Top Ten Metal Albums Of November

2019 is just wrapping up but, while November was probably the most scarce month of the year so far on the metal front, there’s still plenty of new, high-quality albums to check out. From the daring to the digital, here’re ten of the strongest metal albums of November!

10. Metal De Facto – Imperium Romanum

Hailing from Finland, Metal De Facto have thundered down with their debut, Imperium Romanum. Despite the band’s origins, their overall sound comes close to your typical German power metal band, such as Iron Savior or Gamma Ray. There’s also a heavy dose of neoclassical influence which comes to a peak in the instrumental shred piece ‘Colosseum’. If gritty, fast-paced, hard-riffing power metal is your thing, Metal De Facto have you covered!

9. Magic Kingdom – MetAlmighty

This album kicks all sorts of fantasy ass. It rides forth with cheesy lyrics in a wide variety of dynamic tracks. The overall sound is grittier than a lot of modern power metal, which helps separate Magic Kingdom from the crowd (despite having one of the most unoriginal names in metal history). MetAlmighty may not be the best that Magic Kingdom’s ever put out, but it’s certainly worth giving a spin.

Full Review

8. IronThorn – Legends of the Ancient Rock

Italian hard rock/heavy metallers IronThorn have bested their debut album in Legends of the Ancient Rock, which is heavier, more versatile, and more riff-driven. While IronThorn formerly sat closer to the rock side than the metal side, the metalness here has been beefed way up, which is good for those of us who wanted a bit more aggression out of the band. There are a few great tracks, such as ‘Legends’, ‘The Call of Silence’, and ‘Werewolf’, that make the album worth listening to, but every track is still high-quality. Legends of the Ancient Rock is nothing groundbreaking, but it’s a damn solid album.

7. Celesti Alliance – Hybrid Generation

Finland’s latest melodic heavy metal addition comes from the brand new Celesti Alliance. After two EPs, these cultivators of classic steel are finally ready to smash onto the scene with their full-length debut. Pulling from a range of influences from late-80s heavy/power metal (Accept, Judas Priest) and modern heavy metal, Hybrid Generation is a super catchy album that’s generous with the riffs and heavy on the solos.

Full Review

6. Stormwarrior – Norsemen

Speed metal isn’t usually my go-to, but badass, expertly-done speed metal is one of my favourite things, especially when it’s badass speed metal with a power metal lining and viking themes. Fortunately, this is something Stormwarrior excell at, and their sixth album is as good as the rest. Between the destructive onslaught of non-stop tremolo picking and drums that never quit, Norsemen takes it to the next level by actually having quality melodies (and a very unusual vocal delivery for the genre) to guide its rampant intensity. This isn’t your typical speed metal album, and that’s a damn good thing.

5. Signum Regis – The Seal of a New World

After more than a decade of metal mastery, it seems like Slovakia’s Signum Regis are incapable of making a bad album. The mighty power metallers never fail to deliver an exciting, heroic adventure that swings the sword of sick riffs and their sixth album, The Seal of a New World, sees the band return to familiar lands. Between ultra-catchy melodies and jumpy energy, you won’t know what’s gonna be thrown at you next.

Full Review

4. Scarleth – Vortex

Melodic metallers Scarleth’s third album, Vortex, combines elements of heavy, power, symphonic, and gothic metal, synthpop, and even Middle Eastern and folk music. On top of that, the album is full of colourful rhythm section parts and some sick guitar solos. Seriously. They suddenly explode into existence and demand your attention with shredtastic, sweep-picked mystery. The result of this well-balance mixture is a memorable melodic metal album that’s sure to be a favourite among fans of the genre.

Full Review

3. Thunder and Lightning – Demonicorn

For whatever reason, Demonicorn was more elusive than a Japanese metal album upon its release. Maybe I just missed hearing about it, but I had no idea Thunder and Lightning had something new coming out until a week after it was released. I’m pretty fucking psyched that I caught it, though, because this is one god damn impressive work of power metal. The first thing that jumps out (and continues to jump until the album’s demise) is the incredible guitarwork. Between the huge tones, facemelting solos, and thrashy riffs, the guitars are the clear highlight of the album, but the mighty vocals and dynamic arrangements elevate the album into being a serious contender for any Album of the Year list.

