Ruins of Elysium – Daphne (FULL EP + Bonus Track)

English:CD-review
  Van Muylem    23 juni 2016

It’s always nice to see that some bands notice our website by the bias of our reviews. This one contacted me after reading a review about Evig Natt last album. I could have said no, but I’m always eager to go where I have never before been too … Be ready for some Opera symphonic metal …


I’ll start with some basic info to enlighten you a bit (in case you also have to discover this one): Ruins of Elysium is an Epic Symphonic Metal international band that trusts on elements from classical music, extreme metal, gothic metal, j-rock and even videogame themed lyrics to bring the most epic and heavy songs to life. This band clearly differs from the other bands with their style, the almost endless different influences and sizes of its music, but for sure because of the operatic voice of classical trained tenor Drake Chrisdensen.

The EP starts with a harp, followed by a piano and a symphonic sound. This is the introduction of Daphne (the main track). Drake presents us his vocals powers, bringing the pathos. The choir gives it a more sacred sound. Layer after layer: the drums, after that more synths, guitars … The track explodes, enriched by all the previous elements. It sounds like a sonic outburst. The approach works perfectly. The vocals change from tenor to normal singing, back and forth. It’s 10:21 of pure fun, filled with theatrical drama. The greatest jubilee has a higher drive and explodes pretty fast after a slow start. I would describe it as opera symphonic rock/metal. For the first time we also get a screaming monster.

No You’re Not starts with drums and a violin mixed with guitars and raging vocals. The tempo gets lifted a bit, but I hear that one of the vocal lines is not really blending in whilst singing the title. This part sounds a bit like forgotten by the producer or guy behind the mixing desk. It’s sad as it could become a great track if all vocals would blend in. Largo Al Factotum is clearly coming from Figaro’s Aria (written by Rossini). It’s a bit strange to hear it mixed with metal, but as I read somewhere if people like Wagner and Mozart would live in 2016 they would be creating symphonic metal! It all sounds pretty natural. Crusader reminds me in the beginning a bit of the Carmina Burana before changing into a symphonic opera metal piece. For the first time I even hear a guitar solo, just as a synth leading at another point. A bit later the drums and a clarinet get their 15 seconds of fame. Whilst the song grows we even get female vocals leading (the soprano is Annelise Diaz). Towards the end we get a bombastic sonic outburst. Last regular track is the epilogue called

Meadows of Elysium: the piano is leading the birds and a male choir. It sounds pretty magical. We get a bonus with the 2016 remix of Prince: a strong symphonic metal blast, smoothly speeded up. The vocals are mixed in a powerful way whilst the drums are hitting hard and the guitars chords start to smell as if they are melting down after being touched by fingers on fire. It’s a beautiful and powerful end!

I must say that I’m not an opera fan ( but yes: I have seen Figaro), but listening to this album enriched my awareness for this genre. I’m pretty sure that fans of opera symphonic metal absolute adore this band! In the end I’m glad I gave it a chance and hope the some of our readers will follow shortly after reading this review.