Luckily, the similarities end there – and for Amberian Dawn, that’s a good thing. One listen to its debut album "River of Tuoni" lets listeners know it is not just a copycat band.

Amberian Dawn’s approach to power metal is theatrical and whimsical, but not dominated by choirs or strings. Instead, it’s driven by intricate guitars (slightly reminiscent of Kamelot’s guitarwork) and lush keyboards. The lyrics are not as grandiose or morosely beautiful as those of Nightwish, but they have a mystical flair that effectively tells tales of loss ("River of Tuoni"), hope ("Sunrise"), death ("Passing Bells"), and the battle between good and evil ("Evil Inside Me"). Also, Heidi Parviainen holds her own as the band’s vocalist. She does not have the charisma or power that we’ve heard from Tarja Turunen, but her voice is still very appealing and has a range that will only grow stronger with time.

What’s interesting about Amberian Dawn is it’s a relatively young band. Tuomas and bassist Tommi Kuri formed the band in 2006 after their original band Virtuocity split up. Heidi and the other musicians joined shortly afterwards. Despite their short time together, the band members of Amberian Dawn have already created a dramatic, melodic, and cohesive sound. Most bands don’t record a first album (much less one that’s internationally released) for several years simply because they’re still developing their sound. Amberian Dawn, however, seems to have found its niche.

The majority of the songs on "River of Tuoni" are uptempo, which is typical for power metal, and fairly short. The best of the bunch is the exhilarating title track. Vigorous guitar riffs and rapid-fire, double-kick drums carry the music underneath Heidi’s enchanting soprano. The high notes she holds during the chorus will leave the listener breathless.

"Curse" is another standout, with heavy staccato rhythms and flurried guitar and keyboard solos.

"Valkyries" is a pleasant mythological flight, and "Sunrise" ascends with rich, 80s-esque soundscapes. The rest of the uptempo tracks fall a little flat and begin to feel repetitive after a while. Even though "Fate of the Maiden" and "Lullabye" have some progressive influences and the organ in "Evil Inside Me" emphasizes the song’s repentant tone, these songs feel less original and slightly underdeveloped.

"River of Tuoni" gives the listener only two reprieves from its swift pace – and they are two of the album’s brightest gems. "My Only Star" is an exceptional power ballad, full of longing and wistfulness. "Passing Bells" is an inventive slow track with a militant beat, a male choir, and synthesized orchestrations that underscore the lyrical theme of impending doom. Heidi’s vocals are exquisite on both tracks, especially on "Passing Bells," and leave the listener craving for one more ballad.

That lack of variety is one of the few shortcomings of "River of Tuoni." Its emphasis on short, speedy songs is probably what makes some of the weaker uptempo tracks somewhat dull. And before the listener knows it, the album finishes abruptly, clocking in at 36 minutes – just long enough to whet the listener’s appetite for Amberian Dawn, but not quite enough to completely satisfy it.

Regardless, "River of Tuoni" is a commendable debut for Amberian Dawn. The band may still be in its infancy, yet Heidi and her bandmates have found a way to distinguish themselves from the most popular "femme metal" band from their homeland. Once they have more albums and performing experience under their belts, they will prove that they are a formidable – and unique – force in female-fronted metal.

8 / 10