Victoria K – Live Isolation Concert

Live Isolation Concert DVD Cover Art

Victoria K – Live Isolation Concert
Rockshots Records
Release Date: 29/01/2021
Running Time: 36:00
Review by Simon Black

This pandemic has been a nightmare for bands who had big debuts planned for 2021. So, you build an underground following, you become a ‘thing’ in your local Melbourne area (in the state of Victoria, natch), you get your long-awaited debut out…and then the world goes to hell in a hand basket. I feel for these guys, as the uphill journey got three times harder, so I am really appreciative of the fact that with the odds stacked against them and a debut record that hasn’t had the benefit of any touring and juicy support slots to get them pushed the band have forged ahead and done a lockdown gig, which is now available on DVD and CD. Frustratingly, all we have been given from the visual side is a short montage of clips from the DVD, so my comments are really based on the music release.

Musically, Victoria K are Symphonic Metal in the Within Temptation snorting Evanescence mould, but mix things up with the addition of some good old extreme grunts from guest vocalist Sheri Vengeance, and the songs, where both of them are given full reign to play off of each other, work really well. I reviewed the “Essentia” album last year and felt that it was a bit let down by production woes and some very average guitar work and given that the material played here is exactly the same (albeit in a different sequence), I was curious to see how this would come off live. The answer is ‘much better’. Actually changing the sequence helps, as another challenge I had with “Essentia” is that the musical tone was fairly samey on record, which is avoided here by a better running order, the presence of the extra pair of lungs and the interplay between the two front women.

And all this despite the fact that the sound mix is very rough and ready, as the two vocalists really have the opportunity to shine. Fortunately, there’s enough live clips to make it clear that the production quality doesn’t matter so much, because they clearly had a blinder playing this, the atmosphere generated is electric and although the guitars are (like the studio record) a bit too far back in the mix the net effect works well because the vocalists utterly hold your attention. The band aren’t big enough to really afford a major production for this performance, but they somehow make this work.

‘Freaks’ (Taken From ‘Live Isolation Concert’)

01. The Haunting
02. Mist Filled Sky
03. Forsaken
04. Humanity
05. Surreal
06. Freaks
07. Shroud of Solitude
08. Lacuna
09. Freedom Uncharted
10. Matrix

Victoria K – Vocals
Sheri Vengeance – Extreme Vocals (Black Like Vengeance, ex. Ne Obliviscaris)
Julia Mammone – Guitar (Enlight)
Martin Kawaler – Bass (Black Like Vengeance, ex Ten Thousand)
James Davies – Drums


Victoria K Promo Pic

Disclaimer: This review is solely the property of Simon Black and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Winterage – The Inheritance Of Beauty

The Inheritance Of Beauty Album Cover Art

Winterage – The Inheritance Of Beauty
Scarlet Records
Release Date: 15/01/2021
Running Time: 61:00
Review by Simon Black

Symphonic Metal is a challenging and complex beast. The simplest definition of it is ‘Metal meets Classical’, but as always this is just the tip of the iceberg in the sea of definition – a troubling sea to sail at the best of times. Is a five- or six-piece band, creating a semi-classical sound on their own, the purist definition of the sub-genre (as say Nightwish are)? What if someone who is more firmly categorised as Metal or Hard Rock decides to play with an orchestra like Paradise Lost, Metallica, Kiss, Deep Purple and countless others have done over the years? Personally, I exclude the latter, as in these instances these are artists playing their regular material in a different arrangement as a one-off activity, usually for the purposes of a specific live gig or tour. The former at least is music written for this format, and so has happily been my guiding principle of definition over the years. The danger of course with defining anything is that sooner or later some cheeky swine comes along and breaks all the rules by throwing all the boundaries into one melting pot, as Winterage have done here.

The core of this Italian band is a five-piece bunch of musicians, although unusually a full-time violin player is part of this core team, along with all the other folk tropes. This particular recording however has also gone crazy ape bonkers with a twenty strong choir and twenty-six-piece orchestra as well – not to mention a Uillean Pipe player and all-round whistle blower (blame Nightwish, they started this one-upmanship when they hired Troy Donockley). Not bad going when you are only on your second album, although given that it’s taken them six years between albums something spectacular was definitely due. Spectacular feels like too small a word…

Like many Italian contributors to the genre, some of the well-trodden path of the likes of Rhapsody et al is visible, but I would argue this is more about the operatic tradition of the country than the influence of these other bands specifically. Either way, this is musically quite as epic, astounding and musically effective a record as you could hope to lay your hands on – which given where Nightwish have taken things with their most recent release is no small feat. Where this works so well is the way the folk instrumental sentiments are joined at the hip with the Classical (almost at the expense of the Metal instrumentation, which feels like a part of the orchestra, rather than one being an add-on to the other. This is also a case of folk instruments playing classical forms and some of the frenetic violin work on tracks like ‘Chain of Heaven’ is little short of outstanding. This of a violinist who can shred like John Pettruci and you will just begin to imagine what Gabriele Boschi has achieved here. He’s been a busy chap, as he also wrote all the orchestrations for the album to boot.

Vocally this is quite frankly dizzying. The challenge with having so many vocal contributors involved is it’s sometime hard to tell where vocalist Daniele Barbarossa ends and the rest of the choir begins, although with every vocal style from soprano to Metal Growl represented, the net effect is like the Metal Opera delivery of the original Avantasia album – only with bursts of operatic Italian. It’s going to be a bitch to play live too. Nothing sums up the achievement of this album more than the epic finale ‘The Amazing Toymaker’, which takes every musical extreme this album has thrown to date back at you in a whopping seventeen-minute epic of staggering proportions, which lyrically may be the maddest thing I have ever heard, and does sound like someone has also been listening to Avatar’s “Black Waltz” album recently as well…

The challenge this album has is that whilst musically and vocally dizzying, it sometimes lacks the immediacy of the more commercially orientated acts. Avantasia may not be for everyone, but Tobias Sammet knows how to leverage the fan base of his array of contributors and achieve the ‘everyman’ broad appeal, no matter how avant garde he gets, whereas as a relative newcomer and no likelihood of being able to bring the full musical ensemble on tour Winterage, have a much bigger uphill struggle on their hands. Everyman is an important word and to appeal to a wider audience you need a song to reach into more commercial territory and this album does not have one. Completely bonkers, but an incredible piece of work, nonetheless.

