Samandriel - Awakening
CD Info
2010
Self Released
6 Tracks
English Lyrics
Awakening is one of those CDs, or is it an EP, that you just put in the player, turn it on and then stop what you’re doing to listen after the first minute or two. I’d never heard of the band, although some of my other colleagues had, and they evidently made the discovery in much the same way. Some sounds just stop you in your tracks and beg for a listen. The band is from Edmonton, Canada, and the only thing I know about Edmonton is don’t go there in the winter on pain of terminal frostbite. But then, there have been some good bands coming out of Canada in general, and a number of them have been female fronted. But this one sure sounded European to me, more so than the others and I was intrigued. So, I sent off a hasty e-mail and some time later the answers arrived. First off, the band PURPOSEFULLY sounds European. The guitar player, Oskar, is from Bosnia, probably not a hot bed for female fronted metal, but he’s lived in Austria and Italy, which are, before moving to Antarctica, I mean Edmonton. And he’s listed as being the principle in developing the Samandriel sound. The rest of the band is admittedly into the European Gothic sound and that had a lot to do with bringing vocalist Doneka Reid on board. And she’s perfect for the part, a true soprano whose style is about as European as you can get, a first class vox. The rest of the sound fits into the European motif as well, strong keyboards that serve as background, guitar riffs that augment that sound and do the occasional solo work, and a kick ass drummer. And the song writing is excellent, as is the production. Lyrics on this production were largely written by a previous vocalist, although they have input from current members on some numbers. It’s interesting to note that most of the band, if not all, have some formal academic training in music, in the European tradition. That probably has some influence and has resulted in some technically interesting material.
Awakening goes in a couple directions. Clearly, there is the European influence, the female fronted vocals, the strong influence of the keyboards, the "Gothic" tendency to the lyric, although this later component takes several side tours through science fiction and fantasy. However, these are North Americans and they exhibit a strong influence from that direction. This is most clearly evident in the progressive elements found in titles like Trial by Terror where quirky timing rhythms remind one of the better sounds found in productions from Fates Warning and Rush. These guitar based components remind the listener that although the sound is Canadian, it still reflects a general style originating in the Western Hemisphere. . . on this side of the pond.
The six song EP begins with Holy Load. . .and it’s appropriately named. The fist thing you hear is that interesting progressive timing thing with the guitars. It’s classic Rush, until the vocals of our lovely vocalist are introduced. Then, we get to that European influence. Reid is good, very good. And her vocals interact perfectly with the Samandriel sound, as is the case with pretty much all of the European Gothic sounds. The metal is not overwhelming, it is heavily influenced by the keyboard symphonics and the guitars tend to provide direction. Drums are significant and are used to thunder the music forward, no matter what other musical component is being featured. Much of the Samandriel sound is found in this initial offering, and there is little not to like.
The second title, the aforementioned Trial by Terror, may be even better. It begins with a subdued guitar over a drum line, but this ends with the entrance of a pounding symphonic provided by the synths, over another strangely timed guitar line. Vocals here include a male death component, not an overwhelming one but one that works quite nicely with the beautiful female vocal that drives the sound. Lyrically, the tone is pretty much classic Gothic:
Severed the soul
Branch split from the oak
Let me back into the world I have known
Faltered I’ve not
Unchanged I remain
Samandriel is a sophisticated sound, both in terms of writing and production. And each is clearly apparent in this title. There’s little left to be desired at the conclusion of this track.
The third track is Initial Reality. This one is more metal in flavor, although there is a strong keyboard component. I am informed the song takes its direction from the fantasy game Final Fantasy (Initial Reality, get it?). It’s all guitarist Oscar’s idea and "is about people who get lost of illusions of fantasy, and can't recognize reality anymore". Again, there is the male and female vocal contrast with some strong guitar segments that again reflect a more North American approach to the metal. And there’s also some nice change of pace to the music as individual segments take completely different directions in a flash. Very interesting composition.
Track four is The Mighty Seabeast. It starts out again with a subdued guitar line over a soft keyboard. This one is somewhat softer in composition. The vocals, as they usually do, approach the full operatic soprano and flow softly over that alternating rhythm provided by the guitars. Even in this somewhat softer direction the drums crush consistently. The sound, again, in a consistent manner, tends to flow in uneven measure, to a truly interesting effect.
Demise of the Icewitch takes us back to the harder sound, more thundering guitars, a pulsating base line and the ever-present crushing drums. Reid has a voice that works effortlessly in these environments. Lyrically, the epic tome takes the day:
She once fallen she once failed
Bleak and lost, no guiding light
Tired heart she follows
The flight of the warrior butterfly
Very possibly, Samandriel has saved the best for last. Harmonious Madness provides all that is great about this Canadian quintet. All the strongest elements are there to enjoy, the strong musical direction in all its complexity, the outstanding individual instrumental work and outstanding female and male vocals. Reid has surely saved her best for last. The soaring soprano is at its strongest here. Guitars are featured as introductory instruments to individual segments, the keys provide a solid base work, even the base gets some solid airtime. If there’s a concern, it’s that it just doesn’t go on long enough; I could listen to this song for hours. Again, the lyrics don’t disappoint:
This is war
War ‘gainst war
Infantry of sound
Destroyers will drown
Treble’s tremble
Breaks foe’s foundation
Storm of the symphony
Breaks predator’s pride
Treble’s tremble
Current wakens
Storm of the symphony
Set sails a new ark
The band informs me that a full production is in the works; it should be a 2011 release. . . and it will expand this effort in every way. It’s expected to extend what was strong here and include some truly interesting additions. Choral work will be infused as will more sophisticated keyboard work. The production will include some 8 – 10 songs but the times will be substantially increased for individual titles. The band seems comfortable with epic directions and these will be a part of the new release as will some ideas I’m not entirely familiar with, for instance "sing-along bits to go underneath Doneka's singing". All in all, something to look very forward to, especially given the excellence of the currently available product. And the best thing, you don’t have to suffer 45 degrees below zero to listen to it. We can all be happy for that.
9.5 / 10
