Reviews
Sirenia The Seventh Life Path - by WHISKEY SODA (www.whiskay-soda.de)
Mortemia liegt auf Eis, zwei Jahre nach "Perils Of The Deep Blue" präsentiert sich Morten Veland nun bei alten Bekannten (Napalm Records) mit Sirenias neuem Album "The Seventh Life Path".
Um die Stärken des Norwegers weiß man spätestens seit Tristania, mit Sirenia wurde der Stil immer weiter perfektioniert. So gibt es auf "The Seventh Life Path" auch alles wieder, was der Fan erwartet, diesmal mit einem klein wenig mehr an elektronischen Spielereien im Hintergrund ("Once My Light") oder leicht schrägen Stimmverzerrern auf dem schönen Organ von Sängerin Aylin ("Serpent") und insgesamt eine dunklere Grundausrichtung mit fast schon manisch wirkenden Parts ("Sons Of The North". Dazu gibt es natürlich wieder großartige Melodien und wuchtige Orchesterparts, massive Chöre sowie gefühlt wieder vermehrte Vocalanteile vom Chef selbst.
Das Intro "Seti" besitzt wie viele Stücke des Albums einen sehr soundtrackartigen Charakter und leitet in "Serpent" über, welches verzerrt beginnt und mit effektvollen Soundspielereien aufwartet, generell aber ein traditionelles Stück Sirenia ist. Der charakteristische Gesangsstil der Spanierin flirtet mit harschen Veland-Riffs, im Chorus growlt der Boss duellierend mit Mortemia-Chören um die Vorherrschaft, alles verpackt in eine druckvolle Produktion, die zwar bereits als zu blechern kritisiert wurde, in unseren Durchläufen aber einen passenden und opulenten Eindruck macht.
"Once My Light" wird von verzerrter Basslinie getragen und lässt sich mit siebeneinhalb Minuten Zeit, Atmosphäre und Stimmung aufzubauen. "Elixir" bietet eine fiese Ohrwurmmelodielinie und 80er Metal-Synthieeinsatz mit männlichen Clean-Vocals, Chor und Growls. Klingt wirr, funktioniert aber hervorragend. Sakral und erneut an Mortemia erinnernd beginnt "Sons Of The North", ehe eine schwere Basslinie übernimmt und danach ein epischer Brocken kreiert wird, der sein atmosphärisches Highlight im Spoken Words-Part findet. Erinnert leicht an alte Arcturus, wenn nicht die effektiven Gothic-Riffs mit den einmaligen Chören wären und der emotionalen Melodielinie Ailyns im Refrain.
"The Seventh Life Path" wirkt härter und düsterer auf der einen Seite, aber auch monumentaler auf der anderen als seine Vorgänger. Erstaunlich, dass dies überhaupt möglich ist. Ausufernde Songs, die trotzdem nicht den Faden verlieren, knackige Riffs, Chöre, Chöre, Chöre und eine erneut überzeugende Ailyn machen das siebte Album der Norweger erneut zu einem Volltreffer.
SIRENIA - THE SEVENTH LIFE PATH - by CROSS FIRE (www.crossfire-metal.de)
With "The Seventh Life Path", the latest work of female fronted band bombast Sirenia exists. After opulent Intro "Seti" the epochal equipped opener "Serpent" next to the strong guitar work with an interaction of tinged growls and voluminous voice of sympathetic shouter Ailyn for a skilful entry. The tightly under painted "Once My Light" is pompous and varied detached from the mainly backed by clean masculine vocals "Elixir", before the longest distance "Sons Of The North" mostly stomping follows on the heels. The following "Earendel" has, however, beside a melancholy interlude, an anthemic chorus Big accompaniment on to act especially variant Empire after furious start in "Consealed Disdain". Rough guitars ringing the challenging and tricky "Insania" a before "Contemptuous Quitus" refilled somewhat more restrained. After the dramatic, fast-paced "The Silver Eye", the soulful ballad "Tragedienne" completed ultimately these recommended Output and reminds partly almost a gothic metal soundtrack.
Rating: 8 out of 10 points
Sirenia - The Seventh Life Path (CD) - by dark scene.at (www.darkscene.at)
Wenn die Frühlingstage in angenehmer Temperatur Überhand nehmen und einem die Sommergefühle hochkommen, ist nicht unbedingt der richtige Zeitpunkt für ein neues Sirenia Album. Unverständlich, warum Kreativkopf und Mastermind Morten Veland gerade im Mai sein neues Düsterwerk auf die Gemeinde loslässt. Ein Fehler, den andere auch schon gemacht haben. Aber egal, das Tiroler Frühsommerwetter ist schlussendlich eh grau und kalt genug, um objektiv an "The Sevent Life Path" ranzugehen.
Bombastisch, düster und mit sakralen Chören beginnt "Seti" und sofort ist sie greifbar, die unverkennbare Atmosphäre, die Veland zu kreieren vermag, wie wenige andere. Das ist erhaben und wuchtig. Das ist der perfekte Sundtrack für opulente Filmkulissen, gleichzeitig aber auch immer noch mit das Beste und dunkelste, das das symphonisch, bombastische Gothic Metal zu bieten hat. Die Gitarren treiben mit einem massiven Grove, die weilblichen Engelsgesänge sind leichtfüßig und melodisch, die harschen Growls des Meisters dunkel und furchteinflößend und mit all den wuchtigen Chören unvergleichlich und erhaben. Ein toller, unkommerzieller und amtlich harter Opener. Keineswegs auf "Nummer Sicher" gehen dann auch das starke "Serpent", ein verschachtelt durchdachtes "Insania" oder das ausladende "Sons Of The North". Bei "Once My Light" oder "Earendel" wird's zwar kurzerhand auch mal "catchy-groovy", wer solche Songs jedoch in solcher Klasse erschaffen kann und dennoch nicht darauf vergisst amtlich heavy und düster zu tönen, der darf sich gern einige Lorbeeren der "musikalisch kundigen" Teile der Within Temptation / Nightwish Gemeinde abstauben und gleichzeitig den "dunklen" Platz neben diesen beiden Überbands für sich beanspruchen. Das mittlerweile siebte Sirenia-Album endet dann ebenso wunderschön und engelshaft, wie es begonnen hat. Betörende Gesänge auf behutsamer Melodie wecken Wehmut und Melancholie. "Tragedienne" ist ein herrlicher Abschluss eines beinahe rundum gelungenen Albums, das vor Gefühl, Emotion und Atmosphäre gleichermaßen strotzt und keinen Sirenia- oder Tristania Fan enttäuschen wird!
Was Morten Veland mit den ersten beiden Tristania Meisterwerken geschaffen hat, bleibt im spät 90er Jahre Gothic Metal Sektor natürlich weiterhin übergroß und unerreicht. Ganz dunkel und depressiv schön wie die ersten Sirenia kann "The SeventhLife Path" auch kaum sein. Dennoch ist es ein verdammt gutes Album eines Genres, in dem eigentlich nur mehr sehr wenig Handfestes erscheint und in dem eine Persönlichkeit wie Veland schlussendlich fester denn je ganz weit oben am Thron der Schaffenden sitzen sollte.
Wer eine dunkle, düstere und harte Alternative zu Nightwish und Within Temptation sucht, der ist mit Sirenia einmal mehr bestens bedient!
16.4.2015. - Sirenia- The Seventh Life Path (Napalm) - by AVE NOCTUM (www.avenoctum.com)
SireniaI got this album the same week as I received the new Nightwish to review. “So What?” some might ask, “Who Cares? Get on with the review” others may insist, but I bring this up because when you listen to where both bands are at the moment, it’s a bit of a stretch that the two can be categorized in the same genre, let alone Sirenia be considered ‘for fans of Nightwish’ on various forums and other sites (which is that usual it’s-got-a-female-singer-who-else-is-successful-and-has-one-too-oh-yes-Nightwish-they’ll-do attitude). Sirenia are Symphonic Metal, yes, but much heavier, contain harsh and clean male vocals, write very heavy bombastic, epic, unpredictable songs and have actually had the same singer for four albums in a row (Nightwish struggle on this one…). If you like Nightwish’s heavier side there will be something about Sirenia you will love, but if you want folk-influenced catchy hits, then maybe look elsewhere. Enough of Nightwish, lets crack on with Sirenia…
If you’d like an in-depth look at their previous release it’s comprehensively covered by the editor elsewhere on Ave Noctum and I’m sure he (and other fans) will be pleased to hear there has been no radical musical departure since then (and also very pleased that there is no ‘Ditt Endelikt 2’ I’m sure!). That review also does an admirable job of recounting the band’s history too so I’ll leap at the opportunity to be a lazy shite and move straight on to the new album (cheers Pete!). Sirenia’s seventh album (if only there was a hint to this in the title…) still finds the band leaning towards the epic and they still don’t do catchy you-tube friendly ’30 seconds in and you know the song’ type ditties (thankfully). Nope, songwriter and multi instrumentalist Morten Veland has a penchant for the epic and grandiose – as long as it’s wrapped up in powerful, atmospheric, full-on Metal. Yes they’ve found their niche (somewhere in the ballpark of Epica if pushed for a similar comparison) but there is always something around each metaphorical corner waiting to catch you out.
