Archive for Ailyn

Sirenia–The Seventh Life Path

Posted in Uncategorized with tags , , , , , on 22nd April 2015 by Nico Solheim-Davidson, the North Sea Poet

The Seventh Life Path
Released 8th May 2015
Symphonic/Gothic Metal
Released via Napalm Records

Norway is the perfect setting for the dusk-coloured symphonies written by Sirenia. Following on from jump to Napalm Records, the band announced the release of The Seventh Life Path, the follow-up to their previous album which was released via Nuclear Blast.

The Seventh Life Path begins slow with the track Seti, painting a crepuscular image in the mind of the listener with a tragic choir and a solemn orchestration. Serpent has a chilling introduction with what sounds to be the twisted speech of children before waves of guitars and symphonic sounds come crashing down with Ailyn’s haunting voice sailing atop them. Morten’s harsher demonstration of vocals adds the final piece to the twilit essence of the song. Once My Light sees an interesting use of synths in work, melding with the howls of Morten’s and Jan’s guitars. The song has it calmer passages that allow for smooth sailing between the raging flurries of guitars and drums.

The guitars on Elixir sound dignified and imposing, giving the track a far more august atmosphere. The use of clean vocals as well as choirs and the occasional bestial snarls deliver a fresh course of unrelenting misty notes. Sons of the North stands out prominently, like a peacock in shades of Gothic colours seeking a new mate. The first verse, growled by Morten, describe a cold, unforgiving setting which is perfect for the song. The symphonies that are placed ever so masterfully in this track are sharp, and biting, as if they were shards of ice falling from the darkening skies during a wintry storm.

Earendel explodes with fierce lashes from the guitars and powerful, lyrical orchestral notes. Ailyn’s and Morten’s vocals are virtually poetic throughout this track, displaying why they make such dynamic partners on the microphone. Consealed Disdain frequents the use of technical compositions that chart the way for the rest of the track, especially the venom-laced screams and the calculated riffs. Insania – which fortunately isn’t a cover of that awful Peter Andre song – isn’t as heavy as other tracks on the album but it still bludgeons the listener with raging guitars that would put even the Hulk to shame and intricate orchestration. Contemptuous Quitus is a melodic track, summoning forth a tactful placement of notes and harmonies, to create a shroud of thick darkness that only Sirenia can pull off. The piano medleys blend in an awe-inspiring manner between the other instruments, sealing the track together into one magnificent musical portrait.

The Silver Eye sails the album towards its end with an introductory of a cluster of everything, ranging from the vicious execution of the guitars to the dual vocals. After that storm, the song eases into smoother sailing, allowing each element its chance to be heard. Sirenia make port with the final track of the album, Tragedienne, a song that weeps with heartbreaking sounds as the chilling vocals of Ailyn are heard within. The piano medley that floats throughout the track offers up a bleak sense of emotion as each note gently steps away.

Sirenia have been on the scene for a number of years now and The Seventh Life Path is possibly one of the greatest albums to be have been recorded within symphonic metal. It offers up a range of elements from the gothic to the mysterious as well as a number of Cimmerian emotions. The musicianship is flawless and the vocals are mesmerising. Forget this being the album of the year, this deserves to be album of the decade.


Nico Solheim-Davidson

Sirenia online:

Sirenia – Perils of the Deep Blue

Posted in Review with tags , , , , on 6th June 2013 by Nico Solheim-Davidson, the North Sea Poet

Perils of the Deep Blue
Released 28th June
Symphonic Gothic Metal
Released via Nuclear Blast

The introduction of Spanish X Factor contestant Ailyn to Sirenia a few years back no doubt signalled change in the band’s sound but it certainly hasn’t hurt the band’s progress so far. Perils of the Deep Blue is the band’s sixth studio album but the third to feature Ailyn, making her the first vocalist to record three full-length studio albums with Sirenia.  