2. The Dark Element – Songs the Night Sings

The Dark Element was formed in 2016 by former Nightwish vocalist Anette Olzon and former Sonata Arctica guitarist Jani Liimatainen. Their self-titled debut combined elements of symphonic metal and pop to deliver a strong, synth-heavy melodic metal album. While that debut was pretty good, their sophomore effort, Songs the Night Sings blows it out of the fucking water. The sound is fuller, the arrangements are more diverse, and everything else has gotten a serious upgrade.

Full Review

1. Wilderun – Veil of Imagination

Not many bands can pull off an exceptional atmospheric album so, when one does, it always gets me excited about it. One of the few (and latest) this year to accomplish such a feat are Boston’s Wilderun with their third album, Veil of Imagination. It expertly conjures deep feelings like wonder, determination, aggression, hate, fear, reflection, and everything in between. With rich orchestrations supporting it, Veil of Imagination is as colourful as its album cover would have you believe.

Full Review

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CyHra – No Halos In Hell Review

Score5/10
GenreMelodic Metal
CountrySweden
Runtime47:11
Release Date15 November 2019
Record LabelNuclear Blast

As a longtime fan of Amaranthe, I was actually pretty psyched when its founder and vocalist, Jake E, announced he was leaving to form his own band back in 2016 (or was it 2017?). As Amaranthe continued to venture further and further away from the metal/pop hybrid it began as into an outright pop outfit with metal instruments, this new band, CyHra, held my hopes of bringing Jake E’s songwriting talents back into metal, where they belong. Fortunately, CyHra’s debut, Letters to Myself, was exactly what I expected: a super-electronic, riff-heavy, melodic modern metal album. It had sincerity, it had charisma, and it had the musical chops to stand as a notably-impressive debut.

So, you can imagine my fucking disappointment upon first finishing No Halos in Hell. Despite Letters to Myself being an incredibly synthetic album to begin with, No Halos in Hell basically feels like an artificial ripoff. Furthermore, it’s the type of album Jake E appeared to be avoiding by leaving Amaranthe. Most of the songs sound the same, it’s one-dimensional, and it floats along with limited-to-zero dynamic range and beats the shit out of you with the exact same fucking chorus like fifty times. Usually, I would provide specific examples, but I’ll be honest; even after four full listens, I still can’t tell half the fucking tracks apart, so, unless I were to make an elaborate chart of which-song-reuses-what, a general idea’s all you’re gonna get.

Aside from the painfully uninspired simplicity of the songwriting and melodies, there’s another major contributor to this album’s demise: the choruses. Following the monotony of the verses, there’s always a very blatant attempt at a build in the prechoruses that promises an emotional climax in the chorus. Unfortunately, it almost never comes because the vocals float by, the guitars go nowhere, and the drums are too busy doing absolutely nothing. There’s a constant 16th-note feel throughout the entire album, and it would be so easy to throw in some cool grooves to really make the choruses shine, but no, that’s apparently too much to ask for.

In short, this album is an example of how not to make a pop metal album. While each individual song is passable, and a couple songs are actually good (‘Out of My Life’, ‘Blood Brothers’), it’s a fucking chore to listen to more than two at a time. CyHra are a talented band that have already proven themselves to be musically capable, but they really jumped the gun by going hyper-commercial in No Halos in Hell.

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Celesti Alliance – Hybrid Generation Review

Score8/10
GenreMelodic Heavy Metal
CountryFinland
Runtime43:46
Release Date29 November 2019
Record LabelIndependent

Finland’s latest melodic heavy metal addition comes from the brand new Celesti Alliance. After two EPs, these cultivators of classic steel are finally ready to smash onto the scene with their full-length debut. Pulling from a range of influences from late-80s heavy/power metal (Accept, Judas Priest) and modern heavy metal, Hybrid Generation is a super catchy album that’s generous with the riffs and heavy on the solos.

I think the most accurate way to describe Celesti Alliance’s sound is as a slightly more exciting version of HammerFall. The vocals of Valtteri Heiskanen are pretty similar to Joacim Cans in terms of sound and style, and the songs are built in much the same way (especially ‘Louder Power’). Where things get a bit more colourful, though, is in the prevalent use of keyboards and vocal layers, as well as a dynamism that HammerFall always comes close to achieving but rarely does. As a result, Celesti Alliance end up with an album full of solid bangers while still delivering enough variability to stay exciting.