01. Ouverture
02. The Inheritance Of Beauty
03. The Wisdom Of Us
04. Of Heroes And Wonders
05. The Mutineers
06. Orpheus And Eurydice
07. Chain Of Heaven
08. La Morte di Venere
09. Oblivion Day
10. The Amazing Toymaker

Daniele Barbarossa – Vocals
Gabriele Boschi – Violin
Gianmarco Bambini – Guitars
Matteo Serlenga – Bass
Luca Ghiglione – Drums


Winterage Promo Pic

Disclaimer: This review is solely the property of Simon Black and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Lining Redox – The Moral Scenery

The Moral Scenery Cover Art

Lining Redox – The Moral Scenery
Release Date: 10/12/2020
Running Time: 51:00
Review by Simon Black

Italy has been quite unique in the Metal world in recent years. The biggest contributions to the scene have definitely come from the Symphonic and uniquely Operatic work of the extended Rhapsody family of bands (which is what I refer to the four or five key acts who have at one time or another shared one or more principle members), so it’s nice to hear a new band that although clearly influenced by that movement, is not actually part of the extended family of musicians at its centre.

‘Death’s Cold Lifeless Sound’ at nine minutes and thirteen seconds takes a long time to get going, and as the opening track of the album is not as immediately engaging as it should have been. It rambles somewhat, and needs a little more structure but oh my, when Rayan Resuli and Mattia Rodella open up with that guitar instrumental section at the end that wait all seems worthwhile. It’s a brave and epic song, of the sort most acts in the genre would hold back to the end of the record, but Lining Redox are laying their stall and their influences out clearly for all to hear

‘Faithless’ and ‘Thunderquake’ are a lot shorter and to the point and benefit from a more traditional song structure and format, whilst being no less technically proficient, with keyboardist Gianluca Minto given chance to shine in particular in the latter of these two tracks. Whereas the likes of Dream Theater, who are clearly a massive influence on this album (even to the point of some melody lines sounding particularly like they could have come from the fingers of Petrucci and Rudess) tend to show off the musical skills of their instrumentalists fairly evenly within a song, Lining Redox tend to favour one player in each individual track in turn. I’m going to keep coming back to the comparisons between these two acts, not just because of the musical tropes they share but for the same reason that “Images And Words”first caught my attention in 1992 – because this album has the same ‘wow’ factor as that benchmark Progressive Metal record.

The bulk of the album’s running time is actually taken by the epic three-part ‘Transcending’, coming in with the combined running time of a whopping twenty-four minutes and six seconds, it really cannot be ignored. Now, as time goes by the only problem with opting to do prestigious multi track epics that spread in three or more parts is what to do if one of them unexpectedly becomes the hit and becomes forever an orphan in your live set. That would be a nice problem for any band to have of course. However, it also means with all that material to play with that the instrumentalists start to share the workload evenly between them, although avoiding the synchronised soloing that is one of the trademarks of the likes of Dream Theater. Where this massive mid-album epic works so well are the complete changes of tone away from the traditional Metal tropes into the kind of paces and tempos that would not sound amiss on a Pink Floyd album, with some nice instrumental breaks on piano and sax to really mix up the sound. The album’s title more or less brings things to a conclusion and is a much heavier and tightly arranged piece. Musically this is top drawer stuff, and with a few more tracks of this more focussed songwriting consistency, these boys are going to be a force to be reckoned with…

Where I have a slight challenge are the vocal performances, which sometimes lack flow. Matteo Mancini has a good tone and timbre to his range, with a lovely clear and emotive sound, however some of the tracks don’t seem to have been written with his range in mind (most notably that troublesome opener – which is another reason why it’s an odd choice to introduce people to the record). The press release alludes to an unstable line up leading to this debut, so perhaps this is an older piece written around someone else’s voice, but either way experience in both writing and performing this material will likely iron out this wrinkle whatever its root cause is. One final DT comparison: although the Images album was their major label debut, it was not their first record and I get the feeling that whatever these chaps bring to the table next is likely to be the point of coalescence. Nevertheless, this is a damn fine piece of music from a band to watch.

01. Reminiscent
02. Death’s Cold Lifeless Sound
03. Faithless
04. Thunderquake
05. Transcending Pt.1: Deceiver
06. Transcending Pt.2: Stillness
07. Transcending Pt.3: Defiler
08. The Moral Scenery
09. Clarity

Matteo Mancini – Vocals
Rayan Resuli – Guitars
Mattia Rodella – Guitars
Gianluca Minto – Keyboards and Scream/Growl Vocals
Nicola Prendin – Drums
Nicola Baesso – Bass Guitar


Lining Redox Promo Pic

Disclaimer: This review is solely the property of Simon Black and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Interview with Madeleine Liljestam of ELEINE

Interview with Madeleine Liljestam of ELEINE
By Dark Juan

Hello, dear friends. It is I, Dark Juan. I trust I find you well and all preparing yourself for the festival of the birth of the False God’s equally false son? Anyway, I have been a good little soldier and behaved myself in my past few reviews, so our Lord and Master, mighty smiter, metal king and surprisingly tolerant editor (when faced with my rantings he is never less than gracious and understanding, notwithstanding just how many times I use the word fuck. Which is a lot) Sir Richard Tilley has taken off my leash and allowed me to emerge, blinking and shellshocked from his basement into the drab and reedy light of a gloomy British winter day. After several fortifying cups of Yorkshire’s finest brew, I immediately have cast about for devilry to commit, preferably indoors because this Hellpriest doesn’t like the cold, and I have been permitted to (in flagrant disregard of the panic and fear I caused myself the last time I spoke to somebody famous and popular – I am famously misanthropic and awkward around people. Clearly Rick and I have learned NOTHING from the previous experience) interview Swedish symphonic metal stalwarts Eleine, who have recently released an absolute STONKER of an album in “Dancing In Hell”. Add the fact it appears that I am suffering from puppy paralysis as the Dread Lord Igor Egbert Bryan Clown-Shoe Cleavage-Hoover (no, there WON’T be more of that later) has settled happily next to me and is snoring gently and emitting the kind of smells that should be banned under the Geneva Convention and you will understand that this has made me utterly unable to move and has led to a period of lightheaded, bonehead confidence due to oxygen starvation (but pleasingly NOT paradoxical undressing)  which has led in turn to this collection of questions, of which the fabulous Madeleine Liljestam from the Scandinavian symphonic superstars is now obliged to answer.

Shall we dive in? After you…

Dark Juan: Greetings and salutations. I am Dark Juan, incumbent enfant terrible of Please do tell whom I have the pleasure of addressing today?

Madeleine: You are talking to Madeleine, the vocalist and one of the founders of ELEINE.

DJ: Thank you for consenting to be part of the nonsense I write and congratulations on a spectacular and wide-ranging record. Could you please tell me about the process of writing and recording the album? Who writes the lyrics and does the music come fully formed from the mind of one person or is it all a group effort? Also, even though it is a bit clichéd and overdone, who are your influences and musical heroes?