So, although Sirenia don’t really do “catchy” as such, ‘The Silver Eye’ has a hook/chorus as memorable as anything you will hear in this genre. They are, as mentioned earlier Symphonic Metal…yet ‘Elixir’ is one of the finest pieces of Gothic Metal I’ve heard in years, echoing the best of Charon and To/Die/For. Actually, Sirenia are so unpredictable that when met with the opening strains of ‘Contemptuous Quitus’ I thought I was in for a rather interesting cover of Bon Jovi’s ‘It’s My Life’. Now even though this now looks bad for me knowing a Bon Jovi track well enough to draw a comparison, it actually reflects better on Sirenia. Granted, it’s only the opening few bars that have a slight sound of it, but the fact that I thought Sirenia COULD and MIGHT cover a Bon Jovi track is yet another example of their virtuosity and unpredictability (Betcha thought I couldn’t pull THAT back to be a compliment for Sirenia eh?…no, neither did I for a moment there…). This album, like their previous offerings, is a journey that has as much to offer on the first listen as it does on it’s tenth. Sirenia are still crafting and developing their sound. There are unexpected time-changes, mood swings, heaviness bordering on Viking Metal balanced with sweet angelic moments, and they all gel perfectly together to give Sirenia their own unique sound.
Actually, “The Seventh Life Path” does just enough to hook you in. Then, once you are in there, being bombarded by all manor of intricacies and dynamics, it’s hard to find the compulsion to leave again. So basically, Sirenia are for fans of…Sirenia. It’s simple really. They have earned that personal tag by releasing top quality Heavy Symphonic Metal albums one after another in their own style, following their own instincts. “The Seventh Life Path” is just the latest gem in that impressive catalogue.
(8/10 Andy Barker)
19.4.2015. - SIRENIA "THE SEVENTH LIFE PATH" (ORCHESTRAL GOTHIC METAL) - by AMBOSS-MAG.DE (magazin.amboss-mag.de)
Es gibt Bands im Gothic Metal Sektor, die sind schon ewig dabei. So auch die Band um Morten Veland, der nach seinem Ausstieg bei TRISTANIA die Band SIRENIA in 2001 gründete und hier nahezu alles selber macht (wie auch bei seinem anderen Projekt MORTEMIA). Kennzeichen sind und waren schon immer die hohen symphonischen bzw. orchestralen Anteile in der melancholischen Gothic Metal Musik der Norweger. Dazu der hohe Gesang von Sängerin Ailyn, die seit 2008 an Bord ist, gepaart mit zusätzlichen Growls von Morten und schon ist alles fertig für einen leckeren Gothic Metal Cocktail. Auch das neue Album klingt, wie man es von SIRENIA erwartet hat. Auch wenn ich diesmal ein paar Durchläufe gebraucht habe, um mich reizuhören, sind die Songs am Ende wieder mal wunderschön, sowohl was Melodie, Melancholie und Dunkelheit angeht. Trotz aller harten Gitarren durchschlängelt der symphonische Goth Metal sanft die Gehörgänge, was auch an Ailyn’s Stimme liegt.
“The Seventh Life Path” hat keine absoluten Höhepunkte, eher viele schöne Momente. Alle Songs sind auf einem gleichhohen Niveau angesiedelt, wobei “Elixir” und “Serpent” doch noch für mich ein klein wenig hervorstechen. Am Ende gibt’s keine großen Überraschungen oder für das Genre wegweisende Neuerungen, sondern ein für Gothic Metal Verhältnisse sehr schönes (auch wenn ich mich da wiederhole) Album. Trotzdem das Album nicht aneckt, macht es doch neugierig auf weitere Durchläufe, denn Morten Veland hat viele Kleinigkeiten in den Songs versteckt, die es zu entdecken gilt. (eller)
22.4.2015. - SIRENIA: THE SEVENTH LIFE PATH - by DANGERDOG MUSIC REVIEWS
(www.dangerdog.com)
There's an abundance of female-fronted symphonic metal bands. This we all know. You can line them up like so many dotless dominoes as the similarities abound. With one stroke of your hand, they fall into a familiar heap. Some are better than others, others not so much.
Sirenia has always been one of the better ones if only for their consistency. Alternatively, they're not much different from their peers. Elaborate arrangements which are bombastic via riffs and synth orchestration. Yup. Ethereal and operatic female singer you can barely understand. Check. Some dude throwing in some death vocals here and there. Duh. Everything basically sounding somewhere between epic and pompous. No doubt.
So what sets Sirenia apart? Therein lies the conundrum. Reading the above, the answer would be not much. But some things are notable. One is that the male death vocals are basically drowned out by the riffage and orchestration, and that's a good thing. But begs the question. Why bother in the first place? Another fine point is Morten Veland's guitar lines. Like the immensity of the Sirenia sound, when he rips off a lead it can be pretty damn awesome. The second half of Earendal and Once My Light have some terrific stuff, by example. But the best example is Elixer, a totally riff driven groove monster, and also immensely catchy. It's the best song here, and likely the only one that doesn't blend in with everything else. Otherwise, Veland's leads are rather sparse throughout, and that's a disappointment. All this said, when it comes to female-fronted symphonic metal, Sirenia remains a constant and consistent one (read: more of the same), and The Seventh Life Path merely another example of their presence and power in the genre.
Mortemia liegt auf Eis, zwei Jahre nach "Perils Of The Deep Blue" präsentiert sich Morten Veland nun bei alten Bekannten (Napalm Records) mit Sirenias neuem Album "The Seventh Life Path".
Um die Stärken des Norwegers weiß man spätestens seit Tristania, mit Sirenia wurde der Stil immer weiter perfektioniert. So gibt es auf "The Seventh Life Path" auch alles wieder, was der Fan erwartet, diesmal mit einem klein wenig mehr an elektronischen Spielereien im Hintergrund ("Once My Light") oder leicht schrägen Stimmverzerrern auf dem schönen Organ von Sängerin Aylin ("Serpent") und insgesamt eine dunklere Grundausrichtung mit fast schon manisch wirkenden Parts ("Sons Of The North". Dazu gibt es natürlich wieder großartige Melodien und wuchtige Orchesterparts, massive Chöre sowie gefühlt wieder vermehrte Vocalanteile vom Chef selbst.
Das Intro "Seti" besitzt wie viele Stücke des Albums einen sehr soundtrackartigen Charakter und leitet in "Serpent" über, welches verzerrt beginnt und mit effektvollen Soundspielereien aufwartet, generell aber ein traditionelles Stück Sirenia ist. Der charakteristische Gesangsstil der Spanierin flirtet mit harschen Veland-Riffs, im Chorus growlt der Boss duellierend mit Mortemia-Chören um die Vorherrschaft, alles verpackt in eine druckvolle Produktion, die zwar bereits als zu blechern kritisiert wurde, in unseren Durchläufen aber einen passenden und opulenten Eindruck macht.
"Once My Light" wird von verzerrter Basslinie getragen und lässt sich mit siebeneinhalb Minuten Zeit, Atmosphäre und Stimmung aufzubauen. "Elixir" bietet eine fiese Ohrwurmmelodielinie und 80er Metal-Synthieeinsatz mit männlichen Clean-Vocals, Chor und Growls. Klingt wirr, funktioniert aber hervorragend. Sakral und erneut an Mortemia erinnernd beginnt "Sons Of The North", ehe eine schwere Basslinie übernimmt und danach ein epischer Brocken kreiert wird, der sein atmosphärisches Highlight im Spoken Words-Part findet. Erinnert leicht an alte Arcturus, wenn nicht die effektiven Gothic-Riffs mit den einmaligen Chören wären und der emotionalen Melodielinie Ailyns im Refrain.
"The Seventh Life Path" wirkt härter und düsterer auf der einen Seite, aber auch monumentaler auf der anderen als seine Vorgänger. Erstaunlich, dass dies überhaupt möglich ist. Ausufernde Songs, die trotzdem nicht den Faden verlieren, knackige Riffs, Chöre, Chöre, Chöre und eine erneut überzeugende Ailyn machen das siebte Album der Norweger erneut zu einem Volltreffer.
SIRENIA - THE SEVENTH LIFE PATH - by CROSS FIRE (www.crossfire-metal.de)
With "The Seventh Life Path", the latest work of female fronted band bombast Sirenia exists. After opulent Intro "Seti" the epochal equipped opener "Serpent" next to the strong guitar work with an interaction of tinged growls and voluminous voice of sympathetic shouter Ailyn for a skilful entry. The tightly under painted "Once My Light" is pompous and varied detached from the mainly backed by clean masculine vocals "Elixir", before the longest distance "Sons Of The North" mostly stomping follows on the heels. The following "Earendel" has, however, beside a melancholy interlude, an anthemic chorus Big accompaniment on to act especially variant Empire after furious start in "Consealed Disdain". Rough guitars ringing the challenging and tricky "Insania" a before "Contemptuous Quitus" refilled somewhat more restrained. After the dramatic, fast-paced "The Silver Eye", the soulful ballad "Tragedienne" completed ultimately these recommended Output and reminds partly almost a gothic metal soundtrack.
