Lots of up-and-coming metal bands these days are combining a vast range of styles and blurring subgenre edges. In some ways, it’s a sure-fire way to stand out in an increasingly crowded metal scene, especially if the band is female fronted. Ivalys are part of that revolution. This quintet from Marseilles, France has created their own sonic puzzle with pieces of progressive, symphonic, and death metal. Yes, apart from the country, that description also fits Epica. And I’ll admit, Ivalys sounds like a less bombastic, more guitar-driven version of the Dutch superstars. But one spin of Ivalys’ debut album Lumen will convince skeptics that the French newcomers are forging their own path, though it may be unbalanced and overambitious at times.

I guess I should still categorize Ivalys’ music, though. How about "modern melodic progressive metal"? That phrase is a mouthful, but there’s no better way to describe Lumen, produced by Ivalys drummer Pablo San Martín and bassist Loris Guillen. You’ll hear distorted riffs, calmer passages, lively synths, blast beats, occasional male grunt vocals – and that’s only the beginning. So, what exactly makes Lumen progressive and melodic? First, though most of the songs are less than 5 minutes long (relatively short by prog standards), they’re chock full of tempo changes, odd time signatures, atypical structures, and intricate arrangements. Second, despite its experimental swagger, Lumen is a vocal-oriented album. None of the musicians perform any true solos. Instead, they work in tandem and give singer Jessica Donati room to shine. Her cadent, crystalline voice contrasts the music’s rawness and navigates the complex terrain effortlessly. My gut feeling also tells me Donati may find herself dodging comparisons to Simone Simons of Epica. Even though Donati stays clear of opera, both ladies’ voices sound eerily similar. If you ask me, though, being compared to Simons is a high compliment.

During the course of Lumen, Ivalys show that they like to play with details and aesthetic storytelling. A good example of the latter is the title track. This chain of elements runs from its sinister, cymbal-accented intro to somersaulting synths, then to a 2-minute instrumental that builds line by line through its rumbling end. As for the details, they come in all forms. The end of "Nothing Grows" skips like a DJ manipulating his turntable. "Instill Light," on the other hand, quiets down for the first half of each verse to highlight only the drums, bass, and Donati’s dulcet tones. Closing track "Fragments" stirs together all of the ingredients Ivalys have poured in and more, including a Middle Eastern vocal / synth harmony.

Donati also delivers some outstanding melodies on Lumen. She sails through the chorus of kick-off track "Within Flesh" and singlehandedly persuades the listener to stay for more. "Haven" exudes the same magic, with synths leaping like dolphins behind Donati’s voice. This combination of voice and synthesizers occurs during other choruses on Lumen, most notably on "Disclosure" and "Enclosure." The airy euphoria this evokes begs you to play each song again.

That trick, along with Donati’s charm, only works when the songwriting does. Ivalys is a young band striving for a mature sound, and Lumen shows it. If a given song has any hooks, either Donati or the keyboards perform it. Other tracks are missing hooks completely and fail to be memorable for that reason. Lumen, therefore, requires a lot of patience. I had to play this record numerous times to figure out how I felt about it, and I wouldn’t be surprised if other listeners have the same experience. Also, the sporadic grunting (by some male creature who’s not identified on the promo or on Ivalys’ websites) serves no purpose whatsoever. And when it does pop up, it makes me cringe. The most painful example is "The Passengers," where the bellower robs Donati of the lead and turns the piece into a disastrous Uruk-hai audition for a Lord Of The Rings film. Sometimes I don’t mind grunting – and other times, like with Lumen, I want to bang my head against a wall and scream, "Why?!"

This has been one of the most difficult reviews I’ve written for Sonic Cathedral. And it’s mostly because of the challenges that Lumen presents to me as a listener. Ivalys have their work cut out for them in terms of songwriting and certain aspects of execution. At the same time, though, the band does a few things right on Lumen. The musicians clearly know how to play, create a homogenous yet unique style, and produce a sound that’s sharp and clear. And then there’s Donati, who’s a delight to the ears. My guess is Ivalys need more time and experience to hone their skills. For now, though, we can absorb their current palette of sounds. An oddly colorful and untidy palette, yes. But at Lumen’s brightest moments, it balances grit with sweetness, rhythm with melody, and – appropriately enough, given the album title’s Latin roots – dark with light.

7.5 / 10

Best Songs: "Within Flesh," "Haven," "Lumen"

For fans of Epica, Diabulus In Musica, Kells, Ex Libris, and other female-fronted progressive or symphonic metal bands

Lumen is available for purchase at Ivalys’ BandCamp site, Amazon, iTunes, and other digital platforms. WormHoleDeath / Aural Music has yet to announce a release date for physical copies.