Qantice – The Cosmocinesy (2009)

Approximately in the same vein as Roswell Six, let me introduce you this talented French quartet and their first, very convincing output The Cosmocinesy.

First impressions as I first heard it: they remind me of the here previously reviewed Alkemyst - also French, same genre, same originality within a genre usually clogged with clones and almost doomed to repetitiveness. Which is to say: the “good” side of power, the most eclectic one; varied, with a slight touch of experimentalism, symphonic without being epic or sumptuous. Kind of the Symphony X side of power-prog, though hinting at speed metal and with no trace of the Jersey guys’ constant use of syncopes. Let’s even say echoes of Angra are to be heard to quite a large extent.

They define their music “movie metal”, which does actually fit and has nothing to do with Rhapsody of Fire‘s so-called Hollywood metal (alright, just a bit). What we have here is truly atmospheric music yet within the boundaries of power metal, if that’s even possible. What strikes you the most about these guys is that they really managed to blend metal and a few external influences together. To my own likings, they drift a bit too often towards “classical” power, but if you’re into the genre, be assured it’s A-class power you’ll find here. Which would then make my final 7,5 a full eight, I guess.

That said – what kind of movie would this music be suitable for, then? The coverart and titles already give some suggestions. Let’s say it would fit a sci-fi movie of the steampunk kind, or something of the sorts. The intro already sets in you in a suitable mood, with a surprisingly fitting bagpipe sound which is but a clue of the symphonic arrangements to be found overall in the album. Qantice manage to keep a balance between the “angrian” vein of the power choruses, the symphonic background, and the folkish passages (see “best in the well”) à la Rhapsody of Fire (here you go).
The way they bring in “unusual” instruments (tin whistles, baroque flutes, and so on) is also uttermost convincing. And if you take into account the genesis of the album took some five years to reach its well-deserved end, that’s even more striking.

THUS SPAKE THE CENNSOR: The Cosmocinesy is a nice little gem if you’re in search for something both symphonic and power-proggish. Fine musicianship, good and original (yet not too daring) songwriting make the album well worth one listen. Quite possibly not to be the last. 7,5/10

Turisas – The Varangian Way (2007)

Apparently, I find it easier to review albums I adore and enjoy listening to multiple times. Understandable, you’ll say. Yeah but, downside: negative reviews will appear only once in a while. So while I try to attain a balance that may just boost me up to the sacred elite of true reviewers (now that would be quite a feat, would it not?), let’s keep up my recent penchant for symphonic epic (metal) music.

Another gem in the genre’s chest is without doubt Turisas‘ The Varangian Way. These Finns have put out two very fine full lenghts so far, plus a single and – as far as I know – a demo dating back to a couple of years ago. The Varangian Way is their second and latest FL. It’s very much in the same vein as their previous album, Battle Metal, and it’s actually hard for me to pick a favourite – not that I have to, of course.

To be precise, what Turisas play can more righteously be labelled as viking metal. But if the definition is to evoke tachycardiac drumming of the black metal sorts to you, you’d better forget about it. Rather try and imagine a mixture of folky viking-themed tunes and symphonic, epic-sounding arrangements. Now, these guys don’t falter when it comes to give it all a spicy acceleration (In the Court of Jarisleif being a nice example of a speeded-up folk-based tune), but what pleases the ear is, above all, said mixture. They rarely miss a chance to combine folky melodies (which you can find, alone,  anywhere in the region of folk metal bands) with powerful, fitting keyboard chords to keep the mood epic-oriented and the attention high.

As to the lyrical themes, suffice it to say here they deal (surprise, surprise) with viking voyages, ramblings and explorations, all told in a solemn tone – very catchy in my opinion. Choirs as the one to be found by the end of  Five Hundred and One, or the one by the start of The Dnieper Rapids, both so well sung and backed up by the ever-present keys and battering drums, can’t really be tagged as anything but catchy.

My personal highlights will have to be the utterly epic opener, To Holmgard and Beyond, whose majestic flavour is hinted back at by the closer, curiously called Miklagard Overture, and the short, rather aggressive Cursed by Iron. The first two are a good sum of the whole album’s characteristics, binding bombastic rhythms with epic melodies – leading to an awesome symphonic mix which steadily keeps the album together.

THUS SPAKE THE CENNSOR: Let me once again stress on the symphonic result of this mix; the blending will sound perfect to those who like metal with a plurality of voices, where neither melody is left behind in favour of the heavy side, nor the other way round. What The Varangian Way represents is an intelligent (let me even say: non-cliché) interpretation of the viking epic tales told through music. a nice proof you don’t have to sound as black or doomy as possible to deal with it; another (symphonic) way is possible, and that’s right the one Turisas tread. 8/10