Rating: 8 out of 10 points
Sirenia - The Seventh Life Path (CD) - by dark scene.at (www.darkscene.at)
8.0
Wenn die Frühlingstage in angenehmer Temperatur Überhand nehmen und einem die Sommergefühle hochkommen, ist nicht unbedingt der richtige Zeitpunkt für ein neues Sirenia Album. Unverständlich, warum Kreativkopf und Mastermind Morten Veland gerade im Mai sein neues Düsterwerk auf die Gemeinde loslässt. Ein Fehler, den andere auch schon gemacht haben. Aber egal, das Tiroler Frühsommerwetter ist schlussendlich eh grau und kalt genug, um objektiv an "The Sevent Life Path" ranzugehen.
Bombastisch, düster und mit sakralen Chören beginnt "Seti" und sofort ist sie greifbar, die unverkennbare Atmosphäre, die Veland zu kreieren vermag, wie wenige andere. Das ist erhaben und wuchtig. Das ist der perfekte Sundtrack für opulente Filmkulissen, gleichzeitig aber auch immer noch mit das Beste und dunkelste, das das symphonisch, bombastische Gothic Metal zu bieten hat. Die Gitarren treiben mit einem massiven Grove, die weilblichen Engelsgesänge sind leichtfüßig und melodisch, die harschen Growls des Meisters dunkel und furchteinflößend und mit all den wuchtigen Chören unvergleichlich und erhaben. Ein toller, unkommerzieller und amtlich harter Opener. Keineswegs auf "Nummer Sicher" gehen dann auch das starke "Serpent", ein verschachtelt durchdachtes "Insania" oder das ausladende "Sons Of The North". Bei "Once My Light" oder "Earendel" wird's zwar kurzerhand auch mal "catchy-groovy", wer solche Songs jedoch in solcher Klasse erschaffen kann und dennoch nicht darauf vergisst amtlich heavy und düster zu tönen, der darf sich gern einige Lorbeeren der "musikalisch kundigen" Teile der Within Temptation / Nightwish Gemeinde abstauben und gleichzeitig den "dunklen" Platz neben diesen beiden Überbands für sich beanspruchen. Das mittlerweile siebte Sirenia-Album endet dann ebenso wunderschön und engelshaft, wie es begonnen hat. Betörende Gesänge auf behutsamer Melodie wecken Wehmut und Melancholie. "Tragedienne" ist ein herrlicher Abschluss eines beinahe rundum gelungenen Albums, das vor Gefühl, Emotion und Atmosphäre gleichermaßen strotzt und keinen Sirenia- oder Tristania Fan enttäuschen wird!
Was Morten Veland mit den ersten beiden Tristania Meisterwerken geschaffen hat, bleibt im spät 90er Jahre Gothic Metal Sektor natürlich weiterhin übergroß und unerreicht. Ganz dunkel und depressiv schön wie die ersten Sirenia kann "The SeventhLife Path" auch kaum sein. Dennoch ist es ein verdammt gutes Album eines Genres, in dem eigentlich nur mehr sehr wenig Handfestes erscheint und in dem eine Persönlichkeit wie Veland schlussendlich fester denn je ganz weit oben am Thron der Schaffenden sitzen sollte.
Wer eine dunkle, düstere und harte Alternative zu Nightwish und Within Temptation sucht, der ist mit Sirenia einmal mehr bestens bedient!
16.4.2015. - Sirenia- The Seventh Life Path (Napalm) - by AVE NOCTUM (www.avenoctum.com)
If you’d like an in-depth look at their previous release it’s comprehensively covered by the editor elsewhere on Ave Noctum and I’m sure he (and other fans) will be pleased to hear there has been no radical musical departure since then (and also very pleased that there is no ‘Ditt Endelikt 2’ I’m sure!). That review also does an admirable job of recounting the band’s history too so I’ll leap at the opportunity to be a lazy shite and move straight on to the new album (cheers Pete!). Sirenia’s seventh album (if only there was a hint to this in the title…) still finds the band leaning towards the epic and they still don’t do catchy you-tube friendly ’30 seconds in and you know the song’ type ditties (thankfully). Nope, songwriter and multi instrumentalist Morten Veland has a penchant for the epic and grandiose – as long as it’s wrapped up in powerful, atmospheric, full-on Metal. Yes they’ve found their niche (somewhere in the ballpark of Epica if pushed for a similar comparison) but there is always something around each metaphorical corner waiting to catch you out.
So, although Sirenia don’t really do “catchy” as such, ‘The Silver Eye’ has a hook/chorus as memorable as anything you will hear in this genre. They are, as mentioned earlier Symphonic Metal…yet ‘Elixir’ is one of the finest pieces of Gothic Metal I’ve heard in years, echoing the best of Charon and To/Die/For. Actually, Sirenia are so unpredictable that when met with the opening strains of ‘Contemptuous Quitus’ I thought I was in for a rather interesting cover of Bon Jovi’s ‘It’s My Life’. Now even though this now looks bad for me knowing a Bon Jovi track well enough to draw a comparison, it actually reflects better on Sirenia. Granted, it’s only the opening few bars that have a slight sound of it, but the fact that I thought Sirenia COULD and MIGHT cover a Bon Jovi track is yet another example of their virtuosity and unpredictability (Betcha thought I couldn’t pull THAT back to be a compliment for Sirenia eh?…no, neither did I for a moment there…). This album, like their previous offerings, is a journey that has as much to offer on the first listen as it does on it’s tenth. Sirenia are still crafting and developing their sound. There are unexpected time-changes, mood swings, heaviness bordering on Viking Metal balanced with sweet angelic moments, and they all gel perfectly together to give Sirenia their own unique sound.
Actually, “The Seventh Life Path” does just enough to hook you in. Then, once you are in there, being bombarded by all manor of intricacies and dynamics, it’s hard to find the compulsion to leave again. So basically, Sirenia are for fans of…Sirenia. It’s simple really. They have earned that personal tag by releasing top quality Heavy Symphonic Metal albums one after another in their own style, following their own instincts. “The Seventh Life Path” is just the latest gem in that impressive catalogue.
(8/10 Andy Barker)
19.4.2015. - SIRENIA "THE SEVENTH LIFE PATH" (ORCHESTRAL GOTHIC METAL) - by AMBOSS-MAG.DE (magazin.amboss-mag.de)
“The Seventh Life Path” hat keine absoluten Höhepunkte, eher viele schöne Momente. Alle Songs sind auf einem gleichhohen Niveau angesiedelt, wobei “Elixir” und “Serpent” doch noch für mich ein klein wenig hervorstechen. Am Ende gibt’s keine großen Überraschungen oder für das Genre wegweisende Neuerungen, sondern ein für Gothic Metal Verhältnisse sehr schönes (auch wenn ich mich da wiederhole) Album. Trotzdem das Album nicht aneckt, macht es doch neugierig auf weitere Durchläufe, denn Morten Veland hat viele Kleinigkeiten in den Songs versteckt, die es zu entdecken gilt. (eller)
22.4.2015. - SIRENIA: THE SEVENTH LIFE PATH - by DANGERDOG MUSIC REVIEWS
(www.dangerdog.com)
There's an abundance of female-fronted symphonic metal bands. This we all know. You can line them up like so many dotless dominoes as the similarities abound. With one stroke of your hand, they fall into a familiar heap. Some are better than others, others not so much.
Sirenia has always been one of the better ones if only for their consistency. Alternatively, they're not much different from their peers. Elaborate arrangements which are bombastic via riffs and synth orchestration. Yup. Ethereal and operatic female singer you can barely understand. Check. Some dude throwing in some death vocals here and there. Duh. Everything basically sounding somewhere between epic and pompous. No doubt.
So what sets Sirenia apart? Therein lies the conundrum. Reading the above, the answer would be not much. But some things are notable. One is that the male death vocals are basically drowned out by the riffage and orchestration, and that's a good thing. But begs the question. Why bother in the first place? Another fine point is Morten Veland's guitar lines. Like the immensity of the Sirenia sound, when he rips off a lead it can be pretty damn awesome. The second half of Earendal and Once My Light have some terrific stuff, by example. But the best example is Elixer, a totally riff driven groove monster, and also immensely catchy. It's the best song here, and likely the only one that doesn't blend in with everything else. Otherwise, Veland's leads are rather sparse throughout, and that's a disappointment. All this said, when it comes to female-fronted symphonic metal, Sirenia remains a constant and consistent one (read: more of the same), and The Seventh Life Path merely another example of their presence and power in the genre.
24.4.2015. - Sirenia – The Seventh Life Path Review - by SOUNDSCAPE (www.soundscapemagazine.com)
Keeping in line with their ‘two year album cycle’, Sirenia are back with their brand new album The Seventh Life Path, following on from 2013’s excellent offering Perils Of The Deep Blue.
The Seventh Life Path is an all-round rewarding listen and something that’s always been good about Sirenia is how well the two different vocal styles are utilised into the band’s sound. Sometimes the ‘beauty and the beast’ style of vocals is done for the sake of it, with one of the vocalists voices not quite working with the instrumentation, but this has never been the case with Sirenia. A particularly good vocal approach comes on the penultimate track The Silver Eye, which features for the most part Ailyn singing clean vocals alongside Morten screaming the same line – and it’s striking to say the least, really grabbing your attention and holding it from start to finish. What works well is that some of the sections put more of an emphasis on the harsh vocals and other sections put an emphasis on the clean vocals, which means both singers get their time to shine.