The only thing holding Hybrid Generation back is the fact that it more-or-less lacks any wowness. There’s some great soloing, with ‘Incomplete’ having my favourite, as well as some memorable riffs, but the album coasts along with the same level of power and proficiency the entire way through. It doesn’t make the album bad, especially when you combine the straight riffage with super beefy mixing, but it does keep the band from reaching their full potential.

But, if you dig the whole neo-80s style, you’ll dig Celesti Alliance. Hybrid Generation lays down enough steady drivers to please more oldschool fans and it explores enough highs and lows to round itself out. You won’t want to miss this killer offering of heavy metal worship.

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Sonus Corona – Time Is Not On Your Side Review

Score7/10
GenreProgressive Metal
CountryFinland
Runtime57:25
Release Date22 November 2019
Record LabelInverse

Along with a healthy dose of jazz influences, Finnish proggers Sonus Corona have resurfaced in their sophomore album, Time Is Not on Your Side. Stylistically, the album’s instrumentals often tread closely to Dream Theater, but the overall sound is more indie prog due to the prevalence of piano and the floating vocal style.

Unfortunately, these vocals are the low point of the album. They’re not poorly done, but they’re generally too soft. On top of that, the melancholic melodies (which are sometimes reminiscent of Muse’s melodies, although out-of-place) are so weak compared to the excitement of the surrounding instrumentation that I spent a most of the album waiting for them to be over so I could focus more on the heavy grooves and jazz breaks.

However, every time these grooves take the stage, everything is right with the world. They’re expressive, technical, and heavy, and, when combined with the piano, they produce a truly unique sound. There’s also a wide array of songs with different musical elements, such as club jazz, swing, pop, and metal, so there’s plenty to keep you engaged.

All in all, Time Is Not on Your Side is worth checking out at least once. While the vocals would be a much better fit in, maybe, an underground alternative rock band than a prog band, they’re still commendable and they’re certainly not enough to render the album unlistenable.

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Magic Kingdom – MetAlmighty Review

Score8/10
GenrePower Metal
CountryBelgium
Runtime1:01:20
Release Date22 November 2019
Record LabelAFM

As a rule of thumb, I never make any early judgments about an album until I’m at least two songs in (well, three if we’re counting the typical two-minute-orchestration first track that pollutes power metal). It gives me a chance to get away from any sort of propulsion the band hoped to gain with the first song and into what is usually a more accurate representation of the album as a whole. In the case of Magic Kingdom’s MetAlmighty, this proved to be a good precaution on my part, because, if I took that first track too seriously, I would have lost all interest. It has a strong intro, as well as a few worthwhile moments, but in the grand scheme of the album, it’s disorganized and the chorus is weak.

But, get passed ‘Unleash the Dragon’ and the real dragon appears! Sick riffs, headbangable beats, powerful melodies, and absolutely insane solos await you in a fiery keep. Your journey is led by the famed Michael Vescera (Obsession, ex-Yngwie J. Malmsteen), who is lending his vocals to Magic Kingdom for the first time. Also joining you on this epic quest for mighty metal are axeman/band founder Dushan Petrossi, bassist Vassili Moltchanov (both of Iron Mask), and Ark Ascent drummer Michael Brush. Together, they unleash eleven dynamic tracks that are sure to satiate even the pickier power metalhead.

Now, before we get to the rest of the good stuff, let’s finish off the not-so-good. As I mentioned before, the album starts at a low point. Unfortunately, MetAlmighty finishes on a similar note in ‘King Without a Crown’. It’s a decent track and I especially love the chorus, but it’s an underwhelming farewell to an otherwise hard-hitting album. Additionally, the production quality is. . . iffy at times, but it’s not an issue too often.

Other than that, though, this album kicks all sorts of fantasy ass. It rides forth with cheesy lyrics in a wide variety of dynamic tracks. The overall sound is grittier than a lot of modern power metal, which helps separate Magic Kingdom from the crowd (despite having one of the most unoriginal names in metal history). MetAlmighty may not be the best that Magic Kingdom’s ever put out, but it’s certainly worth giving a spin.

