Romeo & Juliet Inquisition
-- Epinikion --
03/08/2022
Stijn Daneels
Album genres:
■ | Symphonic metal |
Album artists:
■ | Renate De Boer | Keyboards |
■ | Robert Tangerman | Guitar |
■ | Eleonora Damiano | Vocals |
■ | Emre Demir | Bass |
Review
written by Stijn “Metal Shredder” Daneels.
[METAL SHREDDER REPORTING]
A while ago
we were contacted by Epinikion’s founding member Renate to check out her band’s
debut album “Inquisition.” I admit that in the beginning, I didn’t put much
time into checking Epinikion’s work because I was busy with a lot of other
things (moving into my own apartment and recruiting David as one of our new
reviewers were 2 main reasons for this delay). But now things have settled and
our friends at Hard Life Promotion also invited us to check out Epinikion so
let’s shred through this hour-long beast.
[SHREDDING BASICS]
“Inquisition”
is the independently released debut album from the Belgian symphonic metal band
Epinikion. It begins with a short and quite humble sounding orchestral opening
called “The Council of Troubles” and then immediately transitions to the title
track of “Inquisition.” It starts off with the same orchestral opening as the
earlier track but does gradually crank up the intensity with chants, bells and
a monologue before finally starting the album off for real with Robert playing
some sweet jams and Elenora’s singing some attention-grabbing vocals. The whole
thing is quite operatic, but underneath the grandiose keyboards there are also
some frantic shredding & pounding bass & drums as if to say: “run
swiftly or face certain death.”
Then comes
a heavier song called “Love So Sublime.” I particularly love the first part
with the crispy bass and the hectic guitars backed by eerie vocals. It feels
like a musical metaphor for a love too dangerous to uphold. Other than that,
the song once again features symphonic keys with the drums and guitars
providing a harsh and dark undertone. Then comes the band’s latest single,
“Welcome To The Wonderful World Of Jealousy,” the upbeat riffs give the song a
very joyful, almost poppy touch and the vocals have a huge combative feel to
them and when the chorus kicks in the vocals and instruments blend into one
another in beautiful harmony. Definitely a favorite of mine.
After that
intense single things mellow down a little and we get guest vocalist Loek
Verlaan whose vocals give the song some power metal vibes. Next up is “On The
Brink Of Despair” a fast-paced tune with both male and female vocals. Both
vocalists manage to nicely deliver a sense of despair in their deliveries and
the hectic beats further emphasize that. The single “In The Middle Of The
Night” is next and in this one the classic Within Temptation vibes come off
quite well, with the vocals giving the song a certain vulnerability. A very
nice track overall, simple but effective.
The longest
song of the album, “Sail Away” puts higher emphasis on orchestra and reminds me
of Nightwish. The tune begins very slowly and peacefully and eventually builds
up speed and power and eventually the orchestral elements get replaced with multiple
guitar solos. Next up is a heavier tune, the single called “False Faced Demon,”
opening with energetic guitars and keys and guest vocals by Laura Guldemond
(from Burning Witches), whose low, heavy voice fits excellent into this
slightly harsher and overall pretty dark track.
Then comes
a ballad in the form of “If I Could Turn Back Time” with gentle piano and violin
and long, dragged out vocal deliveries. It has a romantic but also mournful
feel to it. I also like the dual vocals echoing during the song’s finale. The
metal returns for the penultimate song, “Strangers In The Dark” an excellent
classically styled symphonic metal tune with hard-pounding drums, high-octane keyboards
and vocals, sharp bass and beautiful guitar solos. Epinikion’s debut ends with “The
Courage To Change,” another fast-paced symphonic metal tune like its
predecessor. A solid ending, but not that memorable compared to its predecessor
but the guitar-driven finale is certainly nice.
What I
think makes Epinikion’s sound different compared to the usual symphonic metal
stuff is that they make the sound very harmonious. Too often I feel symphonic
metal puts too much emphasis on the vocals and the orchestral instrumentation
but in the case of Epinikion, they also make guitar riffs and the bass &
drum rhythms an equally important part of the experience and for the most part,
it all glues very well. I do believe, however, that many of the songs are a bit
too lengthy and that the songs could’ve been more impactful if they were
shortened a bit. The big exception to that, ironically, is the longest song on
the track, “Sail Away.” A song that’s lengthy but has a clear-cut opening,
middle and ending, each act feeling unique from one another and smoothly
transitioning from one another. Also, I believe a competent full-time male
vocalist could be an excellent edition to Elenora’s singing and finally I think
that some keyboard guitar solo duels would add some extra variety to the songs.
[SHREDDING VISION]
The cover
art of Epinikion’s debut features an image of a lonely ship sailing the seas
while a young woman (probably the protagonist Eleonor) slowly sinks into the
ice-cold waters. In the clouds, next to the full moon, is the face of a man
(who I believe to be the deuteragonist Luca) with on the other side a skull.
It’s a nice piece of artwork overall. The colorful classical painting look
contrasting with the dark imagery of death and emptiness.
The story
in Epinikion’s “Inquisition” album is basically a Romeo & Juliet story set
during the Spanish Inquisition.
The story is told from the perspective of
Eleonor, a young Dutch woman raised in a Protestant family who falls in love
with Luca, a wealthy Catholic Spaniard whose father is a merciless inquisitor.
Obviously, Protestants and Catholics didn’t mix in those times so Eleonor is forced
to flee from the inquisitors. But she doesn’t back down and eventually she
managed to openly prove the hypocrisy of the Inquisition and successfully
defend her relationship with Luca. The tracks on “Inquisition” each tell a
chapter of the story including the moment Eleonor & Luca meet for the first
time (unaware of their different religious backgrounds), Eleonor fleeing from her
hometown and into the forests, plotting to strike back against the people
who’ve wronged her and were trying to take away the love of her life.
I like how
Epinikion doesn’t simply go for cheesy symphonic topics but rather combines a
Shakespearian story with a very dark chapter in human history. And indeed, the main
themes of forbidden love and prejudices based on religious or ethnical backgrounds
is something that is still relevant today (and, I fear, may remain so until the
end of time).
[SHARPEST SHREDS & BLUNTEST BLADES]
My personal
favorites among Epinikion’s 12-track debut are the energetic “Welcome To The
Wonderful World Of Jealousy,” the Within Temptation inspired “In The Middle Of
The Night,” the epic “Sail Away” (that’s how you write a long song and keep it
interesting) and the powerful melodies of “Strangers In The Dark.”
I think the
album’s opening instrumental section is too long. If you take the 1:35 opening
“The Council of Fools” and combine that with the first 1:30 of “Inquisition”
you’ve got about 3 minutes of intro which is too lengthy for my tastes. For me,
I would shorten both parts and make that the opening track and then have
“Inquisition” start off right away with the monologue and then all the rest of
that track. In addition, I believe the aforementioned title track as well as
the songs “Stand Up and Fight” and “On The Brink Of Despair” are the tracks
that would be best off with a shorter runtime.
[SHREDDER’S SCORECARD]
7
Shakespearian inquisitors out of 10. While being a bit too lengthy and at times
a bit too weak in its overall delivery, Epinikion does provide a rather unique
take on the saturated symphonic metal subgenre. The songs on their “Inquisition”
debut are multi-faceted and don’t just rely on operatic vocals or keyboards,
instead, they bring a harmonious sound that reminds me of Visions Of Atlantis,
Delain, Within Temptation and other classic symphonic acts without acting as a
mere copy of their respective styles.