It’s not just the vocals that are great about The Seventh Life Path, however, because there’s some really strong instrumental lines on the album too. Introductory track Seti works well at building up the momentum before the first full track kicks in, and you won’t want to miss the wildly catchy synth/keyboard lines of Concealed Disdain.
Quite simply, The Seventh Life Path is an album you won’t want to miss – make sure you pick up a copy on release date!
9/10
24.4.2015. - Sirenia - The Seventh Life Path - by Two Guys Metal Reviews (www.twoguysmetalreviews.com)
So, I'v never been into the whole gothic symphonic metal trip but I also haven't really given the genre a chance in a few years. Now that I've been presented with a new record from a band I never really listened too, Sirenia's The Seventh Life Path I see that things have come far since I was a long haired sixteen year old with a predilection for the occult. Now we find Sirenia crafting music epics that will capture the listeners imagination and carry them off on an epic and beautiful escapist journey into a finely constructed sound world that few could conceive.
As you delve into the magical sounds that Sirenia mastermind Morten Veland has crafted on this latest release it's hard to deny the all around mastery of the band. Sirenia have managed to hone a sound that is unique and yet also highly listenable. The goth rock fringes that provide flavor to a symphonic metal chassis are impressive. The thing is that Sirenia manage to convincingly add a sense of fun into some very serious epic music without making themselves seem silly. There is something transcendent about the wide open soundscapes that define tracks like Insania. Rather than relying on hooks (Not to say there aren't hooks) the pieces all seem to be building towards something greater which will ultimately grind the listener into the dirt.
Exploring this album is like falling into a strange fantasy world and exploring the cosmic triumph that it has to offer. Sirenia have created an all encompassing and charming work that can at once slam you into a wall and then suddenly blow your mind into a peaceful oblivion. The use of contradiction and pure poetry that defines this music is charming. It's easy to fall in love with what Sirenia do, and as I feel the waves of sound working their way into the twisted remnants of my mind I can't help but genuflect at the power within.
24.4.2015. - Sirenia The Seventh Life Path - by The Power of metal.dk (www.powerofmetal.dk)
86/100
In the Netherlands we have Epica, in Norway there is Sirenia, also a band with female vocals and some harsh grunting ones. Ailyn has a very nice and adorable voice which forms a fine contrast with the harsh aggressive ones of Morten Veland every now and then. If you compare the band with Epica, you can conclude that Epica is a tad heavier with more death metal sounding pieces.
Nevertheless this album sounds very heavy and has a top notch production. It is an almost 70 minutes long adventurous journey. The melodic parts go hand in hand with the faster pieces and this in combination with well arranged orchestral bombastic elements is a feast for your ears. Compared with the predecessor there aren't a lot of changes, but why change it when it all sounds so good. "Elixer" is a track with mighty choirs, a very contagious melody line and clean male and female singing parts combined with some grunts. "Sons Of the North" is again a lot heavier and reminds me of Epica. The same can be said about the next two tracks, bombastic, very orchestral and angelic vocals combined with harsh ones. Put on top of that the nice arrangements and the beautiful melodies and a lot of other bands in this genre can eat their heart out.
If I have to choose one song that impressed me most, it would be besides "Elixer" the song "The Silver Eye". If you want to know why, you should hear it for yourself and I think you will know. The album ends with a ballad called "Tragedienne", in which the lovely angelic fragile voice of Ailyn rules and underlines that she is one of the best in the genre.
On this seventh album the band found a perfect balance between heavy and softer pieces. A job well done!
27.4.2015. - CD review SIRENIA "The seventh life path" - by Markus' Heavy Metal Blog (mwiemetalblog.over-blog.com)
(7/10) "The seventh life path" is the seventh album from Norwegian Sirenia. The band that was founded by ex-Tristania member Morten Veland releases symphonic metal records since 2001. Sirenia continuous also one this new record with the interplay of operesque female vocals and deep growls. The old pattern of good and bad comes back in their songs, which fits well with the lyrics. Love, suffering and pain are typical human feelings, that build the base for the Sirenia songs. It seems like everything remains unaffected at Sirenia.
The new reocrd come with eleven songs. Except the opener "Seti" each of them is epically long. Bombastic metal tracks between five minutes and eight minutes gives you quite some volume for money. But it's more than only the quantity. The quality is OK as well.
Even though I have to admit that I'm not the biggest fan of high pitch female vocals "The seventh life path" has something that is attractive and charming. Tunes like the intensive "Serpent", the mystic "Sons of the North" and the heavy riff-based "Insania" have something that is impressive. And also "Concealed disdain" with the deep growls and the almost fragile female parts from Spanish singer Pilar Giménez Gracía, better known as Ailyn, is a treat for the ears.
It goes without saying that the production is well done. The sound on "The seventh life path" is divers and dense. The longplayer has a powerful expression and the used bombastic elements are well intergrated.
All in all I must say that the seventh record of Sirenia fits seamless into their discography and fans of the band well love it
(7/10)
Bewertung: 4/5
Jetzt geht es um Morten Veland (Ex-TRISTANIA) und seiner Band SIRENIA, die inzwischen seit 2002 mit sieben Alben (inkl. dem aktuellen Machwerk „The Seventh Life Path“) und einer EP die Gefolgschaft solide erfreut, trotzdem aber irgendwie immer in der zweiten Reihe hinter den Genregrößen wie NIGHTWISH, KAMELOT, WITHIN TEMPTATION & Co. Ihren Sound regelrecht zelebriert.
Warum ist das so? Wird die Multikultitruppe zu vorschnell als Kopie abgetan?
Ist sie wirklich nicht auf Grund Ihrer Werke die 1. Reihe wert?
Musikalisch ist die Weiterentwicklung der Musiker von Album zu Album klar herauszuhören (es gab in den letzten 13 Jahren auch so einige Wechsel), aber beim Songwriting (als auch beim Einspielen selbst!) hat der Chef einzig und allein klar vor Augen wie sein Baby klingen soll, auch wenn der neueste Song auf dem 1.Album hätte stehen können, sowie ein Song vom 1. Album auch auf dem aktuellen Album hätte sein können.
Soll heißen, dass sich bei SIRENIA musikalisch alles auf EINEM (hohen!) Level dreht, und auf dieses Songschema beim Komponieren eines Album zurückgegriffen wird.
Bombast, von tiefen Gitarren und haushohen Synthiewänden sowie einer gnadenlos alles auf den Punkt bringenden Rhythmusfraktion druckvoll und klar produziert, der nicht selten die Grenze zum Kitsch überschreitet, doch auch das mögen die Fans genauso wie den feinen weiblichen Gesang (keine Opernarien, keine „Träller-Else“!) der Spanierin Aylin die allerbestens weiß, wie die kleinen Geschichten um Liebe, Tod und Teufel gesanglich in Szene zu setzen sind.
Aber Abwechslung sucht man vergeblich…dadurch bekommt die Musik natürlich schnell den Wiedererkennungswert, dass sie halt immer wieder gleichklingend wiederkehrt…leider!
Im Song „Earendel“ atmet man kurzfristig französische Luft, das war es aber auch schon und ich verstehe immer mehr, warum
SIRENIA wohl auch weiterhin „nur“ Supportslot für die genannten Großen bleiben:
Es ist und bleibt die bandeigene Einfältigkeit (NICHT Einfachheit!) der Songs, die leider von Album zu Album ähnlich klingen, nur aufsteigend spielerisch besser vorgetragen werden.
Während WITHIN TEMPTATION und NIGHTWISH innerhalb des Genre noch weitere Möglichkeiten nutzen (gar ausreizen), bleiben SIRENIA ihrer ganz eigenen songdienlichen Linie stoisch treu.
Kann man machen, aber sollte man nicht, wenn man doch eigentlich das Potenzial hat, mindestens in der ersten Reihe das Tempo mithalten zu können.
Wäre das ein Debüt oder das Zweitwerk, wäre das Ding garantiert mit ´nem 5er durchgekommen.
Aber das 7. Album sollte sich auch vom songwriterischen Aspekt genauso weiterentwickeln wie das musikalische Zusammenspiel vom 1. Album an…
Letztendlich bleibt mir dadurch maximal die Möglichkeit „nur“ 4 Punkte von möglichen 5 zu vergeben, denn eigentlich stimmt doch fast alles…es wird doch geboten, was Gothic Symphonic Metaller hören wollen…
28.4.2015. - Review: Sirenia – The Seventh Life Path - by METALFIST (www.metal-fist.com)
Grade: 9/10
North European band Sirenia is back with their seventh record which will be released on May 8 in Europe, May 11 in the U.K. and May 12, 2015 in North America, the first record released under a new label. After a year of criticising regarding the last 5 records in which some stated that they never came up with something new…two words: NICE TRY! From its unique cover for the record and wisely chosen title for it, due to the significance of the number, the record it’s another reminder of the band’s sound!
The record starts with the lead singer’s crystal clear vocals on Seti, a Gothic metal track which reminds us why the band is as successful as it is: Veland’s writing skills, all of him poured in his lyrics assures the band’s status as one of the best recording acts in musical history.
Serpent continues our journey through the band’s music with influences which do not need any presentation regarding Veland’s writing style. Soon enough, one would want to see them as soon as possible on stage. At a first hearing, one might say that he’s trapped in the same area, without any intention of moving forward and a quick flashback to The Enigma of Life, a ‘commercial’ period.