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Crystal Viper – Tales Of Fire And Ice Review

Score5/10
GenreHeavy Metal
CountryPoland
Runtime42:01
Release Date22 November 2019
Record LabelAFM

Crystal Viper is one of the few bands that I think have never released an album that was less than great. From The Curse of the Crystal Viper to Queen of the Witches, all they’ve ever given is the best that classic metal has to offer, from more occult heavy metal to the regular, driving stuff. It’s been a non-stop onslaught of destructive riffs and traditional excellence with one of the best women in metal, Marta Gabriel, at its center.

Or, well, it was, anyway. Unfortunately, and much to my disappointment, Tales of Fire and Ice breaks this chain of greatness in an uninspired, commercial mess. Sure, it’s easy to understand why a band would want to try to replicate the recent success of bands like Battle Beast, who have also made this stylistic shift, but the trick to that is retaining what makes your music good while exchanging other elements to make your music more accessible, both of which Crystal Viper have failed miserably at.

Also, what’s not so easy to understand is the fact that, even though Crystal Viper have proven themselves to be one of the best classic metal bands in the business, they would want to abandon this and almost entirely change their sound. It’s not like it could never work, but I’m not so sure that they’re self aware enough to know what made them so fucking great in the first place. Where did the sick riffs go? Where’s the heaviness? Not here, that’s for damn sure.

So, what exactly am I bitching about, anyway? How is their style so underwhelming and different? Well, let’s start with the obvious; there’s no oomph anymore. That’s the root of the problem, really. Crystal Viper used to be in-your-face and shameless, but Tales of Fire and Ice lacks any sort of attitude. It’s no secret that Marta is a total badass, because she’s been showing it for the past fifteen years. However, she’s all but abandoned the aggression and authority that made her voice so iconic, and the rest of the band has followed suit. Aside from this, the songwriting has gone downhill, the melodies are substantially weaker, and (but this is actually a plus-side) the production quality is cleaner.

The closest Tales of Fire and Ice gets to having actual Crystal Viper songs are ‘Still Alive’ and ‘Bright Lights’. The former begins with a promising, thumping drive, but ultimately falls short due to its simplicity. On the flip side, ‘Bright Lights’ is actually awesome from beginning to end. It proves that the band is more than capable of recovering from this hiccup of an album. Most of the solos are still really good, too, so there’s that.

Between the piss-poor ballad ‘Tears of Arizona’ and the blatant monotony of Tales of Fire and Ice, you really won’t be missing much if you leave this one by the wayside. If you’re a hardcore Crystal Viper fan like me, I’d still check it out, otherwise, November has dropped so much excellence that you shouldn’t feel bad for skipping it.

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Signum Regis – The Seal Of A New World Review

Score9/10
GenrePower Metal
CountrySlovakia
Runtime1:00:32
Release Date22 November 2019
Record LabelBeyond the Storm

After more than a decade of metal mastery, it seems like Slovakia’s Signum Regis are incapable of making a bad album. The mighty power metallers never fail to deliver an exciting, heroic adventure that swings the sword of sick riffs and their six album, The Seal of a New World, sees the band return to familiar lands. Between ultra-catchy melodies and jumpy energy, you won’t know what’s gonna be thrown at you next.

A large part Signum Regis’ success comes from their mostly-steady lineup, but the band’s new vocalist, Jota Fortinho, has quickly found a comfortable place within the band. His high, deliberate voice is the perfect match to the Signum Regis sound, and he adds a fair amount of expression to the arrangements, which are already pretty dynamic.

While the vocals are on fucking point and the songwriting is unsurprisingly excellent, the real power behind the album comes from axeman Filip Kolus. Between his eccentric riffs and incredible facemelters of power metal fury, there’s no holding this guy back. The drums and bass (which actually holds a prominent place in the mixing, which is more than I can say about 80% of power metal bands) hold the sound solid around him, but he elevates the music to another level.

If I were to name favourite songs, I’d end up picking at least half the tracklist, so I won’t bother doing that (although, the best chorus would have to go to ‘Phantasmagoria’). But, you can rest assured that there is a surplus of variety and skill so, no matter which song you decide to explore first, you’ll be diving right into the rest.