M: Thank you, and thank you for reaching out, it’s a pleasure. I’m glad to hear you enjoy our new album. I am very proud of its early success. You can never really know what to expect when releasing something new. But what you can do is create what feels true to you, and that’s the important part We write what we know, what we see and what we feel. There’s a huge piece of ourselves in this album, so it really warms our hearts hearing how appreciated it is.

Rikard and I write all the music/lyrics and we’re influenced by many various things. Games, movies, life. We get this question a lot and never seem to be able to give something short like naming a band or two. There are many bands that inspire us. I feel that good music is good music….and we listen to good music.

DJ: When I listen to Eleine’s music, although it is in keeping with the gothic/symphonic metal genre, I find it much more exciting because it appears to have a much harder edge (Rikard’s guitar work and vocals especially) than Nightwish, Within Temptation, After Forever and the like. Is this a conscious decision of the band or are there members who harbour a (possibly not so) secret love of extreme music?

M: Who said that symphonic metal can’t be heavy or even extreme sometimes? As I mentioned before, we only write and create what feels true to us. We’re going with the vibe we have during the time of writing, you know? I’m glad you like it, thank you very much. Yes, there is a heavier sound on “Dancing In Hell”, and it’s really not a surprise since we like heavier music. I mean, it’s certainly no secret that I myself enjoy listening to black and death metal. I would also like to add that although many seem to believe so, we don’t listen to other bands in our genre and try to write like them. That would be redundant and pointless since they have their sound and we have our own sound.

DJ: It appears to be becoming more and more difficult for bands to draw attention to themselves, especially during this current COVID unpleasantness, and to make a living from their music. What does Eleine do differently, in your opinion, which makes you stand out from the crowd?

M: I don’t think we’re the ones to answer that question, the fans and you should, right? We continue to work the way we’ve always done and I take it as a compliment that you actually ask that!

DJ: As I write this, I am watching Eleine videos, which are richly filmed and produced in a very lush fashion. How important is the visual aesthetic to Eleine, and who comes up with the concepts for videos, and does this transcribe easily to your live shows?

M: Very nice, thank you! We produce, direct, film and edit all of our music videos on our own. Rikard does most of the camera work and when he needs to be in frame it’s often I who film him. In editing it’s all Rikard with cutting things together and creating that extra depth with his mad editing skills. I of course also help out when he gets stuck and needs a second pair of eyes. The visual aspects are very important for ELEINE. I, myself, visualize so much in both stills and moving pictures when creating music. This extends into live performance and also music videos. Everything you see with ELEINE, is an extension of ELEINE and what we do. Choosing to have the sunset behind us in ‘Ava Of Death’ wasn’t a coincidence. Choosing to have the fire and some subtle facial expressions in ”Dancing In Hell” wasn’t either. there’s so much thought behind it all and I’m glad you like them.

DJ: Madeleine, obviously, you are a woman fronting a heavy metal band and the visual focal point of Eleine. You may not be aware that there has been something of a scandal involving a British produced heavy metal magazine recently displaying outrageous levels of misogyny regarding female musicians and using language and terms which a lot of others, myself and the ENTIRE staff of included, found totally unacceptable. What are your experiences of reading or hearing about yourself in the wider press and have you found anything unacceptable or outright sexist? Have there been occasions where you have not been treated with the same respect as a male musician? How did you deal with them and what can us writers, reviewers and interviewers do to improve our coverage of women in metal?

M: That’s terrible! I am aware that idiots rage the earth, but I haven’t heard of that specific idiot. Well, since you bring it up – I do not appreciate reading that ELEINE is a ”female fronted metal” band. What the hell is that? It’s not like every band with men as fronts are called “male fronted metal” bands, right? “female fronted” isn’t a genre. I FULLY get the idea why you’d want to empower women. There is a lot of shit going on. But we are all humans. Sure, we can’t claim other than it’s a mainly man dominated world of metal, but at the same time it is so incredibly wrong to hear that some festivals book 5 bands with female front figures just because they need to hit their quota of equality. Bands should be booked because of their music and delivery when performing, not because of what’s between their legs.

A band is a band. Metal is metal. No matter sex, skin colour or whatever. Don’t judge a band before you’ve actually listened to their music. I can’t count the times I’ve recently heard: ”I usually don’t listen to bands with a female vocalist but hey, I was recommended to listen to ELEINE and now you have a new fan”. It’s GREAT that people go out of their comfort zone and listen to new music. It’s like I’ve said before…good music is good music, and crap music is crap music.

I stand up for humans and animal rights. Regardless of gender. We need to be equals in this. It really pisses me off to be put in a box that says ”Female fronted metal” and not even being given a chance to show what we got. Don’t get me wrong, you can of course call a man a man and a woman a woman etc. But instead of “outing” it with labels such as “female fronted”, just call them metal bands and add the actual genre.

But, as always, I know what we have, I know what we do and I am proud of it. Instead of seeing myself as a victim I’ve always chosen to switch it up a gear instead and make sure I make myself and our fans happy.

DJ: What news are you receiving about the reception of your latest album? I personally rated it as 9/10 and “Sumptuous, richly produced, expansively written and an essential purchase if you enjoy the beauty of female vocals offsetting metal power.” Are you getting many positive reviews?

M: What a great rating, thank you very much. The reception has been absolutely fantastic. I am deeply grateful for this. As I mentioned earlier, this album is a huge part of ourselves. I can’t thank everyone enough for buying it, appreciating it and sharing it <3

DJ: What do we have to look forward to from Eleine in 2021, assuming all the COVID restrictions are done with? This year has truly, truly sucked for live music and surely it has affected Eleine as well as everyone else involved with live music. Are you going to tour sooner rather than later or are you going to wait a bit longer for the sake of increased safety?

M: TOURING! My unholy Satan, I’m starving here. 2020 was rough for everyone and we need to work together to get through it. Even though the year was dark, there were shimmers of light. One very good thing was the release of “Dancing In Hell”, both for us and for our fans. It has been an absolutely devastating year in so many ways, but we will make it. From everything there’s something to learn. I’ve learned to have way more patience than I’ve ever had.

We will tour when it’s safe and allowed, of course. We care about our fans

DJ: Do you have anything to say to your fans and people just discovering Eleine? This is your chance to say whatever you wish about whatever you like!

M: We are aware that we wouldn’t be anything without the beautiful fans we have. We are grateful for each and every one. We have a really close contact with our patrons and our Patreon has also helped us out tremendously. Thank you all so very much, keep on buying music from your favourite artists and we’ll see you soon.