The third track – Once My Light – represents the first release of the album along with a stereotypical video in the world of Metal. If you are not fond of change, this is the record to hear.
A “back to the roots” attempt was, therefore, inevitable, both in terms of music and commercial. It is clear that the band’s fans are separated into two camps”: those who want to hear again that mix of gothic influences, death and black metal, and does who are comfortable with change. Although the album is a musical masterpiece, is certainly superior to the last disc due to an element of surprise…more romance!
Far from the classic gothic albums, it has a sufficiently diverse sound with influences from alternated black / death metal and alternative rock, plus the well built vocals. As a notable resemblance and easily assimilated by the public, it has the same sound with a more compelling voice. The general alternation is an interesting alternative to traditional metal rock music by using the elements gradually, hence the similarity with the earliest first albums.
28.4.2015. - Sirenia – The Seventh Life Path (Napalm) - by DEAD RHETORIC (www.deadrhetoric.com)
8/10
Gothic/symphonic metal has steadily gained headlining credibility. Sonically throwing a wide dynamic palate in terms of clean or extreme vocals, guitars, keyboards, and orchestration maneuvers beyond the normal ‘heavy’ tones gives the listener multiple angles to latch onto. Guitarist Morten Veland is not a newcomer to the genre: active since 1996 through Tristiana, he formed Sirenia in 2001, now releasing their seventh studio record in the aptly titled The Seventh Life Path and coming full circle as this Norwegian outfit (outside of Spain’s Ailyn on vocals) return to Napalm Records after fulfilling their contract with Nuclear Blast.
The approach to the Sirenia sound is one that is slightly heavier – Morten preferring to establish a very dark, cyber oriented tonality (especially through his choice of snare and guitar sounds) that along with speedier overtones and his own extreme growls makes the 8:30 “Sons of the North” as haunting as it is beautiful. The guitar parts and keyboard orchestration go in tandem to deliver a deeper emotional connection – sometimes reaching death/black proportions in tracks like “Earendel” and “The Silver Eye” (the latter giving a nod to melodic death/folk in its melodies and quicker semi-blast beat sections). Even the 2:08 instrumental intro “Seti” that opens The Seventh Life Path contains all the requisite accents and orchestral/choir build ups to be the perfect psyche-up when Sirenia bursts from the stage in concert.
Even when the band choose to go for the more obvious, modern groove elements that should sway many an audience member for “Serpent” or the quiet, closing piano-oriented ballad “Tragedienne”, there is enough originality going on through Ailyn’s semi-operatic and obvious siren pipes to know that she puts most of the past Sirenia singers in the dust. Add in a scythe adorned villain next to a white clothed hero on the cover and you’ll see the longer than normal 69 minute final product manages to fly by because of Sirenia’s versatile views on the genre.
If you feel Epica have gotten a little too progressive or less song-oriented for value in recent years, Sirenia could pick up that slot in your collection very nicely.
After their unexpected split in Nuclear Blast, not too much time went on to have a new record delivered by the band, mixing every element Sirenia has played before and adding some new ingredients the band has created the perfect match between the heaviness and the melody, featuring instrumental progression and both voices (Ailyn and Morten) are just the perfect combination, this is the one to listen too if you like the old school gothic metal feeling. The structure of the album is very different, longer and deeper songs.
Once my Light, the first single. I really like the way Morten plays with the instruments when it comes to the singles, actually this song is much more longer and EPIC than we see in the promotional video, the first time i heard the single version i though “wow, this song has a lot of changes to be just six minutes long”, but the album version has more instrumental climaxes that makes it even better and does not appear in the single edit. But not just that, also some instrumental touches are missing in the single edit. Once my Light has became the most atmospherical single ever done by Sirenia, one of the most electronic songs in the album, listen it on earphones on high volume and you’ll find it. This is definitely the most epic single in Sirenia’s music, since the original duration is 7:16 minutes, almost one minute and a half longer than the single version. The match between so many different interludiums and instrumental breaks build a powerful composition possible only for masterminds, i don’t doubt many people will need to listen this song (and maybe the album too) many times to digest it, if you know what i mean.
Then, here comes one of the highlights in the album, Elixir, what an excellent song! It repeats a formula always used by Sirenia before, a male clean voice joined by the growls of Morten. Again, he (Morten) has the biggest charge in this song, gracefully he faces the main vocal melody in the song, with very deep gutturals, Morten’s guttural technique is really great to this song, his voice sounds deep and really dark. The voice of the male singer is captivating too. This song has a soft guitar solo too and the participation of chorus is not so big. Ailyn makes a little participation, just like in “Ditt endelikt” from “Perils of the Deep Blue” released in 2013, you should also listen to “A Mental Symphony” from “An Elixir for Existence” to have a clear idea of this song, they are very similar and that is very particular since both songs comes from very different eras of the band with more than 8 years between them, and that’s the feeling for the whole album, Morten has written songs in the feeling of the sounds that saw Sirenia be born 13 years ago. Elixir could perfectly fit as the next single, although it is really heavy, yet catchy.
Sons of the North totally change the path of the album; first of all it’s the longest song in the album, 8:18 minutes. It starts very quiet, keyboard and bass playing a mysterious intro and a chorus of voices similar to “The Mind Maelstrom” from “The 13th Floor” album released in 2009. While the guitars make a shy participation in the beginning, Morten’s growls which sound very sarcastic keep a strong identity. Ailyn sings the chorus in this song. The guitar becomes important entering the song.
In the middle of this song we have a brand new and weird element to Sirenia’s musical historical, it is the first spoken monologue by this kind of character I can only imagine as a Viking from the North because of his voice, then the keyboard play reminds me a little bit to Nightwish, but just for a while, because immediately after, comes one of the heaviest moments of the album so far, a climax beneath the instruments. The song ends with the same Viking talking. Funny Fact: at the end some keyboard sounds a little like “The Final Countdown“, a song by the band “Europe“.
Earendel. That heavy introduction of the growls is really elegant and reminds me a little bit of Dimmu Borgir. The chorus sung by Ailyn is seemed to the chorus of Sons of the North. I first felt this song as a more simple song in the album, until the climax came, a new element in the music were shown: Folk. Pipes, accordion, mandolins, with a feeling of French Folk into it. Must say that, this does not sound like classical folk-metal at all, first of all it’s not Nordic/Celtic folk, and it has no guitars or bass, only organic instruments, it’s more like another atmosphere out of the main concept of the music.
Concealed Disdain, this one will become an hymn for the band, it is the most powerful and fastest song they have made, this puts a brand new view of the album, changes the path again. When I heard it for the first time i was really shocked and I repeated the intro like fifty times.
For the first time I think, Sirenia is featuring power-speed metal, the riff is really fast, and the keyboard too. I’m sure the fans will love this song as I do, and in fact this is my favorite in the album in this moment. I need to be really graphic on the explaining of this song: It starts with some keyboard touches like in “Funeral March” from “Perils of the Deep Blue“, it makes a very short intro before the blasting guitar sound enter in very a fast riff, it is a clear element from other genres like power metal-ish.
Insania. While the previous one was fast, this one is progressively heavy, it tastes to Black metal, the introduction of the growls is very hard and it leads the melody in this song. The song clearly talks about mental insanity and the rhythm kind of reflects that, Morten’s growls are the shout of a darkened mind wanting to be released… The solo is totally unexpected in this song in a duo by guitar and bass, the song ends in an almost DJ-ish electronic vibe to it gracefully mixed with the dramatic chorus of voices, ends with a lullaby. I know i said it before but, Morten growls are just craziness in this song.
Contemptuous Quitus, I can define this song as a progressive symphonic metal, the lyrical voice appears again and puts Ailyn as the main character for the first time in the whole album (well, one could say that she has been the main character in Once my Light too). The middle of the song features the progressive touch, reminds me a little of Dream Theater. After listening to this song I realized that the album as a whole has a kind of narrative, first the baby in “Serpent”, then the Viking in “Sons of the North”, and in this fact I’m talking about in this song, there is kind of atmosphere with whispers, I’m sure Morten didn’t do it with that intention, but it’s something i have to mention..
The Silver Eye, power metal once more! It has a seemed beginning to “Concealed Disdain”, the battery is very death metal-ish. The album is almost ending and I was feeling that Morten forgot that spectacular mix they got in “Chains” a bonus track on “Perils of the Deep Blue“, I mean, making a duo between both voices female and growls. While Aylin’s voice sounds just for a few moments behind Morten growls, she does it in lyrical range and makes it really great… This song is one of the heaviest too.. I know I’ve said it many times, but it’s really hard to choose just one as the heaviest! Note: Although some riffs are really fitting in the power metal feeling, it is not totally power metal, in fact they’ve found the way to make a kind of gothic power metal. Just Saying.
Tragedienne, the last song and it’s a beautiful ballad! That’s not the best way to end such a heavy album, but we saw that before in albums like the “Enigma of Life”, in fact both songs are similar. It is a sentimental progressive ballad with some guitars..
Sirenia has made the best entrance back to the label that saw them be born 13 years ago. The Seventh Life Path combines every single resource they’ve had in their musical historical, from the heaviness in the early days to the catchy melodies from the last era, power, black, death and even folk metal. This is a master piece in the sense of becoming even one of the most important pieces in the genre’s history. “Concealed Disdain” will leave you speechless. This album is the first one in so many years with a perfect rating for me: 10/10.
