The love for music can take many forms. Most artists prefer to write and perform their own material while some like to just cover the songs that inspire them. The vast majority actually do both. Symphonic metal supergroup EXIT EDEN started out by putting their own spin on beloved songs like Madonna’s “Frozen” or Rihanna’s “Unfaithful” which they collected on their debut album, “Rhapsodies in Black” (2017). Now, some seven years later, on their sophomore album, “Femmes Fatales,” the trio – Clémentine Delauney (VISIONS OF ATLANTIS), Anna Brunner (LEAGUE OF DISTORTION), and Marina La Torraca (PHANTOM ELITE) – decided to branch out and try their hand at some original compositions to complement the covers. The album is slated for release on January 12, 2024, on Napalm Records.
Listening to this record I came to appreciate how expansive and expressive symphonic metal is as a genre. The fact of the matter is that barely any two bands sound similar as each group can develop its own sound by playing around with elements like choirs, keys, synths, vocals, strings, and orchestral arrangements (if you don’t believe me, check out this list). It stands to reason, then, that a band such as EXIT EDEN would also carve its own niche on the symphonic metal scene, which they did by developing a dynamic and engaging sound design on their albums, especially on “Femmes Fatales.” They achieved this thanks to the smooth entwining of guitars, harmonized vocals, and pacey drums with majestic backing orchestrations that add not only depth and texture but also a sense of elegance to the compositions.
First single released, “Run!,” made that perfectly clear with its folky yet ominous vibe, theatrical vocal performances, and potent melodic lines that really draw the listener in. Add to that Marko Hietala’s imposing vocal presence on most of the track, and you have not just a cool song, but a really stellar collaboration to boot. Elsewhere on the album the original pieces steal the show offering a modernized take on the classic rock sound of the ‘80s complete with sleek melodies, grand vocal performances, and delicate backing arrangements. As such, opening track, “Femmes Fatales,” is a high-octane symphonic banger that doubles as an empowerment anthem for the fair sex. The harmonized vocals and the sweeping violin lines add a sense of drama to the fold while the subdued verses and chorus sections are elevated by the infectious melodies.
The fact that most of the original songs on this album are co-written by Anna Brunner and Hannes Braun is particularly evident on “Buried in the Past,” a galloping rocker whose up-tempo melodies, lively vocals, and catchy chorus can rival most of what he does with KISSIN’ DYNAMITE. All the while the orchestrations and dazzling guitar solo cap off the track nicely. “Hold Back Your Fear” follows the same formula of upbeat melodies, jaunty vocals, hooky chorus, and a blazing guitar solo but somehow it doesn’t quite deliver on the same scale as “Buried in the Past.” Mid-tempo delights and album highlights “Dying in my Dreams” and “Elysium” add to the diversity of the album’s musical offering. While the former is a darker and moodier affair with lyrics and vocal deliveries that pull at the heartstrings underpinned by a subtle piano melody, the latter is more serene and introspective with a killer chorus and emotions aplenty.
The rest of the songs here are the covers. I know there shouldn’t be a right way and a wrong way to do covers as each artist has the liberty to reinterpret a certain song according to how they feel like it works best with their vision. That’s the theory, but my experience dictates otherwise. I have heard covers that surpass the original by a mile but also some that simply destroy the magic and distort the message. While I love the original songs they’ve done for this album (particularly “Run!” and “Elysium”) unfortunately, I am not all that impressed with the covers.
If their reimagining of JOURNEY’s “Separate Ways” and Mylène Farmer’s “Désenchantée” are the best of the bunch given that the orchestration actually enhances the lyrics and elevates the mood, the need to add extra layers of everything ruined such soulful songs like HEART’s “Alone” and MARILLION’s “Kayleigh” whose strengths lie in the fragility of the vocal delivery and minimal instrumental since the story and the emotions should take central stage. Why didn’t they do proper ballad moments out of these two songs is beyond me. Alice Cooper’s “Poison” and PET SHOP BOYS’s “It’s a Sin” are actually quite enjoyable and fun covers because the source material is in itself enjoyable and fun.
Nit-picking aside, EXIT EDEN continue last year’s trend of strong comeback albums with “Femmes Fatales.” One of its greatest strengths is undoubtedly the top-notch vocals that showcase Clémentine Delauney, Anna Brunner, and Marina La Torraca at their absolute best, and their combined effort is spectacular, to say the least. The symphonic aspect also helps elevate the material and make “Femmes Fatales” a rewarding listening for fans of the genre, while the diversity of moods and soundscapes adds to the playability factor. Given the strengths of their original songs I now low-key hope for a full album of such material.
Written by Andrea Crow
Tracklist
1 Femme Fatale
2 It’s a Sin
3 Run! (feat. Marko Hietala)
4 Separate Ways
5 Buried in the Past
6 Désenchantée
7 Dying in my Dreams
8 Poison
9 Alone
10 Hold Back Your Fear
11 Kayleigh
12 Elysium
Lineup
Clémentine Delauney
Anna Brunner
Marina La Torraca
Label
Napalm Records
Links
Website | Facebook | Instagram | X | Napalm Records