DJ: Please allow me to thank you very much for agreeing to spend your time answering these questions, and may I wish you every success for the future. I truly hope your new record brings you an outrageous amount of success. The only reason this wasn’t done through Zoom was because I am far too much of a coward, having scared myself rigid the last time I did that! Tack så mycket för din tid, jag hoppas att vi snart ses på en brittisk turné och lycka till och framgång för er alla. God Jul!


Read Dark Juan’s album review here:

Disclaimer: This interview is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Theatre Of Tragedy – Musique (20th Anniversary Edition)

Theatre Of Tragedy – Musique (20th Anniversary Edition)
AFM Records
Release Date: 04/12/2020
Running Time: 88:44
Review by Rick Eaglestone

20 Years after its initial release “Musique” has returned – this time, its first on vinyl, also brings with it a multitude of bonus and unreleased tracks.

There must have been something in the water around the late 90’s and early 00’s as it seemed to be a fashion for bands to deviate from their roots and step in another direction. Now, with some bands, it took me a while to accept this but with Theatre Of Tragedy it was instantaneous and a really nice change from the symphonic sound that was quickly becoming overdone and saturated

It may be sacrilegious to feel this way but opening track ‘Machine’ is still my all-time favourite track, which after two decades may now be accepted, as at the time, I received gasps of horror and disgust from friends when revealing this.

Tracks like ‘City Of Light’, and especially ‘Fragment’, still give me goosebumps. There is no denying just how hypnotic Liv Kristine’s vocals are…even now!

Title track ‘Musique’s electronica sound hasn’t dated, as the melodies that accompany it strike a great balance. This is also true of the following track ‘Commute’ The lyrical content takes a more futuristic approach with ‘Radio’ and as previously mentioned Liv Kristine’s vocal shine through but, on this occasion, more so Raymond I Rohonyi’s as well as the hypnotic riff running throughout.

First single to be released ‘Image’ weaves into the pulsating song about street fighting ‘Crash/Concrete’, which has a little slice of harsh electro, so the slower ‘Retrospect’, which follows, is a welcome change of pace.

The intro to ‘Reverie’ still reminds me of a Commodore 64 game loading but, in fairness, the sound is in keeping with the start of the millennium so, once you get past that, you should enjoy the track. ‘Space Age’ is appropriately named, but purely instrumental. Originally, at this point, the album contained the track ‘The New Man’ but with this version it’s the French version of ‘Image’

This 20th Anniversary Edition does contain ‘The New Man’ further on, as well as the unreleased ‘Quirk’, which has a great chorus and blends in well with both the remastered tracks, by Jacob Hansen, and alternative versions included. A final note is that both formats (CD and Vinyl) have the same tracklist, so there is no need to have to buy both editions.

It’s nice to play an album that you haven’t heard in a few years and still feel the same way about it! This has been remastered well and from a personal stance it’s something that I will be re-purchasing on the newer format in the near future.


01. Machine
02. City Of Light
03. Fragment
04. Musique
05. Commute
06. Radio
07. Image
08. Crash/Concrete
09. Retrospect
10. Reverie
11. Space Age
12. Image (French Version)

13. Fragment
14. Machine
15. City Of Light
16. Reverie
17. Radio
18. Commute
19. Retrospect
20. Quirk
21. Crash/Concrete
22. The New Man

Raymond I. Rohonyi – Vocals
Liv Kristine – Vocals
Frank Claussen – Guitars
Lorentz Aspen – Keyboards
Hein Frode Hansen – Drums


Disclaimer: This review is solely the property of Rick Eaglestone and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.



Hi everyone! Welcome to our new EMQ’s interview with Brazilian based Epic Symphonic Metal band, Ruins Of Elysium. Huge thanks to vocalist and founding member, Drake Chrisdensen, for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

I’m Drake Chrisdensen, the Tenor of Epic Symphonic Metal band Ruins Of Elysium. A Symphonic Metal band, fronted only by an operatic male singer, was something I had wanted to listen to for a long time, as I grew up listening to the iconic female classical singers who shaped the style, like Liv Kristine, Tarja Turunen and Melissa Ferlaak. As there didn’t seem to be any on the scene, I created my own! The idea for Ruins Of Elysium existed since I was a teenager, but it took me years of study and growth to be able to finally bring it to life in 2013.

How did you come up with your band name?

Ruins Of Elysium was a suggestion from a dear friend, he even contributed on two songs of our first album “Daphne”.

What Country/Region are you from and what is the Metal/Rock scene like there?

We’re spread around the world haha. I’m based in Brazil, my family is Norwegian and our guitar player, Vincenzo, is Italian. We have collaborated with people all over the world, like from Germany, the USA, and list goes on. Here in Brazil our underground scene took a massive blow when our fascist president was elected, and all kinds of censorship and violence started taking place against artists, especially the ones in the Metal/Rock scene, as we are naturally political and subversive. Those have been really hard times for us.

What is your latest release? (Album, EP, Single, Video)

We will release our new album, “Amphitrite: Ancient Sanctuary In The Sea”, on Jan 15th 2021! We’re super excited as, in this work, we’ve done something that hasn’t been done before, which is exploring folk metal through different cultures, elements, folklores, and instruments, all in the same album. When we think “Folk Metal” usually Celtic and Scandinavian music come to mind, but we wanted to do it differently! In “Amphitrite: Ancient Sanctuary In The Sea” you will find songs using Chinese instruments and lyrics, Japanese elements and folklore, Latino elements from the Flamenco music, Brazilian percussions, Indian chants and rhythms and, of course, the good old Celtic vibe.

Who have been your greatest influences?

As I work as a classical singer, and that’s where 90% of my lifelong study is placed, Jonas Kauffmann and Luciano Pavarotti are the most prominent influences. But there are many other Tenors I look up to, like Jose Carreras, Placido Domingo, Franco Corelli, and Thiago Arancan. Also, my Teacher and soul-father, Sergio Anders. From the Metal and Rock world, the names that are my personal paramount are Liv Kristine, Melissa Ferlaak, Freddie Mercury, Alfred Romero, and Andre Matos.

What first got you into music?

My dad has an amazing music taste. I started listening to rock and metal when I was really young, with Queen, Metallica, and Iron Maiden. I remember listening to the Barcelona album, the one recorded by Freddie and Montserrat Caballe, and falling completely in love with that beautiful work of art. Symphonic Metal is the amalgamation of everything I love music-wise.

If you could collaborate with a current band or musician who would it be?

I am already having the opportunity to work with one of my all-time Idols, Melissa Ferlaak, on Ruins Of Elysium’s new album. But I want a couple more to complete my checklist haha. Liv Kristine and Alfred Romero to go!