A detail to be mentioned is that every song lasts more than 6 minutes except Seti, Elixir and Tragedienne, that’s something to be considered when you get to hear the album, meaning that every song is full of complexity, you can’t really count how many changes of melody, climax and interludiums does each song have, that could make the album a little hard to hear… in fact I can say that, with this point in addition of the heaviness on it, you will love it… or you will hate it… It is really different to what Sirenia has been doing with Ailyn the last years, not so catchy and poppy anymore, but more heavy and epic, while Perils of the Deep Blue was just an excellent introduction; The Seventh Life Path just releases everything Sirenia has to give in an amazing instrumental and vocal performance in the funding process of a brand new era for the band.
1.5.2015. - Review – Sirenia: The Seventh Life Path - by Apoch's Metal review (www.apochs.net)
Sirenia came into existence following Morten Veland’s departure from Tristania. Much like that group early on, this new creation had a very dark start to it’s initial Gothic Metal soaked material. 2002 saw their debut album At Sixes and Sevens drop, garnering plenty of praise from fans and critics alike, as did their 2004 follow-up An Elixer for Existence. As time went on, the band focused more on their Symphonic aspect, and not so much it’s darker presence. Four more full-lengths later, all met with mixed reception, and we’ve now come to the band’s aptly titled seventh studio album, The Seventh Life Path, as well as a return to Napalm Records, the label that handled their first two efforts. But have they also returned to their musical roots, or is this yet another release destined to be hit or miss among their fans?
Well, The Seventh Life Path does stick to what the group has been up to lately as far as their performances are concerned, wrapping themselves up with beautiful performances based largely around romance, loss, even mental breakdowns, the latter of which is nicely portrayed in the powerful music video for “Once My Light”. Thankfully, considering the aggression found on later tracks, this one still retains a bit of roughness to the overall output, keeping itself from becoming yet another sleek sounding Gothic Metal band to get lost in the crowd of similar faces. The guitars have a decent bite thanks to the dirtier sounding distortion, not to mention superb echo on the cleaner chords, and the bass is present well enough with a deep tuning that is worth paying attention to when allowed a moment to shine through. Sadly, the drums sound a bit compressed and tinny at times, which doesn’t work as nicely as it does for the rest of the instruments. Even Ailyn’s vocals seem weaker at times, as if a there’s something heavy presenting an obstacle from the full projection being captured.
While the album easily could have been mastered better, a lot of the aforementioned elements, positive or negatively described, actually makes The Seventh Life Path sound genuine by accentuating the themes of each song within the lyrics and music. “Serpent” has some fairly crushing grooves in some of the bridges, as well as the infectious chorus with a background operatic choir, but the main verse really brings Ailyn’s singing up a little louder with some additional echo, complimenting the slight burdening sensation that feels as monolithic as the interpretation of said serpent within the song. Morten’s raspy vocals add to the lizard-like quality nicely by sticking to a fairly linear pitch one might expect a creature like this to have in reality.
But some of the most impressive material of The Seventh Life Path lies in the more aggressive compositions about half way through. “Sons of the North” introduces this, and it’s an interesting mixture of Norwegian Black Metal influences intertwined with traditional Gothic Metal. While the latter is kept mostly to the chorus, the main verses capture the first of those two in a fairly blunt, spirit crushing manner that the harshened vocals compliment well, not to mention some of the nightmarish keyboard and symphonic pieces that appear about five minutes in that trudge along in a momentary Doom Metal trance. That blackened touch is carried into “Earendal” perfectly, though the structuring is about the same other than a momentary Progressive Metal bass line approaching two-and-a-half minutes in, as well as a Folk angle seemingly influenced by the lore and heritage of the band’s home country through wooden landscapes and gypsy/carnival themes, complimenting the sensation of exploration and wonder this segment, the guitar solo, and chorus easily create.
“The Silver Eye”, however, is easily one of the most impressive tracks The Seventh Life Path has to offer. The glorious melodies that erupt early on are reminiscent of Amon Amarth for a short time, eventually weaving together Pagan Black Metal laced with traces of keyboard-driven Helloween influenced Power Metal. It’s an invigorating, albeit shortlived mixture, that gives way to channelling some briefly eccentric tones, usually following the heavily Viking-fuelled chorus that only helps to amplify the already over-the-top piece. But then there’s “Elixer”, which is basically the polar opposite. It comes across a combination of traditional Goth/Darkwave laced with explosive Moonspell-grade performances and a well executed Neoclassical guitar solo thrown in for good measure. While not the only time it happens, this one shows Morten taking over vocal duties for most of the track, capturing that B-Horror graveyard style atmosphere quite well, even when belting out a mixture of rasps and gutturals in the chorus. By the time Ailyn briefly chimes in, it all feels like some kind of gothic duet influenced by the musical The Phantom of the Opera.
There’s so much going on within the confines of The Seventh Life Path that it’s almost impossible to compress one’s thoughts or opinions into a single review without analysing pretty much every single track on the recording. Sirenia seem to be far more open and creative being signed with Napalm Records, as if Morten and Ailyn were finally able to realize their dream that had been stuck in neutral during their time with Nuclear Blast Records. This album also appears to have been recorded by the band as a whole (according to various articles on-line), and not like the prior three albums that list the recording members as a duo of the two just mentioned by name. Whatever the case may be, this new full-length is a powerful return to the group’s roots, combined with the path they’ve forged for themselves up to this point, a sound that those going in expecting a light-hearted romantic romp on par with the single and music video behind “Once My Light” will be surprised at what they find, either for the better or the worst. At just under seventy minutes of beautiful, crushing music, Sirenia stand their strongest thanks to The Seventh Life Path, which is easily not only one of the most important albums of their career, but also one of the most impressive albums 2015 has to offer.
Initial Pressing Score: 9.5/10
Digital review copy of this release provided by Napalm Records via Freeman Promotions.
1.5.2015. - Sirenia - The Seventh Life Path (2015) - Review - by Terra Relicta (www.terrarelicta.com)
Fourteen years. Fourteen years have already passed, since Morten Veland departured from one of the most prominent and praised gothic metal acts of its time, Tristania, and decided to further develop and portray his talent and visions in Sirenia. If you are like me and have followed them since the beginning to the point where we are now, then this is definitely one of these moments when we realize how quickly time passes by, wouldn't you agree? What has happened in these fourteen years? An amazing debut At Sixes And Sevens, its noteworthy successor And An Elixir For Existence and a few albums, which divide the band's fan base: some more loved, other less, but all bearing the typical Sirenia characteristics. A few line-up changes happened in the course of the years as well, but since 2011 the band has been a steady quintet and I'm guessing the stability and energy between the band members has to do something with the fact that since 2011's The Enigma Of Life, which I consider to be the lowest point of Sirenia's repertoire, the band has again turned the page and decided, reaching a low point is something they should accept and – ascend. The recruit of Ailyn, who joined the band in 2008 as a lead female singer obviously was more than a good idea, because she is the longest running of all female vocalists who ever stood in front of the microphone of the band and has shared notable seven years with them. Speaking of sevens, whether it is a coincidence or not (and I do not believe in coincidences), that The Seventh Life Path is the band's seventh full length album and the sevens continuously appear in Veland's tracks – "Seven Sirens And A Silver Tear" (An Elixir For Existence), "Seven Keys And Nine Doors" (Nine Destinies And A Downfall), "The Seventh Summer" and "Sirens Of The Seven Seas" (both on The 13th Floor) and "Seven Widows Weep" (Perils Of The Deep Blue) - to go through them all, I am not sure. But it is a number of mystery and magic, a number which finds its place in fairy tales and legends as well as mythology and religion and the seventh Sirenia album is, believe it or not, just as mysterious and spellbound as the number.
Whilst the typical melodic, rhythmic and groovy guitar riffing, beautifully combined and enhanced by the use of choirs, powerful orchestrations, delightful piano melodies and stunning Ailyn's clean vocals, counterpoised by Morten's profound growls, still build the core of The Seventh Life Path, its beauty lies in incorporating various elements of different metal styles and thus its explorative, even a bit experimental and pompous nature. The opening intro track "Seti" is a nice ambient setter, which takes you on the darkest path and the frightening and threatening choirs let you know you are in for something big: something incredibly obscure, flamboyant and majestic. The compositions on The Seventh Life Path are yet again very dense and rich, as they ooze strange, strained, sharp, intense, wretched and venomous atmosphere and you get just that with the following "Serpent", a highly tenebrous and ghastly song, which emits a deranged and vile ambiance, a bit similar of what we already heard in Tristania's "Opus Relinque" or "Heretique" from their 1999 album Beyond The Veil. Not only musically, but a great part in building that sensations are Ailyn's graceful vocals and again she has proved she keeps evolving: she lightly shifts from sounding like insane witch, beautiful enchantress, raging fury or a fragile siren so effortlessly and with Morten's opposing growls they are creating the typical beauty and the beast play of vocals. Not only by using the two typical vocal techniques, which contradict each other, but because they are interacting as they are telling us a story and thus add a special, very dramatic and almost theatrical effect, which intensifies the sound to the maximum.