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Scarleth – Vortex Review

Score9/10
GenreMelodic Metal
CountryUkraine
Runtime46:06
Release Date15 November 2019
Record LabelRockshots

The past weeks haven’t skimped out on great melodic metal one bit and Scarleth have carried this momentum in their latest effort, Vortex. It’s bright, it’s melodic, and it offers a wide variety while still hanging onto a distinct, recognizable sound. Aside from guitarist and founder, Viktor Morozov, the album has an all-new lineup. Fronted by Ekaterina Kapshuk‘s expressive vocals, each riff-heavy track belts a considerable amount of energy and badassery.

Vortex combines elements of heavy, power, symphonic, and gothic metal, synthpop, and even Middle Eastern and folk music. On top of that, the album is full of colourful rhythm section parts and some sick guitar solos. Seriously. They suddenly explode into existence and demand your attention with shredtastic, sweep-picked mystery. The result of this well-balance mixture is a memorable melodic metal album that’s sure to be a favourite among fans of the genre.

One thing worth mentioning is the fact that, though the album is super melodic, I wouldn’t necessarily call most of the choruses catchy. Sure, there are a few, like ‘Feel the Heat’ and ‘Break the Chains’, but the tunes don’t do much to make you want to sing along, like so many pop metal albums do (or try to do, at least). This isn’t a bad quality, as the melodies are still strong, it’s just something that separates it from the norm in the space.

As far as my favourite tracks go, I think ‘Escape from Your Embrace’ wins it. It’s crazy dynamic and features excellent piano parts all the way through, plus it has one of the best facemelters. It also ramps up the whole Middle Eastern thing and unleashes some fucking ferocious growls. Additionally, ‘Ostannya Zorya’, as the folkiest tune on the album, is worth mentioning, as well as ‘Final Curtain’, which, expectedly, has a gothic/circussy feel, similar to Amberian Dawn’s Circus Black.

Despite having a new lineup, Scarleth maintain a tight, experienced sound. From beginning to end, there’s no telling what Vortex will lay down next. The whole album is pleasant surprise after pleasant surprise. Even if you go into this album with high expectations, I bet you’ll still be impressed with this shiny piece of modern metal.

*Also, bonus points for actually having fucking FIRE in the music video.*

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Eleine – All Shall Burn Review

Score6.5/10
GenreSymphonic Metal
CountrySweden
Runtime23:17
Release Date22 November 2019
Record LabelBlack Lodge

After releasing two full-length albums, the female-fronted symphonic outfit Eleine have dropped a five-track EP: All Shall Burn. Well, actually, I should probably point out that All Shall Burn is more of a two-piece-single-plus-three-bonus-tracks rather than an EP. To clarify, the first two songs, ‘Enemies’ and ‘All Shall Burn’, are new compositions, but the rest of the EP consists of a Rammstein cover, a symphonic version of a track from the band’s previous album, and a symphonic version of ‘All Shall Burn’. So, for a release like this, the score is pretty arbitrary because it’s more of a demo/showcase than a mini album, as a lot of EPs are.

As far as the two new tunes go, they’re both good and bad in the exact same ways; the intros are strong, the riffs and solos are great, and the beats are heavy, but they lose all of their energy in the chorus due to the vocal melody. The vocals very inconsistently go from expressive to very bland so, pair that with chorus melodies that just meaninglessly float along and you get a very disappointing payoff to otherwise well-built song. The orchestrations are so good that the symphonic-version tracks sound super rich but, again, the vocals actually pull away from the fullness much of the time.

My favourite part of the EP is, to my own surprise (because I’m not a huge Rammstein fan), ‘Mein Hertz Brennt’. It’s heavy and badass, the male vocals are killer, and it’s a worthy tribute to such an established band as Rammstein.

All in all, this is a cool EP. If you’ve never heard them before, Eleine are kind of like a more metal version of Evanescence but with symphonic elements and a hint of a Mediterranean sound. So, if that sounds appealing to you, you should check out All Shall Burn as well as the band’s earlier albums.

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Interview With The Dark Element’s Anette Olzon

“When I listen to our music I think that, you know, they are happy albums, because they are so catchy and melodic. But if I go in too deep into Jani’s lyrics, they are quite sad and bitter.”

Finland’s melodic/symphonic metal outfit The Dark Element was formed in 2017. The band features ex-Nightwish and Alyson Avenue vocalist Anette Olzon as its frontwoman. On the release day of their sophomore album, Songs the Night Sings, I got to explore Anette’s thoughts of the new album, the future of the band, and women in metal.

Kane: Congratulations on your new album today! What was your favourite part of making Songs the Night Sings?

