Well, that’s what they say anyway, and that’s where the name comes from. And we move on from there. Winter in Eden is a British band, a Symphonic Gothic band that takes that description right where we want to go. There’s the Symphonic, there’s the metal, there’s the strong female vocal, and there damn sure is the Gothic. The band is a 5 piece group from Northern England headed by the sultry voice of one Vicky Johnson. The initial press response has been positive to say the least. And, after I heard their initial EP release, I was convinced we had a winner here. It took a couple months to get to the full CD described in this review but it was worth the wait.

Awakening provides us with some serious gothic material. The music is contemporary, the vocal not necessarily the operatic but surely interesting and very talented. The remainder of the band is equally strong, keyboards especially. The guitars provide the metal flavor over the drums and indicate a strong metal direction. However, it is the song construction that is at the core of the WiE attraction. We get some seriously interesting music, over even more interesting lyrics. If you’re looking for lighthearted pop, go elsewhere.

Awakening doesn’t start out with the traditional classical introduction we get rather regularly in this genre. Instead, they get right down to business, metal business. WiE doesn’t do happy music; they take to the dark side and pretty much stay there. This is music from the regions where pain and suffering hold full reign. And Oblivion takes us there for an introduction. The metal begins with a huffing guitar that takes us to the keyboards. Vicky then begins the journey. And it’s not a pretty journey. The song talks about the pain of life; the music enhances that message with hard crunching harmonies that reflect those thoughts. This is the WiE motif, it is messages of darkness, it is thoughts of pain, it is music that crashes that message through to the inner core.

Several of the songs from Awakening actually start out quite beautifully. Fate Will Oblige is one of these. A carry over from the EP it begins with a sultry vocal covering an ever building guitar that quietly takes us to a story of death and devastation. The early lines are quietly delivered by a vocal that seems obliged to carry out a message of sorrow. However, as the song builds, the guitars become more pronounced, the vocals become more desperate, the keys begin to grip our consciousness. This song is a highlight of the CD, and one that defines the work. Lyrically we get the thrust of the WiE message:

This dark message carries through on most of the titles on this work. However, the metal can range from supporting to overwhelming. WiE provides some surprisingly strong musicianship, although they seem content on several titles to support the vocalist. Maybe this is unfortunate. However, we must remember that it seems to be the message that is all-important with WiE. But not always, sometimes it’s just the music that drives the action. Nowhere is this more apparent than on Aragon. This short instrumental is classic symphonic, in the tradition of the Lord of The Rings, I guess. But, as the symphonic closes down, the metal begins as we move to the next selection. Our vocalist again takes the lead and the metal bows to a supporting role. That metal can flare up at any time however, and it sometimes catches you by surprise. You’re listening to the lyrics; with the instrumentals in the background and "Wam" the guitars begin a screeching interlude. Wish there was more of it.

The keyboards, however, do take a significant part of the action. And they are more than a little interesting. Frustrated Dreamer begins with this keyboard direction and then continue to underlie the vocals. These keyboards can take a variety of directions, as is the custom in music of this sort. However, here they actually take a piano sound for much of the song, an interesting diversion.

At the Edge of the World is a highlight of the CD. The introduction is delivered by the keys, but the guitars take over early, and to strong effect. On this number we give the guitar players a chance to shine, and the do. Vicky works hard here to keep up, the guitars are thundering, the keys serve to provide some symphonic where appropriate, and the mood is grim. Again, WiE is not happy music, not a pleasant message. This song talks of battle, it talks of loss, it talks of remorse, the eventual message resulting from all events of this kind. Vicky sings:

Cry takes us to a ballad, a lovely ballad, if less than uplifting. Vicky goes dark here, the keyboards provide a funeral dirge, the guitars provide solemn accompaniment. The vocals are overlaid here, as they are on several occasions on the CD, some really nice production. And the sound is a lament, one straight from the soul.

Windefell is a completely different direction. This is a Highland Jig, a dance number from the Celtic tradition, one that raises the spirits and brings out the desire to stomp around a bit. Somewhat out of character for the rest of the CD but hard not to appreciate. No vocals, just an instrumental selection but a first rate roust about. You have to like this one.

The last two selections are The Awakening, Chapters I and II. WiE makes their case here; this is what they came to say. This is the darkest side of the music. Vicky turns to her most seductive vocal style here, the band makes sure you understand the message, they encompass it in a gothic vehicle that makes Ozzie look like a comedy sketch. There is the Dark Symphony side; there is the Scene Macabre. The two songs continue for a total of some 10 minutes, and they are ten minutes of personal pain, of loss, of guilt, of remorse. Vicky sings:

Winter in Eden is strong Symphonic Gothic. It takes its cue from some of the darkest music in the Female Fronted categories, but it does it with seriously strong metal capabilities. It doesn’t have everything, there is no male death vocal, there is nothing of the operatic. But this isn’t what WiE came here to do. What they intended was a dark journey through the underside of human experience, one carried over a strong instrumental vehicle and delivered by a very capable female vocal, one that carries the message and delivers it as it was intended. And, in that, they have succeeded.

9.5 / 10