Similarly, the grandiose epicenes is probably most notable in a more than eight minute lasting epopee "Sons Of The North", an incredible track, that pushes the sound of Sirenia even further by incorporating avant-garde metal features – when you come half-way along the song a mad intermezzo, with incredibly haunting atmosphere breaks the song’s dynamics and descends into a massive, twisted sensation and so it even heightens the sombre and asphyxiating ambient. "The Silver Eye" brings yet another surprise with its almost fast-paced and abrupt beginning, which really shows Sirenia peered themselves into far more aggressive realms, we were used to. On the other hand, The Seventh Life Path also offers some catchy and melodic tunes, for example in "Elixir", a song, which somehow flows in the vein of currently popular trancecore a wee bit and last but not least, delivers some very classical sirenian tunes, for instance in a ravishing and elegiac ballad "Tragedienne" or a classical gothic/symphonic tune, filled with typical Veland-ish guitars and powerful choirs in a bittersweet "Once My Light" and "Concealed Disdain".
To be honest, I was a bit reserved with this album, simply because I had no idea what to expect, but I can honestly say this is not only an album for the devoted Sirenia fan base, but also for anyone looking a wonderful combination of prime gothic metal and symphonic metal grandeur. The Seventh Life Path was far more than I expected it to be, simply because it depicts a step further in Sirenia's sound and I had never even imagined they would go for exploring and expanding their well-established sound by going into more tense and intense waters, into even more complex and enhanced compositions and stygian atmosphere. With this release Veland has completely mastered his ability to perfectly equilibrate all those various elements and portray them into a whole different, so much more vigorous, ferocious and emotional manner; poured his entire soul into this work of art and perfected the interpretation of musical compositions and song-writing. The divine and darkened harmonies on this album result in an esoteric, edgy, mesmerizing and hellacious album, which at the same time offers a tremendous emotional burdened and at the same time story-telling aestheticism.
Rating: 8,5/10
3.5.2015. - Review: Sirenia – The Seventh Life Path - by Overall Loudness (overallloudness.com)
Symphonic metal is huge these days and has always been quite popular. Yet in the nineties there was a band that defined a lot of the symphonic metal, Tristania. Co-founder of that band was Morten Veland, who left Tristania to form a new band Sirenia. After signing with Napalm Records again, these Norwegians release their seventh album ‘The Seventh Life Path’.
Two years after the release of their album ‘Perils Of The Deep Blue’, Sirenia is back with a new record. In 2004 the band released their last album through Napalm Records, then shifting to Nuclear Blast. A big change in production, which hasn’t affected the band in any way. Even better, Sirenia is playing as solid as ever!
The frail and fragile vocals of Ailyn are present, just like the brilliant songwriting we can expect of Morten Veland. He is the absolute mastermind of Sirenia, playing guitars, keyboards and drums on the records, while also singing some lead vocals and adding grunts to the mix as well. You could say the band can’t do without him.
Sirenia from left to right: Jonathan A. Perez (drums), Jan Erik Soltvedt (guitars), Aylin (vocals) and Morten Veland (vocals, guitars, keyboards)
‘Once My Light’ is very entertaining and also a logical choice to let this track promote the record. It is a complete display of what Sirenia can do, showing the fragile, female vocals with heavy headbang material and some brilliant symphonic keyboards, played by Morten Veland.
‘Concealed Disdain’ is one of the best songs on the record. It has a pretty high pace, combined with somewhat lower vocals of Ailyn. On this track the voices of Veland and Ailyn are matching very well, better than on any other song on the album.
That is my only real comment on this album. It has no real interaction in the vocals, which gives you the feeling that both Vreman and Ailyn are only recording apart, without any collaboration. There is no part on the record in which both grunts and clear vocals are sung together. A missed chance, if you ask me.
‘The Seventh Life Path’ contains eleven songs, most of them being over five minutes long. It’s an extensive listen, luring you away from reality, into the shifting music of Sirenia’s new piece of work. Intro ‘Seti’ is probably one of the most bombastic intro’s I’ve ever heard, preparing you for the symphonic power that is to come.
With the fragile singing of a little child as the first tunes of ‘Serpent’, than kicking off with solid riffs and the beautiful voice of Ailyn. The keyboards are ever-present, completely matched with the heavier side of Sirenia. Because this album is quite a lot heavier than their last. If you listen to ‘Sons Of The North’, which is filled with grunts and unsettling choirs in the background.
‘The Seventh Life Path’ is a logical step in Sirenia’s career. It’s got a somewhat more heavy sound, which makes the entire album a bit faster and more dramatic. Only one thing is missing on this record, it’s interaction between the vocals. Now Morten Veland and Ailyn are both singing, one after the other, they never combine grunts and clean vocals. In the end this is a very entertaining and solid record which will probably please the fans, a lot.
8,2
5.5.2015. - Sirenia - The Seventh Life Path - by METAL TEMPLE (www.metal-temple.com)
For over fourteen years, there has been a band from Norway that has cast their spell of enigmatic Gothic Metal across the world. And now, with their (appropriately named) seventh and latest album "The Seventh Life Path", SIRENIA are once again poised to continue their epic legacy. Released May 8, 2015 in Europe, the eleven-track production is easily identifiable for anyone familiar with their music and is a monument to their craftsmanship and dedication to writing and putting together all of the pieces that make up their legendary brand of Metal. Having only announced their new album less than two months prior, the news likely came as a great and pleasant surprise to fans. I personally had no idea either if that is any indication!
SIRENIA have certainly gained a reputation for amazing performers and recording artists and "The Seventh Life Path" is no exception. While the concept of putting together a six-minute song of such magnitude as is commonplace for this band may be daunting to normal minds such as my own, it is the average song length on this album and they seem to do it with such ease and grace that they could get the patent for it.
The use of a variety of instruments and synthesizers compliments the atmospheric tonalities of the male, female, and operatic vocals in a manner that is not only naturally traditional for SIRENIA, but can almost be expected. There is a pronounced symphonic element in most of the songs across the album, and in many cases (e.g. "Concealed Disdain") the riffs are firm and heavy while the slow melodies of the guitar solo parts provide a nice sonic contrast and blend very well together, creating the essence of their style of Gothic Metal. The softer vocal and instrumental parts go a long way to distinguish the music from the generic, trying-too-hard sounds of some bands in the genre. Speaking of vocals, I could not help but to notice an almost David Bowie-esque male part in "Elixir" that I thought gave a nice twist. Maybe others will agree!
With this being the band's first album in several years back on the Austrian label Napalm Records, it goes without saying that the production is no less than top-notch. Everything about it screams spectacular and is likely to be a chart-topper in many countries (it was unreleased at the time I wrote this). The popularity of this band is unquestionable and are definite heavyweights in the world of Metal and "The Seventh Life Path," with its dark and foreboding cover art, courtesy of Gyula Havancsák, is another chapter in the ongoing dominion of SIRENIA. Now prepare your eardrums, for the path will not only choose you, it will encompass and captivate you!
6.5.2015. - ALBUM REVIEW: SIRENIA – THE SEVENTH LIFE PATH - by THE METALIST (themetalist.net)
We review Sirenia’s first album since returning to their original record label Napalm Records.
Sirenia have arguably been one of the most consistent bands in the gothic metal scene ever since it’s inception in 2001. It’s easy to see why with a man like Morten Veland at the helm, who is responsible for writing Tristania’s most acclaimed albums in the late 90’s. With Sirenia as Veland’s main focus, the band have released an album every two years without losing the massive gothic lustre that has become so prominent with this band, despite the hinderance of many vocalist changes in the early years. Now with a consistent vocalist for quite a while now, the band have truly been able to establish their sound, so let’s see how album number 7 stacks up against the rest.
Those who are familiar with Veland and Sirenia will already know that the songwriting is always strong, and nothing has changed from the epic intro track of ‘Seti‘ transitioning into the neck-wrenching headbanger of a track ‘Serpent’. The first major aspect that one would notice of ‘The Seventh Life Path‘ is how remarkable the production is on the album – of course it has always been brilliant with Sirenia, but the difference in this case is that the songwriting has taken on more of an unstructured style which truly allows the instruments and choirs to be explosive.
Leading into ‘Once My Light‘, and ‘Elixir‘, nothing changes with a pristine use of guitar effects, and chugging riffs over an onslaught of atmospheric symphonies. It is representative of why Morten Veland has been labelled the godfather of Gothic Metal, and with tracks like ‘Sons of the North‘ and ‘Insania‘ one would not really dispute that claim.
‘The Seventh Life Path‘ is Sirenia refined. While in the last few years the band have focused on creating a more accessible sound while retaining their traditional Gothic elements, this album is much more free flowing. Vocalist Ailyn, being in the band for some time now, more than ever makes her lines and melodies as expressive and atmospheric as can be, with a prime example being in the baroque-esque ballad of ‘Tragedienne‘.
The album is a true Sirenia masterwork with a band that’s so consistent in their releases. A move back to the writing style of the early days has certainly paid off. If you have yearned for a return to the days of ‘At Sixes and Sevens‘ and ‘Elixir for Existence‘, you need this album. Hell, you all need this album! It’s the best damn gothic metal album to come out since early Sirenia.