Anette Olzon: This album went really smooth. You know, now we all know each other. In the first album we didn’t really know each other. Of course, it’s always easier, you know, and Jani [Jani Liimatainen, Insomnium, ex-Sonata Arctica] knows my vocal style and he believes in what I do so it was all really smooth.

And who does the songwriting? Is it just Jani or is it both you and him?

A: No, it’s mainly Jani. I mean, he is a songwriter so he always makes the songs and sends me the demos and then I go into the studio and, of course I do the vocals how I want to do them. Of course, I follow his melody, but all the harmonies and stuff that I want to do I can do myself.

And this time he actually asked me in the middle of the process if I had any lyrics because I guess he had some writer’s block, so then I sent him some lyrics and he actually took some of those parts from me and put them in ‘Pills on My Pillow’ so I have been a little more creative this time in that way.

What would you say is the album’s strongest quality?

A: Well I believe The Dark Element was very melodic, so we’re still very melodic and have quite catchy choruses, for instance. This time we talked about, after the last album, that I would really like to have a bit more heaviness and more guitars and he actually listened, so he made it a bit more heavy and bombastic this time and I think he has added some more disco, too, which is really nice.

So I think that the melodies and catchy choruses are the strongest part. Somebody said that it’s a bit of “ABBA metal” and that it truly an honour because ABBA is, of course, the best band. [laughs]

Of course! I mean, if you’re gonna do a poppy style of metal then I don’t think there’s a better compliment you could get.

A: [laughs] No, it’s really an honour when people say that. It’s all fine by me, being a Swede. [laughs]

How would you say Songs the Night Sings differs from your debut?

A: You know, I would say that the first one was a little bit of a tryout, both for Jani and for me. He did pull some songs out of his drawer that maybe he had just had there for years and then he wrote them into something new. These songs are all written new for Songs the Night Sings and I think he kind of knew the direction better after how people reacted to the songs in the first album. So think it’s kind of the same vibe as the first one, just a bit bolder and more elements that he has tried out that are a bit different.

I think I would agree. There’re a lot more orchestrations and it sounds a lot fuller and there’s more detail. I’d say it’s like a refined version of the first album.

A: Yeah, I think so. You know, the first album had songs that differed a bit more over the whole album than this one. I think this one has more of a right balance. I mean the new songs do have a lot of different elements but this album has a red thread into it.

For sure. Do you have any favourite songs?

A: Yeah! My favourite since I heard it is ‘The Pallbearer Walks Alone’. I just love that from the first time I heard it and when I when to the studio to sing it. It’s my favourite song from all The Dark Element. I really like ‘Pills on My Pillow’; there’s a lot of pain in that one, some cool disco, and the poppier song ‘Silence Between the Words’, which is really poppy. [laughs] But I really like it! It’s a really fun and easy song. But I like all of them for different reasons.

So you guys decided to release two music videos and one lyric video. How important do you think music videos are?

A: I think they are important because kids today watch YouTube. That’s how it is. You know, back in the day MTV was the big thing to look at. I think videos today, like our videos, are very easy. They are not like high-cost videos that MTV had, you know, with a big budget, I guess. I mean, Rammstein has a huge budget for their videos. [laughs]

But I don’t think you need to do them so creatively, people just want to see you. There’s something about that thing, you know, when they can look at you. So I think videos are still very important.

Do you guys have any plans to tour the album yet?

A: I mean, yes, we want to play gigs, we just have one issue and that is Jani has joined the big band Insomnium and they are touring heavily. We have gotten a lot of requests and we are very much trying to squeeze in gigs between his touring with Insomnium, so hopefully. There will probably be some gigs but, if it comes to touring, maybe we will just have to join Insomnium! [laughs] Since he is so busy.

We have had to say no to some requests, unfortunately, due to his busy schedule but I think there will be some. Hopefully he has some time off now and then. Not so many days, but some.

Or enough, anyway!

A: [Laughs] Yeah, I’m on him every day like, “Hey, have you checked your schedule? Have you checked your schedule?” because I would like to play a lot next year, much more than we’ve done. It’s really nice that he’s joined Insomnium but it a bit more of a hassle for us. But we’ll see!

Do you have anything you particularly like or dislike about touring?