Ducere Me In Lucem opens the album with a gentle breeze of light and enchanting keyboards, before being accompanied by the siren-like call of vocals. The track evolves, nearing its twilight, into a majestic gothic symphony of choirs whilst the sound of piano keys sail on. The album morphs into a raging sea of powerful symphonic passages, crushing waves of guitars and hypnotic whirlpools of keyboards, as is evident on the album’s second track; the darkly titled Seven Widows Weep. Morten’s vocals cascade exhilaratingly throughout the album, bringing a torrent of aggression that contrasts sharply against Ailyn’s softer, gentler and sometimes, haunting vocals.

Ditt Endelikt (which loosely translated from Norwegian is Your Demise) harbours a calmer sound, featuring clean vocals provided by Joakim Næss. The guitars are gentler, allowing the keyboards to navigate their own sound throughout the song. Disappointingly, the siren’s call that is Ailyn’s voice makes a small appearance towards the end. Sirenia bring forth a maelstrom in the form of Cold Caress, conjuring up a fierce and destructive storm of guitars with a gust of dark and melodic keyboard sections.

Decadence takes on a more synth-orientated, showing a different shade of Sirenia’s already Cimmerian sound. The longest track of the album is Stille Kom Døden, which loosely translated means “Quiet Come Death”, a rather apt name for the tragically solemn sound that flows throughout the song.

From the raging storms of tracks like Seven Widows Weep and Profound Scars to the moments of light sailing like Ditt Endelikt, as well as other songs such as The Funeral March, Sirenia have created a oceanic artwork that is true to their considerably gothic sound. Each track varies from the last one, but all weave together, making this Sirenia’s best album to date so far.


Nico Davidson

Sirenia online:


Sirenia release video for Seven Widows Weep

Posted in News with tags , , , , , , on 6th June 2013 by Nico Solheim-Davidson, the North Sea Poet

Norway’s Sirenia, fronted by former Spanish X Factor contestant Ailyn, are set to release their new album, Perils of the Deep Blue on 28th June. Sirenia recently shot the video for the album’s second track Seven Widows Weep. The video can be viewed below. The band’s founding member and guitarist Morten Veland commented:

In April we went to Serbia to shoot a video clip for the song Seven Widows Weep. We’ve been working with the Icode team again, this is the guys that also did the video clips for our first two videos; My Mind’s Eye and The Other Side. We had a great time in Serbia, and the recording sessions turned out great. Now the post production is finished as well and we are very excited to share the video with our fans. We think that the guys at Icode did a great job and made a video that serves the song perfectly. The band is very pleased with the video, and we hope that you will enjoy it as well. Cheers!

Sirenia online:

Serenity – Death & Legacy [2011]

Posted in Review with tags , , , , , , , , , on 22nd February 2011 by Nico Solheim-Davidson, the North Sea Poet

Band: Serenity
Album: Death & Legacy
Release Year: 2011
Genre: Symphonic Metal/Power Metal


“Death & Legacy” is the third album by Austrian Power Metal quintet Serenity. The album features female vocals from Ailyn (Sirenia), Charlotte Wessels (Delain) and Amanda Somerville (Noted for collaborations with bands such as Epica, Kamelot, After Forever and Luca Turilli).

The album begins with the introductory track “To Set Sail…” which is composed entirely of sounds of waves, oars, boats and monks sinking. It creates a certain mystique that slowly lures the listener into the next track: “New Horizons”, which begins with a dramatic sounding orchestral introduction before the guitar and drums come pounding in. A guitar solo soon follows before male vocals enter the track. The vocals seem to have a soothing element to their, which is unusual for most forms of metal and in some parts of the track, the vocals sound some what like the vocals found on an “Hammerfall” album. The symphonic elements of the track bring add a very sophisticated feel to the aggressive guitar riffs and drums. The guitar solo about three quarters in just completes the track.

The next track “The Chevalier” begins with a soothing orchestral introduction with a haunting voice in the distant. The track soon turns heavy. The male vocals are again, soothing, which mixes well with the orchestration, guitar and Ailyn’s vocals. The use of piano on the track is simply brilliant as it adds a kind of harmony to the guitar riffs. The drums are well played as well. The piano section, just over half way through the track, sounds beautiful, especially when the soft orchestration comes in. More duets between Serenity and Ailyn? Oh god, yes please! Anyway, back to the review, the guitar towards the end is just mind blowingly good, even with the vocals.

