest album, there’s not much feeling they’re stirring in me, save for ambivalence.

Stephen My search for a better prog/power metal outfit last year was stumbled on this. I'm not sure I have heard their previous albums before, but based on the only information that this is a female-fronted band, I expect something great in the border of SYMPHONY X and WITHIN TEMPTATION, but how unfortunate when all I got is a mediocre symphonic metal band. Sure there are some great moments here. 'New Dawn', is the best tune, a power metal track that has commercial touch and sounds very melodic, I'm in love with this right at the first spin.

'Twist of Fate' and 'Elegy of Existence' are two nice tracks, but apart from that three strong tracks, VISION OF ATLANTIS bored me with lots of poorly written tunes, such as 'Where Daylight Falls' or 'Conquest of Others'. 'Memento' is actually pretty good, gave me a thought of a colossal musical score when I first spin it, but the 6:38 duration isn't really full with goodie and they could have shorten it couple of minutes off.

'Black River Delta' isn't bad and the ballad, 'Reflection', is also far from horrible, but with only 3 great tracks, this album was struggling to fight to the top table of any prog fans end-year list. To me, a 70% top and perhaps will go down to 65% after a while.

Time Signature Beyond horizon...

Genre: symphonic metal

"Maria Magdalena? Ain't that a pop song?". Why yes, it is, it is a pop song from the 80s by the German singer, Sandra, and, yes, it is that exact song that this Visions of Atlantis EP is named after. And, as you have guessed, the reason is that there is a cover version of the song on the EP. Needless to say, it has been seriously metallized and now has crunchy guitars, heavy riffage and powerful drums as well as Vision of Atlantis' trademark symphonic effects. Actually, Visions of Atlantis prove that 'Maria Magdalena' sounds just as good as a 2011 symphonic metal song as it does as a 1985 pop song. One of the strengths of the pop song, which Visions of Atlantis have thankfully retained is its memorable and very catchy chorus.

The other tracks are original Vision of Atlantis compositions. The style is basically midtempo modern power metal with symphonic effects. The focus is, however, on the guitar riffage and the vocal melodies, and the symphonic effects are kept in the background, which also keeps the cheese-o-meter comfortably out of the red. 'Melancholia' and 'Change of Tides' are quite solid and catchy symphonic power metal tracks, and especially the former has some very strong vocal hooklines, and, while the tracks are not really groundbreaking or out of the ordinary, I think they are quite good. The same goes for 'Distant Shores', while 'Last Shut of your Eyes' and 'Beyond Horizon' are epic ballads which, I must admit, do not really rock my world. I mean, they are well written with lots of melody, and I am sure that fans of epic metal ballads will absolutely love them... they just do not appeal that much to me.

As has almost become a typical feature of symphonic power metal, the vocal duties are shared by a male vocalist and a female vocalist, and this combination works quite well, although I am not a fan of it per se, and - while the vocalists are incredibly skilled - I think that they lack the power to match the heaviness of the crunchy guitar riffs.

The main attraction of this release is, for my money, the cover version of 'Maria Magdalena' as well as the very strong and catchy 'Melancholia'. The remaining tracks will probably appeal mostly to people who are already fans of the band.

(review originally posted at seaoftranquility.org)