Epica – The Alchemy Project

Epica – The Alchemy Project
Release Date: 11th November 2022
Label: Atomic Fire Records
Pre-Order
Genre: Symphonic Metal, Power Metal, Death Metal.
FFO: Nightwish, Kamelot, MaYaN, Delain.
Review By: Trina Julian Edwards

Dutch veterans of symphonic metal, Epica, recently celebrated their twentieth anniversary with a sold-out show and livestream event at 013 in Tilburg, the location of their first ever performance. Since 2002, the band has released eight albums and toured all over the world. Friday, November 11, they will release one of their most unique creations to date, The Alchemy Project. The album features some of the most impressive songs yet from Epica’s current lineup of Simone Simons (clean vocals), Mark Jansen (harsh vocals, rhythm guitars), Coen Janssen (synth, piano), Arien Van Weesenbeek (drums), Isaac Delahaye (lead, rhythm, acoustic guitars), and Rob Van Der Loo (bass). The Alchemy Project was co-written and performed with diverse guests spanning from extreme metal performers like Fleshgod Apocalypse, Niilo Sevänen (Insomnium) and Björn ‘Speed’ Strid (Soilwork) to melodic masters like Tommy Karevik (Kamelot), keyboard legend Phil Lanzon (Uriah Heep), and Roel van Helden (Powerwolf). The result is a seven song EP that is creative and dramatic, as well as ambitious in scope.

The first track, The Great Tribulation, is a monstrous beast, thanks to the assistance of symphonic death metal legends Fleshgod Apocalypse. I’m biased because I’m a huge Fleshgod Apocalypse fan, but this is still my favorite track. I love how the dramatic string intro with the soaring, operatic chorale (featuring Veronica Bordacchini of Fleshgod Apocalypse), restrained drums, and power chords get things percolating. But those ferocious, hammering riffs and the lightning fast drumming immediately following the theatrical intro stole the show for me. The by-play between Simons’ bright tones and Francesco Paoli’s gnarly growls is likewise a thing to behold. The moving symphonic leads over the thundering rhythm is infectious, and they’re for sure channeling some 80s energy with the guitar solo and Coen’s frenzied synth solo. There are so many layers and textures to this arrangement, but it’s somehow surprisingly cohesive, and it’s downright majestic. 

Wake the World is also on fire, because how can it not be when you have keyboard virtuoso Phil Lanzon of Uriah Heep? His work in the intro alone is worth the price of admission, but wait until you get to the solo. If The Great Tribulation gave us the 80s, Wake the World gives us a taste of the 70s. I’m getting definite Rainbow vibes, circa 1975. This track also features Tommy Karevik of Kamelot fame. He shows off his impressive range here, hitting those highs with the ease born of long practice. His expressiveness is exceptional, and it’s a really nice pairing with Simons, who is no slouch in that department either. Without Lanzon and Karevik, you’d have your pretty standard Epica song- Simons’ cleans, Jensen’s growls, nice symphonic arrangement with some metal elements to give it some grit…It’s a good formula, but Lanzon and Karevik really elevate this track into something extra.

The Final Lullaby features Norwegian avant-garde rockers Shining. This track is speedy and riffy, so you really can’t go wrong there, and the aggressive hard rock of Shining works shockingly well with Epica’s symphonic elements. I didn’t expect Simons and Jørgen Munkeby to mesh well vocally, but I loved the juxtaposition of her sweet voice with his raspy one. The refrain is huge and memorable, and it’ll get stuck in your head. Sax in metal or hard rock still always throws me off, but this was well-integrated and stylish, so if that’s your jam, you’re in for a treat, because Munkeby does not disappoint. My main criticism is that the spoken word section with the music box was unnecessary. It makes me spicy when such a fun song like this has something inconsequential tacked on to the end. Sirens – Of Blood And Water brings together the talents of Simons, Charlotte Wessels (ex-Delain vocalist), and Danish performer Amalie Bruun, known as Myrkur. It’s clever to utilize multiple female voices to portray the sirens, the mythical humanlike females whose voices captivated sailors and called them to a watery death. I’m normally not drawn to many female voices, but this track is magical. The different vocal parts on the verses and choruses are compelling, but the polyphony of the multiple voices moving in different rhythms gave me goosebumps. It has this Renaissance choral feel to it that is just mesmerizing. The focus rightfully stays on the vocal lines and the interplay between the women’s voices. The symphonic elements integrated with the drums and guitars are a perfect dramatic backdrop for this tapestry of sound.

Death is not the End takes the listener in an altogether different direction. This track highlights the talents of Frank Schiphorst of MaYaN & Björn “Speed” Strid from melodic death metal veterans, Soilwork. The driving rhythm is relentless and intense, and the symphonic elements are particularly striking in such a brutal landscape. Strid’s vocal range is on full display, both melodious cleans and gravelly growls brimming with fire. I love the kind of dissonance you get in the choral parts, which adds both interest and drama to the arrangement. Schiphorst’s guitar work bolsters this piece with even more chunkiness and aggression when added to Epica’s powerful foundation. Following on the heels of this mighty track is Human Devastation, which is remarkably brutal. The dangerous duo Henri Sattler of blackened death metal masters, God Dethroned, and Sven de Caluwé of death metal grindcore kings, Aborted, turn Epica into a horse of a different color. The vocals are appropriately savage, of course, but I was pleased to see guitarists Jansen and Delahaye, bassist Van Der Loo, and drummer Van Weesenbeek offer convincing evidence that they can throw down in the death metal arena.

The album closes with The Miner, which is a stunning counterpoint to Human Devastation. Clocking in at around seven minutes, this track is a proggy opus with tons of atmosphere. Roel van Helden of Powerwolf, Niilo Sevänen of Insomnium, and Asim Searah, of Damnation Plan and ex-guitarist of Wintersun, contribute their considerable talents to this epic track. Simons’ vocals are infused with feeling, and her resonance dovetails perfectly with both Searah’s colorful cleans and Sevänen’s energetic growls. This feels more like your typical Epica track- a little more cinematic, a huge, sweeping chorus, and some heaviness at the bridge to remind you this is a metal band. All-in-all, it’s a very fitting ending to the EP.

Overall, Epica really went the extra mile to collaborate with their guests. The Alchemy Project didn’t just feel like an Epica album with featured performers. Each of these guests clearly brought a unique flavor and style to the table that completely transformed each track. That being said, if you’re a new fan of the band, this might not give you the best overview of Epica’s sound, and longtime fans of the band may be surprised to hear how much of a difference their collaborators have made. As a casual fan of the band and a big fan of their death metal contributors, I really enjoyed the experiment, and I’d be pleased to see them do this again in the future.   

(4.5 / 5)