7.5.2015. - SIRENIA - THE SEVENTH LIFE PATH - by Inside the Coffin (www.insidethecoffin.com)
8.5.2015. - Sirenia: The Seventh Life Path - by Sea of Tranquility (www.seaoftranquility.org)
9.5.2015. - Sirenia - The Seventh Life Path - (8/10) - by THE METAL OBSERVER (www.metal-obserever.com)
(81/100 Arjan - ITC)
The beef I have with a lot of female fronted bands like this is that they slowly move away from the metal scene straight into rock or even pop. Best example of this is probably WITHIN TEMPTATION. So far SIRENIA hasn't been a letdown for me. Composer and overall SIRENIA mastermind Morten Veland has again written an album that's somewhere between gothic metal and epic, symphonic metal. All necessary ingredients are there, from almost haunting female vocals, to growls and orchestral vocals.
The music contains a fair amount of zest. Usually in this so called "beauty and the beast" music there's a certain almost sweetness to the female vocals. Miss Ailyn though, has a beautiful yet almost haunting voice. As a siren luring you to a watery grave. That, the dramatic use of the keyboards and the sometimes unusual songwriting make this a memorable album.
I don't know if it was a conscious decision or not, but I feel that the "sweeter" and "gentler" side of female fronted metal is being covered by NIGHTWISH and I think that it's almost futile to compete with them. Because SIRENIA isn't afraid to experiment a bit more and ensures that their music has this slightly darker edge the band corners another side of the market; the side of the more demanding listener.
8.5.2015. - Sirenia: The Seventh Life Path - by Sea of Tranquility (www.seaoftranquility.org)
Following their very positively received sixth album Perils Of The Deep Blue in 2013 the gothic symphonic metal group Sirenia have done it again. For the past fourteen years Moretn Veland Sirenia founder and mastermind has been steering the band successfully delivering many fine albums along the way and The Seventh Life Path is the latest. Some groups continue to go through changes in lead vocalists as Sirenia did on those early albums, but Sirenia have retained the same one and for some years, that is Ailyn who joined the Norwegian band in 2008.
The striking cover artwork for The Seventh Life Path really is impressive creating a strong initial impression cleverly tying in with the album's title, and the songs within maintain those positive thoughts. Lacking the amount of immediate hooks found on a prior recordings like say Nine Destinies And A Downfall The Seventh Life Path is quite the heavy and adventurous release with added complexity and plenty to digest, and the more you listen the more captivating The Seventh Life Path becomes. Vocally fans of Moretn Veland's darker input will surely be impressed with this album, along with Ailyn's wonderful contributions and that of the male/female choir.
A short but very sweet symphonic introduction with a potent chorale inclusion is "Seti", that leads to the striking track "Serpent" and l really like that guitar sound on this one, the darkness descends with a mix of growls and Ailyn's angelic vocals and underpinned by that tasteful groove. The engaging "Once My Light" is next and the band have actually released a video for this one. We find both clean and darker male vocals on "Elixr", and the choir adds to the power of "Sons Of The North" both tracks are very alluring. "Earendel" is quite the zestful number with many delectable elements and one of my standouts, the growls are prevalent for the first half of "Insania" a dynamic metal song, and drummer Jonathan A. Perez gets animated for the intricate heavy number "The Silver Eye".
So take a trip down the The Seventh Life Path an album that upholds the high standard Sirenia have served up on those wonderful releases such as Perils Of The Deep Blue, The 13th Floor and Nine Destinies And A Downfall.
9.5.2015. - Sirenia - The Seventh Life Path - (8/10) - by THE METAL OBSERVER (www.metal-obserever.com)
Continuing strong…
Morten Veland’s second career has been an interesting one, starting with his split from gothic metal forerunners Tristania and the subsequent founding of Sirenia. Over the course of 11 years they released six albums, all with highly differing fan and critic reception, ranging from highly positive (At Sixes and Sevens and An Elixir for Existence) to very negative (The Enigma of Life), but all of them continuously having Tristania’s shadow looming over them. After the first two albums, Veland moved away from the grand symphonic gothic metal sound, probably to step out of the shadow, but while the stylistic comparisons stopped, the quality of the musical output suffered somewhat in the process.
2013’s Perils of the Deep Blue was a kind of redemption by to a good part returning to the sounds of former glory, without any blatant copyisms, so fans were eagerly anticipating The Seventh Life Path (this band seems to have something about numbers in their album and song titles…) to see, if the Norwegians could tighten their grasp. The Seventh Life Path is their seventh effort to date and once more Veland and his crew attempt to walk the tightrope between stagnation and progress.
Returning to his roots at Napalm Records (who had released the seminal Beyond the Veil album of Tristania with Veland at the helm back in 1999), Sirenia’s latest does not stray far from the last album, bringing together Veland’s true and tested unpredictable gothic/symphonic metal cocktail that has the same core ingredients, but borrowing from some bordering sub-genres. What sets them apart from many current bands if the ilk, Veland’s growls still are excellent and add this sense of menace that many of the other vocalists of his kind lack and that contrasts very nicely with Ailyn’s fragile voice.
But The Seventh Life Path, though, is not a complete blast from the past, but some of the songs bear a more modern guitar sound that helps bringing Sirenia’s sound into the present, but without ever compromising the integrity of the album, like on “Once My Light”. But whichever direction the quartet goes off into, Veland’s hand for symphonic and atmospheric elements comes through and holds things together. Take “Elixir”, which is the strongest nod back at the gothic metal of Beyond the Veil (albeit a more modern version of it), with Veland not only unleashing his mighty bellow, but also his singing voice to aid Ailyn or the heavier “The Silver Eye”, which has this great, irresistible melody, but is anything but one-dimensional. Overall, though, it is safe to say that Sirenia have found their spot in the metal spectrum, comfortably sitting at the intersection of symphonic and gothic metal, but without much of the predictability of many of their genre colleagues (see the calm interlude of “Earendel” as perfect example).
For some the album will be too slick and sterile, but that misses the mark, because this kind of symphonic and gothic metal needs this clarity and it allows all the little details to be heard and shine. On the other hand some of the songs could easily have been cut, either for redundancy or sugariness, which is a bit detracting from the overall experience.
While not their finest hour, The Seventh Life Path fits excellently into Sirenia’s back catalogue, continuing what they had (re)started with Perils of the Deep Blue and finishing their niche within the symphonic metal sub-genre. A little more power in the (female) vocal department would probably help things along a bit further, but be that as it may, Sirenia anno 2015 definitely have their very own place in the subgenre and are a force to be reckoned with and the cover art is outstanding!
10.5.2015. - REVIEW: SIRENIA - "The Seventh Life Path" - by METAL WANI (www.metalwani.com)
Listening in to Sirenia’s new album The Seventh Life Path has been quite an interesting journey for me. Formed early in 2001 by one Morten Veland who’s various talents of vocals, synth, guitar, bass and a squadron more of instruments have been the forerunner of this group since its inception. Accompanied by Jonathan Perez behind the kit, Jan Eric Soltvedt on guitars and Ailyn on lead vocals this album is one to take you by surprise.
The artwork definitely has a gritty look of life itself with the serpents and the reaper himself in the dark and lady life in white. It is artistically proficient and can be interpreted in multiple ways, and I like the fact that it does relate to what you’re going to listen to. A lot of the songs on this album are lead predominantly with synth effects and keyboards, but they have not compromised on the guitars or drums. Seti sets the pace of the album rather deceptively, giving you insight into the start of what feels like a story, yet not giving everything away. This is quite classic to gothic and symphonic metal bands and is not new, but what is, are songs like Serpent and Insania which really caught my attention. The guitar riffs and the drumming is serious thrash metal stuff. Heavy, harmonized and paced with a lot of anger which is neutralized by melody and keyboards.
There is no shortage of solos, be it guitars or keyboards as you will hear in Once my Night and & Elixir. Every song follows a very story written pattern here, and while it is a bit repetitive, it does not lumber on the listener because of the variety of instruments available at any time. Ailyn’s voice is quite beautifully suited for this record, as she possesses the right pitch which can cut right through all the variations of sound and stand right out there which is evident in songs like Sons of the North. In fact her frequency is stronger than that of the grunt vocals led by Veland thus making his voice more of an instrumental element to the song itself. Contemptuous Quitus is a song that holds its own in the album. What starts of like a techno remix of some classic song without warning enters a dark realm of elemental symphonic metal with hard hitting thrash elements and before you think you have heard it all you get TheSilver Eye which is an exhibition of Mortens almost black metal voice and it sounds quite like nothing I have heard in my life before simply because before I can classify the genre of the song, it takes a turn and takes off with Ailyn’s breath taking voice accompanied by keys. Tragedienne true to its name has a very tragic and liberating orchestration to it.
In conclusion & personal opinion, Sirenia has taken the metal world by storm. There is simply no way of classifying what they have done. But if there is one thing I am sure of, it is that they have somehow magically harnessed the power and brutality of styles like Thrash and Black metal, and married it seamlessly to the poetic beauty of gothic and symphonic metal. Every song is different, and some may take more time to get the listeners attention considering how much is happening and the variety of instruments playing. At times one may feel that it’s too much and they could have done with less of something here and there and in some where you feel the song is too long or to short. What is important to understand is that this album offers something completely new to the metal industry, it’s not just symphonic, it’s not thrash, it’s not black metal and yet has a correlation across these universally different genre’s, and one must buy and listen to this album just to hear that seamless marriage of various metal styles.
Rating: 8.5/10