A: Well, for me, I’ve done that big, heavy touring thing that he’s doing at the moment. I did it with Nightwish. It was fun but it was also very, very hard. I have problems sleeping in the bus, for instance, so either I have to drink beer or take pills to sleep, [laughs] which is hard. I also think it’s a bit boring when it comes to traveling. Nowadays, I don’t really like to go anywhere and I just stay at home because I’ve seen the world, I’ve been in cities. I remember that I woke up many times and I didn’t have any clue what country I was in, what city I was in, and it was kind of scary, you know, when you just wake up like, “Where am I?” It happened a lot. I also have a lot of memory losses from my touring days because it was very intense. So I try to think that I’ve done that, you know, that Jani’s doing at the moment, and I cherish it, but I prefer to do a little bit less gigs. More like “let’s do two gigs and have fun” and then we go home. I prefer that.

I can see how that saves a bit of energy, too, and nobody has to really strain themselves.

A: Yeah, and I think also that when you do a tour like that six days a week, travelling, travelling, travelling, people getting sick and still having to perform, you know, singing with a flu in your body and stuff, you don’t give your best every evening. If you only have a few gigs, normally you’re not ill and you’re good and you’re happy, and I think that shows to the audience, too. You can give them much more for their money, I believe.

Shifting back to the album, do you think the lyrics or the overall sound are more important?

A: Oh. Well, when I listen to our music I think that, you know, they are happy albums, because they are so catchy and melodic. But if I go in too deep into Jani’s lyrics, they are quite sad and bitter. They are not happy lyrics. They are sad lyrics, all of them, and you wonder if he’s been through Hell in his life or not. [laughs] So, for me when I listen to the songs, I think the overall sound is what I listen too. Of course, I listen to the lyrics, too, but I think not many people sit down and just nail through and listen really deep to the lyrics. I think people just want to hear a good song with a good tempo and something fun in it. So I believe lyrics are important but the sound is probably more important.

Aside from The Dark Element, what are you listening to these days?

A: Well, I listen to the radio. [laughs] But I listen to many different things depending on my mood. I listen to a lot of metal, actually, because me and my husband share the Spotify account and he’s like a “death metal dude” and “metal dude” so the only thing that comes up in mine is Katatonia and stuff, so I listen to that. I also listen to singer-songwriters, but I listen to a lot of radio mainly, all those hit that are in the pop charts. They are easy listening.

As a female metal artist, do you feel that women are having more success these days?

A: Well, I remember when me and Alyson Avenue came out with our first album and we were out gigging back in the days when I was very young, that was in the late 80s and early 90s. Female-fronted bands were, like, the worst of the worst. It was so bad. People were like, “Female-fronted? They suck!” And I think you still can feel that vibe, in a way, as soon as there’s a girl singing there’s something with a lot of men, because that’s just how it goes, where they prefer a male singer. I don’t know why.

But I think it’s gotten better with so many good singers out there who’ve showcased that they can growl and they can do all those things a male singer can do, too, like belt and sing progressive and stuff. So, I think it’s better these days than it was when I was younger and started singing.

I think it definitely helps having big bands like Nightwish, Battle Beast, and Amaranthe that have fantastic frontwomen to help move it forward, too.

A: Yeah, and where bands like Evanescence are still going, and like you said Battle Beast. Noora is fantastic and she proves inmany ways that a girl can do what a man can do because she really sings in many ways like a guy. And then you have, of course, bands like Arch Enemy that also proves that there are some really good female-fronted bands out there.

We’re just about out of time here so I want to squeeze in one more question! What do you want to see The Dark Element become?

A: Oh! Well. I personally would love to do some more gigs, that’s my aim, because we’ve had so much fun. And hopefully some more albums, before I get too old, with that same happy feeling Jani and I have at the moment, and that his creativity continues the way that it has and that we get better and better with every album because he’s a very talented songwriter. And, hopefully, sell a lot and sell more so we can do more of what we want with more gigs and better videos and have a higher budget for everything. That’s always what you want.

Thank you so much for taking the time to speak with me!

A: And thank you! It’s been an honour.

The Dark Element’s sophomore album, Songs the Night Sings, is out now! You can catch it on YouTube, streaming services, or buy it >>here<<! And don’t forget to follow The Dark Element on Facebook!

The Dark Element – Songs the Night Sings Review

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Stay Metal \m/