“Far from Home” comes shredding in next, with an extremely melodic and fast-paced intro. The slight use of orchestration in the intro works surprisingly well, as it lets the listener enjoy the guitar’s intro more than they would if there was more orchestration. More melodic riffs make appearances through the track. The guitar solo halfway through is surprisingly fast paced and the use of a choir and orchestration straight after it is just genius. Straight after is “Heavenly Missionary”, which begins a vocal intro which leads straight to orchestration and ruthless guitar, drums and bass. The use of piano and orchestration through the track is astounding and the guitar solo that follows is just amazing.

The sixth track, “Prayer” is next, which is one of three interlude tracks on this album. Like “The Chevalier” it features guest vocals from Sirenia’s Ailyn.  The track is composed of church bells ringing faintly, choir-like vocals and what one could believe to be a prayer said in Latin. “State of Siege” is next and it begins with a military sounding drum roll on the snare mixed with folk-styled orchestration, giving the track a Braveheart-meets-300 kind of feel. Almost 2 minutes in the track turns with a shredding guitar riff into a solo, before the male vocals come in bringing the track to a sudden calm, mixed with piano and light drums. The guitars reappear after, bringing some heaviness back to the track. The guitar solo can on this track can only be described as “divine”.

Next is “Changing Fate” which features guest vocals from Amanda Somerville. The track begins with what would sound to be either a medieval acoustic guitar. The male vocals soon come in, which keep the track calm and slow paced.  The violin works well with both the vocals and the medieval guitar. Amanda’s vocals come in along side the drums. Her voice makes the track sound like a very soft and not-so-dramatic Nightwish track, especially when combined with the male vocals. Halfway through, the track turns heavy with orchestration and piano. A somewhat epic guitar solo soon follows. Towards the end of the track, only Amanda’s vocals and a beautiful piano medley can be heard before been accompanied by violin, the male vocals and the acoustic guitar.

“When Canvas Starts To Burn” comes after and it is perhaps the most aggressive track on the album. Straight away, the intro riff has the potential to burst the ear drums of any power/symphonic metal fan. The vocals have turned more aggressive and raw, though that could be due to the effect added to them. The track does soon turn softer straight after, with more use of orchestration and softer vocals. The track turns aggressive again later on, before switching back to soft. The guitar solo sounds as if it has some influence from a “Rhapsody of Fire” track.

“Serenade of Flames” is next and it features guest vocals from Charlotte Wessels of “Delain”. The track begins with a slow, solo-sounding guitar intro before the orchestration and drums kick in. The guitar soon turns raw and aggressive, before turning slow and clean for the vocals. The male vocals sound raw, to an extent. Charlotte’s vocals sound angelic. The chorus of the track sounds brilliant, as it combined both vocals and the previously stated aggressiveness of the guitar. The use of choir-like vocals helps add the symphonic elements to this track. The track finishes with a soft vocal and musical section before turning heavy for the track’s finale.

The second interlude “Under Eastern Skies” comes next. It’s mainly composed of middle eastern styled medleys and Arabic male and female vocals. “Beyond Desert Sands” comes bursting in next and it is surprisingly heavy and fast-paced to begin with, mixed with a slight use of piano. The vocals that follow after are no longer soothing like they have been in most of the album. The track is a mix of fast-paced riffs and heaviness and calm and slow-paced. The guitar solo is just brilliant and there is a slight use of female vocals on parts of the track.

Next is the third and final interlude “Lament”. It is performed by Fabio D’Amore. The language used on this track sounds to be Italian or an Arabic language. The final track “My Legacy” comes next and it begins with a piano medley and soothing male vocals before a melodic guitar riff comes shredding in. The track turns calm again and then heavy. The orchestrated elements are mind blowing, making this track the best track on the album. The guitar solo is also the best one on the album.

“Serenity” is a true masterpiece in terms of symphonic power metal. It is well produced and well-composed. It is definitely worth the buy!


Nico Davidson