After such an auspicious and welcome debut, Magnisphyricon finds Sons of Seasons on track and progressing. Formed by keyboardist Oliver Palotai (Kamelot, Doro), progressive may be the operative word here.
Certainly the themes of dark symphonic metal remain from Gods of Vermin, with liberal doses of power and classic metal. Yet, Magnisphyricon is rather expansive offering greater intrigue in the arrangements (which is hardly surprising considering Palotai's love of metal, classical and jazz music). The two parts of Casus Belli are symbolic of SoS exploring and pushing at the boundaries of both composition and musicianship for some dramatic progressive metal. Some songs, like Into the Void or A Nightbird's Gospel, turn on a magisterial arrangement with moments of intense heaviness. This is certainly also true on Tales of Greed where pummeling power metal pushes the song and vocalist Henning Basse (Metalium) is at his most raw and foreboding (only to be tempered by segues of unexpected subtlety). Later, 1413 combines all these elements into an impressive whole; it's a most excellent track.
But there's also more conventional material here. Bubonic Plague combines basic symphonic and power metal elements into a highly attractive, accessible, and entertaining tune. Two songs later, on Sanctuary, Epica's Simone Simons returns to add her voice and color to what can only be described as symphonic, and gothic-like, melodic metal.
With Magnisphyricon, Oliver Palotai and Sons of Seasons easily equal and progress beyond their debut. Combining elements of symphonic, power, and progressive metal, SoS allows you to journey with them as they explore and expand their musical boundaries. Strongly recommended.
With Magnisphyricon, Oliver Palotai and Sons of Seasons easily equal and progress beyond their debut. Combining elements of symphonic, power, and progressive metal, SoS allows you to journey with them as they explore and expand their musical boundaries.