If you could play any festival in the world, which would you choose and why?

Rock In Rio, no doubt. I know, it’s not Wacken, but it’s my second choice. The thing is: Brazil is in a dire state of political and social chaos. Last Rock In Rio was very important for that reason: we saw many artists of our rock and metal scene making important statements in favour of democracy and social fairness. The girls from Nervosa (our national pride, dare I say) made a beautiful tribute to Marielle Franco, a human-rights activist murdered by the same militia that unfortunately rules the country. Standing proud on that huge stage and being able to make such a statement, such a manifest…that would be a dream coming true.

What’s the weirdest gift you have ever received from a fan?

Do nudes count as gifts? Hahaha

If you had one message for your fans, what would it be?

We call Ruins Of Elysium’s fans our “Sentinels Of The Starry Skies”, as it is the name of one of our very first songs. Also, they are also our Sentinels in the sense that they watch over us, protect us, and give us strength to carry on. So, thank you, dear Sentinels!

If you could bring one rock star back from the dead, who would it be?

If I give a part of my own life-force and lifetime, can I bring two back? Because I can’t choose between Freddie Mercury and Andre Matos. And let’s face it, they both have so much more to give to the world than me, I’d gladly sign that contract.

What do you enjoy the most about being a musician? And what do you hate?

Being able to express my reality, my dreams and fears through my music and my voice is a real blessing. I hate that it doesn’t receive the proper acknowledgement as a job. I mean….we also have to eat and pay our bills.

If you could change one thing about the music industry, what would it be?

Songs nowadays seem to be made to be quickly forgotten, and replaced by the next hit. It became quite literally an industry in this sense. I love A-Ha, Elton John, everything Eurodance, I mean, if “Take On Me” plays today everyone will join the dance. And it’s such a chilled and simple song. I don’t know what happened, but people have already forgotten the hits from last year, and this is scary. I thought things were changing in 2011, there were some excellent pop songs that make us go crazy to this day. Metalhead or not, you WILL lose your shit if Britney’s ‘I Wanna Go’, or Rihanna’s ‘Where You Wanna Go’, start playing (or maybe that’s just me? lol), not even mentioning Gaga! I mean, she’s way more metal than most metal bands I know haha. It seems she’s the only one trying to bring some “quality” to pop music right now, as the trend is to be forgotten and replaced.

Name one of your all-time favourite albums?

It’s not my only favourite, but Leaves’ Eyes “Njord” was a masterclass on Symphonic Metal. That album alone is the very definition of excellence, and a game-changer in the style. Well, for me, at least. After “Njord”, I could really picture what Symphonic Metal really was, and my aim as a metal musician was pretty much settled by that release. I’ve had the opportunity to tell that to Liv Kristine: that album alone shaped what the very best of Symphonic Metal stands for.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Please, Downloads. Physical copies are so expensive to make! We have to pay the company that crafts the CDs, pay the designers, pay for the barcode, pay for the shipping, pay, pay, pay….that is not a problem if you’re signed to a label, but for independent artists this is a nightmare.

What’s the best gig that you have played to date?

The Garagem Festival, 2015. It was a competition, and we not only won, we received almost 3 times as many votes as the act in second place. I’m not a competitive person at all, but wow…that was…a lot!!! Damn, I miss the stage so much.

If you weren’t a musician, what else would you be doing?

Actually, I’m a Lawyer! I graduated Law School in 2013. Now I’m studying Psychology.

Which five people would you invite to a dinner party?

The Power Rangers 😊

What’s next for the band?

The release of our new album “Amphitrite: Ancient Sanctuary In The Sea”, and a lyric video for the single Atlas. There will also be an EP with some other projects we’ve been involved through 2020 (and 2021).

What Social Media/Website links do you use to get your music out to people?

Facebook, Instagram, Spotify, Deezer, Youtube. We have official profiles on all those medias, gives a like and a follow 🙂

Jaffa Cakes! Are they a cake or a biscuit?

They can be anything they want as long as they are in my mouth lol. The only thing I’m sure they are is: DELICIOUS.

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Aeternitas – Haunted Minds

Aeternitas – Haunted Minds
Wormholedeath Records/The Orchard/Aural Music
Release Date: 20/11/2020
Running Time: 48.08
Review by Dark Juan

Cordial greetings, dear friends and fellow followers of the Left-Hand Path! It is I, Dark Juan, and I trust I find you full of that Friday feeling and you are rapidly filling yourselves with alcohol and other party treats and that you are indulging in a lengthy and debauched weekend planned with your significant others. As long as there is love in the world then I am content. That, and worship of our Lord and Master of mankind, Shaitan. May the Horned One drink in your debauches like the finest wines and reap a fearful tally of souls from children who can’t spell Santa correctly… The little bastards will wish they had not asked for puppies for Christmas when the hellhounds are delivered, and they find the bloody, ravaged and half-eaten corpses of their parents being tossed around like ragdolls by Fido. Have you noticed that I am not amused by the imminent festivities yet? Bah, and indeed humbug…

This evening, I have gone down a different musical path than I normally do, and I will make a valiant and probably unsuccessful attempt to be factual about German gothic symphonic metal band Aeternitas and their latest offering, entitled “Haunted Minds”. Now, if you know me and considering the amount of crap I write for Ever-Metal, you really should by now, and you will no doubt be aware that I am a sad old goff and love anything pompous and overblown. Now, considering that, you would think that I would be a rabid fan of anything that involves metal and fucking orchestras, would you not? Well, normally you’d be correct, but gothic symphonic metal has to be done RIGHT, otherwise it just sounds like a colossal shitshow that some fucker has thrown some violins at.


It appears Aeternitas have listened to a metric fuckton of “Once” era Nightwish and taken ‘Dark Chest Of Wonders’ as a starting point and have stretched that particular sound as far as they can physically take it without descending into some keyboard led white noise explosion. However, Aeternitas are by no means as talented as that merry bunch of Finnish (and Dutch) orchestra enthusiasts, and it shows. Both the male and female vocalists are strictly average, bordering on poor in Aeternitas, and for this style of music to work you have to be an exceptional vocal talent, able to soar above the music. Neither Julia Marou or Alex Hunzinger are exceptional, and Alex in particular is not acceptable, as he doesn’t have an interesting voice, and nor can he growl properly, so you end up with some kind of bizarre halfway house vocal which is barely tolerable. He is a much better conductor of an orchestra, though. The symphonic parts of the record are fucking brilliant and the choir excellent and his arrangements good. The songs, however, are derivative and uninteresting. Julia’s voice is too low in the mix of the record and frequently sounds a half-tone flat while singing, and she also has a weak vibrato and range. For this style of metal to work, you need a coruscating skyrocket of a voice and Julia’s alto just doesn’t cut it.

