Why is it that when we list some of the longest-running or most influential symphonic metal bands, we often forget Edenbridge? The Austrian quintet first emerged with Sunrise In Eden in 2000 – the same year that After Forever released their debut album, and only a few years after Nightwish and Within Temptation broke onto the scene. But, why the omission? Maybe it’s because Edenbridge have kept a low profile recently. In one of the band’s latest press releases, lead guitarist Lanvall acknowledged that production on new music was delayed due to personal setbacks, including the suicide of his father. And when you listen to Edenbridge’s eighth album The Bonding, you’ll hear not only the band’s signature majesty, but also catharsis and hope.

In essence, The Bonding follows the same path as past Edenbridge albums. The band still plays bombastic symphonic power metal highlighted by lush, cinematic soundscapes. The smooth, elegant voice of Sabine Edelsbacher weaves through each song without an operatic trace as it has before. So, what’s different this time? Well, compared to Edenbridge’s 2010 outing Solitaire, The Bonding scales back on the metal. The sweeping strings take precedence over Lanvall and Dominik Sebastien’s churning guitars, and the music is less heavy and more dreamlike. This approach makes sense, however. The trials and tribulations that Edenbridge endured while making The Bonding must have affected the album’s tone. And it works, especially since The Bonding is a vast improvement over Solitaire. The songwriting is stronger, Edelsbacher sounds more inspired, and the orchestral arrangements border on film-score quality. It’s as close to a return to Edenbridge’s Myearthdream era as we’ll get – and it’s a welcome return.

(It’s worth noting that Edenbridge almost didn’t use an orchestra for The Bonding. They enlisted the Klangvereinigung Orchestra of Vienna, conducted by Georg Luksch, only after financial help from generous fans and sponsors.)

Despite its emphasis on mood, The Bonding takes listeners on quite the journey. "Mystic River" kicks things off with a whirlpool of brisk riffs, strings, brass, and synth-organs. Edelsbacher draws you in with her silky chorus, while the orchestral simmering halfway through sends chills down your spine. "The Invisible Force" and "Alight A New Tomorrow" both ooze terrific string accents and single-worthy charm. The 15-minute title track is an Edenbridge smorgasbord, complete with galloping rhythms, spiralling dynamics, somber acoustics, and a prismatic new age instrumental. If that wasn’t enough, Eclipse frontman Erik Martensson joins – and almost outshines – Edelsbacher for the song’s most exhilarating section.

Where Edenbridge excel on The Bonding, however, is with the ballads. Each one epitomizes the album’s balance of force and mysticism. On "Star-Crossed Dreamer," Edelsbacher floats atop the current of strings and electric and acoustic guitars. "Into A Sea Of Souls" shimmers with a jazzy feel to start, then builds to a rousing yet melancholy refrain. Edelsbacher articulates the verses with care, brushing a sense of mystery over the quieter sections. The ballad that’s guaranteed to seize everyone’s attention, however, is "Death Is Not The End." This traditional power ballad celebrates life and the act of cherishing one’s memories. It’s not hard to guess why Lanvall and Edelsbacher (who lost her grandmother in 2012) may have written this song; the conflicting emotions they must have felt weep right through.

Listening to The Bonding reminds me of why Edenbridge may not appeal to everyone. The band has mastered the art of immersing the listener in their work, but they often stick to their comfort zone. So at times, Edenbridge’s music lacks the excitement delivered by other like-minded bands. Don’t you want to hear lots of staccato riffs, double-kicking, and unexpected twists when you listen to power metal? Funny thing is, "Shadows Of My Memories" from The Bonding strives for that kind of "oomph" but fails to achieve it. The grunts from new bassist Wolfgang Rothbauer also feel like they were thrown in just for intensity’s sake. The only other problem on The Bonding is the title track’s choppy flow. Some moments will haunt you long after the song has ended, but others feel like puzzle pieces jabbed in just to complete the picture.

As a whole, however, The Bonding will satisfy the hunger of Edenbridge fans and attract new ones. This album isn’t earth-shatteringly bold or different, but it’s beautiful to listen to and great fun to sing along with. And if Edenbridge do one thing well, it’s that they continue to sound like, well, Edenbridge. Each female-fronted symphonic metal band has a unique personality, and Edenbridge show on The Bonding that they’re still their ethereal, empowering selves. Not to mention it’s damn good to hear them use a full-blown orchestra again. So many symphonic metal bands (even some of the big names on the scene) use synthesizers to imitate the real thing. I understand that method saves money, but how else can you capture the vibrancy and richness of scores of strings, brass, and wind instruments? That’s The Bonding’s greatest strength, and perhaps the biggest reason why Edenbridge continue to dazzle the metal world.

8.5 / 10

Highlights: "Mystic River," "Into A Sea Of Souls," "Death Is Not The End"

For Fans Of: Edenbridge’s past albums (particularly Myearthdream), Nightwish, Within Temptation, Epica, Xandria, Leaves’ Eyes, After Forever

The Bonding will be released via SPV / Steamhammer on June 21 in Germany, June 24 throughout the rest of Europe, and July 2 in North America. Stay tuned to Edenbridge’s Facebook page for updates.