The songs on the album are also uninspiring. Every song on the record sounds like a variation on ‘Dark Chest Of Wonders’ apart from album closer ‘My Haunted Mind’ which is an execrable piano ballad which ends the whole distinctly average shebang on the dampest of damp squibs. I fucking hate ballads and this one’s a stinker, ladies, gentlemen and people of other genders, being mournful without being interesting and overlong by about a minute, thereby prolonging the agony longer than you need it to be. Ironically, though, it shows exactly what Julia is capable of, switching from alto to contralto in parts and showing some interesting variation in her vocal style.

There’s so much I didn’t enjoy on this record. The songs all sound the same, Alex’s vocal is poor, the mix is fucking shocking and produces an experience not unlike listening to Nightwish whilst immersing your head in a bath of scalding hot treacle, none of the instruments are sharply produced and the bass overpowers everything. The drums are flat and lifeless, you can barely hear the guitar work and the keyboards disappear in and out of the overall sound. The vocals also sound muffled, as if they were recorded by a microphone located in a different room to the singer. It’s all so…mechanical. There is no passion, no soul.

Best tune on here? ‘Castles In The Air’ by a country fucking mile. Starts with bombastic pomposity and builds to a pretty groovy chorus that gets you singing along handily and stands head and shoulders above the rest of the album.

Disappointed doesn’t even cover the emotion I am feeling right now. Average. Painfully average.

The Patented Dark Juan Blood Splat Rating System (Das Patentierte Dunkle Juan Blood Splat Bewertungssystem) awards Aeternitas 5/10 for an uninspired Nightwish-lite album. Meh. It got 5/10 because of the strength of the classical arrangements and because of the fucking slamming chorus on ‘Castles In The Air’.

01. Destiny
02. Fountain Of Youth
03. The Unforgivable Sin
04. The Birthmark
05. Castles In The Air
06. Fallen Innocence
07. The Ring
08. Another Day
09. The Beautiful
10. The Final Path
11. My Haunted Mind

Julia Marou – Vocals
Alex Hunzinger – Guitar, vocals
Anja Hunzinger – Keyboards
Daniel T. Lentz – Guitar
Rick Corbett – Bass (This man does not sound German!)
Frank Molk – Drums (There is an umlaut over the O but I am too disappointed to sort it out.)


Disclaimer: This review is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.



Hi everyone! Welcome to our new EMQ’s interview with Brasília, Brazil based Symphonic Metal band, Perpetual Legacy. Huge thanks to Bruno Henrique, Michelle Rodovalho, Matheus Maia and Rafael Lobo for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

Bruno: Hello, my name is Bruno. I’m the Perpetual Legacy guitar player.

Michelle: Hi, I’m Michelle. Vocalist of the Perpetual Legacy band.

Matheus: Hello, I’m Matheus. I’m the Perpetual Legacy bassist.

Rafael: Hello, I’m Rafael a.k.a. Raffa on the keyboards.

How did you come up with your band name?

Michelle: Our bassist, Matheus had the idea regarding the name of the band. I love the name and its meaning. The meaning of the name is in Psalms 119:111. The God’s perpetual legacy, which He left to us, human beings. In other words, we hold the legacy, heritage, the Word and the testimony of the goodness and love from God. Not only to benefit ourselves but for the good to other people also.

What Country/Region are you from and what is the Metal/Rock scene like there?

Bruno: We are from Brasília, capital of Brazil. The Metal scene in the city is not too big for this music style as in other parts of the country. Even with the label as the Rock capital, the majority part of the rock events happens in the underground with barely great events to this style. I think this explains why we had been playing more outside our city than inside.

Michelle: The Christian scene is very slow actually. It was more alive in the past.

What is your latest release? (Album, EP, Single, Video)

Bruno: Our last release is a single which we released in August 2019. It is called ‘119: Theme Of My Songs’. As the name says, this music has the theme based on this Psalm, the same one that gave the band a name. It has a special meaning to us also because of the moment and how it was recorded. It was the first time with our actual drummer Renan Costa, and we had a special guest in the bass, Gustavo Magalhães from Dark Avenger.

‘119: Theme of My Songs’ (Official Lyric Video)

‘119: Theme Of My Songs’ (New Studio Video)

Who have been your greatest influences?

Michelle: I always listened and studied some good voices, not only in the metal scene. I have been studying Floor Jansen since the After Forever times. I also like Sharon den Adel, Liv Kristine. I have been listening to Sarah Brightman for a long time and also a Brazilian singer, who caught my attention called Lydia Moisés. The bands, which are our main references, are Epica and Nightwish.

Matheus: My major influence as a musician is Felipe Andreoli (Angra). To play in a symphonic metal band is the sum of two passions: classical music and the heavy metal. However, my musical taste is a variety from classical music to contemporary gospel and melodic metal.

Rafael: 3 names, 3 schools: Beethoven, John Williams and Tuomas Holopainen (Nightwish). Names like Bach, Chopin and Mozart are essentials to my musical formation, also to the band composition.

Bruno: Some national guitar heroes like Kiko Loureiro (Megadeth), Marcelo Barbosa (Angra/Almah), Eduardo Ardanuy (ex-Dr. Sin) and Andreas Kisser (Sepultura). And also, some international names like Jeff Loomis, Steve Vai, Marty Friedman and Mark Jansen (Epica).

What first got you into music?

Bruno: I started to play guitar when I was 15 years old, influenced by some rock bands like Pearl Jam, Nirvana, Black Sabbath and Megadeth.

Matheus: Classical music has always been part of my life since my childhood. I figured out the heavy metal when I was a teen, which emerged together with the bass instrument.

Rafael: I always preferred classical music than pop music, at the point of preferring the national anthem than radio music. My influences helped me to decide for my instrument. I figured out the symphonic metal when I joined some erudite music with the sound of the bands that I usually listen to in my teen ages.

If you could collaborate with a current band or musician who would it be?

Bruno: I think the most important thing is the music and the message that we can transmit at the end. So, to me if a band has a serious purpose, a good sound and a wellness message it is worth enough to collaborate with.

If you could play any festival in the world, which would you choose and why?

Bruno: I think that every metal band in the world has the same dream to play in some recognized festivals like Wacken. It must be great to play on the same stage as your biggest influences and also because of the history it has.

What’s the weirdest gift you have ever received from a fan?

Bruno: In my case, I’d sometimes receive some food as a gift. The weirdest case was a day that the fans just joined some money to give to the band (another band on the occasion) a tuna pizza and a bottle of Coke (laugh).

If you had one message for your fans, what would it be?

Michelle: Let us try to appreciate all the good things that life offers, with wisdom and caution. Let us treat everyone in the best possible way. Let us practice empathy and strive to love others as Christ loves us.

Bruno: I think the message that Christ left to us about love for others is so important, especially in these hard times where we have to live with so many cases regarding racism and prejudice. The people just forgot about this message meaning, what turns to common to see these cases but let’s keep this message in our mind and heart and try to make a better world for everyone.

If you could bring one rock star back from the dead, who would it be?

Bruno: My worst losses in the musical scene are Dimebag Darrell (Pantera) and Peter Steele (Type O’ Negative). I also would like to see a live concert with Randy Rhoads. We had a great loss in the Brazilian music scene last year with André Matos too. He is another one that should be alive to keep showing us his talent.

What do you enjoy the most about being a musician? And what do you hate?

Bruno: Music to me is like a therapy. It just removes the stress and the bad feelings if I have some and gives me a great pleasure and opportunity to express my feelings. The thing that I hate is the lack of opportunity and how difficult the music market is, especially to those that are starting their career.

If you could change one thing about the music industry, what would it be?

Bruno: I really would like to change the music industry related to the new and unknown talents that we figure out sometimes around the world. There are many bands and artists who should have a better chance and conditions to show themselves.

Name one of your all-time favourite albums?

Bruno: Megadeth – “Rust In Peace”.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Bruno: Depends on who is listening and their taste. To me all the formats have some kind of advantage. When I was a teenager I loved to listen to music on vinyl, especially for metal songs. It has that feeling of making the music more “organic“. But, I confess that lately the music platforms have earned a lot of space in the market and in my daily activities due to the practicality of just turning on the laptop or smartphone and you have all the songs that you wish to listen to at that moment.

I think the digital era of the music industry brought some advantages to those artists, like us, that are independent to show their work, and it’s awesome.

What’s the best gig that you have played to date?

Bruno: The best gig to me and I guess for the whole band was the Metanoia festival. In this festival we could share the stage with great bands, including Narnia that is one of the greatest bands in the Christian metal scene. We also had the opportunity to talk with the guys backstage and they were really kind to us.

If you weren’t a musician, what else would you be doing?

Bruno: Well, I’m a musician but I don’t live with the music profits as the whole band also. Everyone in the band has another career and profession. I’ve been a software engineer since 2010. I tried to live with the music profits as a guitar teacher in a music school but to live only by music is like to win in the lottery.

Which five people would you invite to a dinner party?

Bruno: I don’t know if the invite should be to a dinner party, but I would like to see some of our greatest references together, probably in a festival with their bands. It could be Simone Simmons (Epica), Floor Jansen (Nightwish), Sharon den Adel (Within Temptation), Christina Scabbia (Lacuna Coil) and Tarja Turunen. For sure, it should be a great concert.

What’s next for the band?

Bruno: The band is releasing some acoustic songs formats regarding our first album, “A New Symphony For Him”. We had been doing some acoustic shows and the new arrangements of these songs just became very good.

We are also releasing some Christian hymns in our symphonic metal style and with Portuguese lyrics. You can listen to the songs on our Youtube channel.

The band is also planning to release a new album in the next year. So, we are starting our compositions.

What Social Media/Website links do you use to get your music out to people?

Bruno: You can find us in Youtube, Spotify, Deezer, and some other digital platforms. Also in social media like Facebook and Instagram!

Jaffa Cakes? Are they a cake or a biscuit?

Bruno: I never tasted the Jaffa Cakes (laugh). I’m living in Ireland now, but we don’t have this in Brazil. After this question, I’m sure I’ll buy some and taste it soon (laugh).

Thank you for your time. Is there anything else that you would like to add?

Bruno: I would like to say thanks to all our fans and everyone that supports us along these years. We’ve been receiving some support messages from some people and also seeing some messages on the web saying good feelings about our music, for those that go or went to our concerts, thank you so much. God bless you all.

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Scardust – Strangers

Scardust – Strangers
M-Theory Audio
Release Date: 30/10/2020
Running Time: 53:02
Review by Beth Jones
(Yes, that is the ‘infinity’ sign!!)

A few months back I reviewed Wilderun’s “Veil of Imagination”, scoring them a technically impossible 11/10. I thought at the time that there was absolutely no way I would hear a better album this year, and probably not for a good few years to come. Well, it turns out I was wrong.

Scardust are a Progressive Metal band from Israel. This album, “Strangers”, follows the critically acclaimed debut “Sands Of Time”. It’s a unique concept album based around the idea of being estranged. The bands vocalist Noa Gruman composed the album with Orr Didi, who she also collaborated with for the first album, and it was mixed by Yonatan Kossov and

mastered by Jens Bogren (Opeth, Devin Townsend, Arch Enemy). Noa explains, “Written from multiple perspectives, it explores the ways in which people can be estranged from one another, from themselves, from society, from their loved ones and even from their own subconscious. After the overture, which introduces musical themes, the album separates into two parts. Every song from the second part is a mirror image of a parallel song in the first. Each pair of songs tells the story of a pair of strangers. They can be played together as a standalone piece, as individual songs or as part of the album, whatever the listener’s heart desires.” That’s bloody clever that is!!

There’s only one word to describe this album, and that’s ‘Masterpiece’. I’m usually pretty good with words, but it’s seriously left me chastising my own lack of comparable vocabulary to explain why I feel this way. So, please bear with my while I try and do it justice! But before I begin, I’ll say this. If I die tomorrow, at least I got to hear this album.

‘Overture for the Estranged’ starts the album, opening with choral harmony performed by Hellscore, the choir Noa formed for the original album. It took me right back to my choral days, from which I became estranged when I left school! Noa’s vocals float in over the top of this, in full operatic beauty, with unexpected cadences all over the place. We’re then led into a fully orchestrated section that Mozart would have been proud of, with the addition of crunching guitar, and thundering drums. It’s just spectacular! It’s like an opening overture to a top rock opera running on Broadway, or in the West End. This style is revisited throughout the album, too. Just for fun, it throws in some jazz and funk along the way, as well as the progressive rhythm changes you would expect from any great explorer of the genre. Right, that’s track 1 pathetically dealt with, like a boxer trying to cradle a new-born still gloved up! 10 more to go – stay with me folks!

Track 2, ‘Break the Ice’, is full on musical theatre, complete with chorus line from Hellscore again, and a melody so catchy I dare you not to hum along! Aside from the vocals, which are simply sublime, we get to see just how skilled the musicians in this band really are. With an awesome guitar solo, and some equally complex bass runs, cross rhythms, piano fills, and orchestral violins, it just makes me want to explode with admiration. I’m so emotional about this album, it’s untrue! The musical theatre feeling continues through track 3 (which is also one of my favourite tracks, more on that later!) and 4, but always with a progressive twist. Complexity is their absolute ethos, and they do it effortlessly.

Track 5, ‘Concrete Cages’ starts with folk instrumentation provided by German Folk musician, Patty Gurdy. It then goes through funk, and heavy riffs, and dives into a whole melting pot of extravagant instrumentation, choral harmonies, and just pure musicality. It’s heavy enough to bang your head to, but so intricately precise that it’s possible to hear every single note like there was no other sound.

Track 6, ‘Over’, returns us to some sort of metal normality, ramping up the heavy for a bit! It also let’s Noa explore her guttural vocals too, which are just as perfect as her operatic tones. In contrast, and forming the other part of the pair, if you’re listening to the album as paired tracks, ‘Under’ is pure funk / gospel/ jazz, complete with snare rim beats from the drummer, gospel choir harmonies, and solos a plenty. Track 8, “Huts” features a performance from Westbrook Hay Prep School Chamber Choir, just to add another element, because why not?!

The next few tracks continue exploring every theme imaginable, until the album is brought to a close with ‘Mist’. A slowed down track in which Noa’s vocals are just sublime. It’s a real ‘lighters in the air’ closing overture, that brings things to an end as stunningly as they began.

When an album is this good, it’s hard to pick out a standout song. But I have gone with the tracks that I’ve had on repeat over the last couple of weeks. ‘Tantibus II’, which is also the first single from the album, and ‘Gone’. ‘Tantibus II’ melds complex guitars with dark choral harmonies, and a hellishly catchy chorus! I actually cried when I first saw the video for this, I was so overwhelmed by how good it was. ‘Gone’ on the other hand, I love for a different reason – we discover the true skills of bass player, Yanai Avnet. It opens with a bass line lick, and he gets a solo section in the middle. This man’s got skills!!! More licks than an ice-cream parlour full of children, I can tell you. Bloody brilliant.

Everything is just bloody, bloody, unbelievably bloody brilliant!! I’ll shut up now, I’ve taken up too much of your time. “Strangers” gets infinity out of 10 from me, because my scoring system no longer matters. Buy this album.

01. Overture For The Estranged
02. Break The Ice
03. Tantibus II
04. Stranger
05. Concrete Cages (feat. Patty Gurdy)
06. Over
07. Under
08. Huts
09. Gone
10. Addicted
11. Mist

Noa Gruman – Vocals
Yanai Avnet – Bass
Yadin Moyal – Guitar
Itai Portugali – Keyboards
Yoav Weinberg – Drums

Hellscore Choir
Westbrook Hay Prep School Chamber Choir
Patty Gurdy


Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.



Hi everyone! Welcome to our new EMQ’s interview with Pernambuco, Brazil based Symphonic/Melodic Metal band, Lilium Vitae. Huge thanks to Gleyce Viera & Leandro Silva for taking part!

What is your name, what do you play, and can you tell us a little bit about the history of the band?

Gleyce: Hello, my name is Gleyce Vieira I am the front singer of Lilium Vitae. I play a little piano, but in the band I just sing. The band was born as a project in 2012.

How did you come up with your band name?

Gleyce: The name I chose is inspired by the Bible story in which God talks about the lilies of the field and that he takes care of all nature and humans, that is, the creator semore is taking care of us.

What Country/Region are you from and what is the Metal/Rock scene like there?

Gleyce: I am from Pernambuco, which is in the northeast of Brazil. Here, the metal scene is alive but not as much as in São Paulo, but there are a variety of styles ranging from Black Metal to symphonic metal.

What is your latest release? (Album, EP, Single, Video)

Leandro: In 2019, we released the EP “Libertação” which contains 3 tracks.

‘Libertação’ (Official Lyric Video)

Who have been your greatest influences?

Gleyce: First Nightwish, and then Epica, After Forever, Tristania, Shaman, Kamelot, Within Temptation, Therion, Angra etc.

What first got you into music?

Gleyce: The study of opera at the same time as heavy metal with female and male voices.

If you could collaborate with a current band or musician who would it be?

Gleyce: Definitely Nightwish.

If you could play any festival in the world, which would you choose and why?

Gleyce: Wacken Open Air. Besides being a very important festival and for the honour of being able to play for sure with great bands from the world stage.

What’s the weirdest gift you have ever received from a fan?

Gleyce and Leandro: (Laughs) We haven’t received gifts from fans yet.

If you had one message for your fans, what would it be?

Leandro and Gleyce: We don’t want to pass repeated messages, but we want to send a true message. That we really cannot abandon faith, hope and love. Let us love one another, let us have faith and hope, so that things can go smoothly in our lives!

If you could bring one rock star back from the dead, who would it be?

Leandro and Gleyce: Maybe Freddie Mercury…but for us Brazilians, it would be great to see André Matos alive again. He is the greatest Brazilian heavy metal singer, and had great worldwide prestige.

If you could change one thing about the music industry, what would it be?

Leandro and Gleyce: What we really like most is the contact and interaction with the public! What we don’t like are destructive criticisms from people who were unaware of our effort to compose, record and publicize many times for free!

Name one of your all-time favourite albums?

Leandro and Gleyce: As we really like symphonic metal, I think Nightwish’s “Wishmaster” is a great album for us!

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Leandro and Gleyce: Vinyl and CD’s

What’s the best gig that you have played to date?

Leandro: We didn’t play on many shows because we were always writing and recording songs, and at that time there were some components coming out, and new members coming in. But, there was an event called Underblood Fest in Recife, it was a great event where everyone really liked our sound.

If you weren’t a musician, what else would you be doing?

Leandro: I like archaeology! I think it would be an archeologist.

Gleyce: I would be a lawyer.

Which five people would you invite to a dinner party?

Leandro and Gleyce: In the case of people still alive, they would be Bruce Dickinson, Tarja Turunen, Tuomas Holopainen, Michael Sweet and Christian Liljegren.

What’s next for the band?

Leandro and Gleyce: We are preparing a very good album called “Guided By Light”. The album has 10 tracks, and is currently in the recording phase of keyboards, and orchestral arrangements. Pandemia delayed the process, as it should have been ready since July.

What Social Media/Website links do you use to get your music out to people?

Jaffa Cakes? Are they a cake or a biscuit?

Leandro: Biscuit!

Thank you for your time. Is there anything else that you would like to add?

Leandro and Gleyce: We thank you! We want to say that it was an honour and joy to participate in this interview, and that the upcoming CD is something very special, which is being done with a lot of effort and affection!!!

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.