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Discovering fantastic new music by an endeavoring young artist is one of the great joys of being a music fan, especially for one who really enjoys and has listened to a lot of symphonic and progressive rock and heavy metal. There was an explosion of artists in this genre in the late 90’s/early 2000’s (pioneered by Theatre of Tragedy, Nightwish and Within Temptation), and followed up with many other great artists like Leaves’ Eyes, After Forever, Epica, Eluveitie (really too many to mention) and more recently Xandria. While some of the female-fronted bands in this genre have moved into a more melodic metal direction (like Delain and more recent Within Temptation), others have moved in the direction of folk/Celtic music with a wide variety of ethnic influences and instrumentation. Leah would probably fall in this latter category, although I would not really pigeon-hole The Quest in any one genre as there really are many facets to this powerful and elegant music. I think if you mix Loreena McKennitt with the aforementioned symphonic power and gothic metal sounds you have a pretty good description of the music of Leah.
I confess that I am new to Leah’s music so I am not able to provide any comparison to her 3 previous releases – Of Earth & Angels (2012), Otherworld (2013) and Kings & Queens (2015). What I can say is that as much as I follow this scene, I am surprised that I have not previously heard any of her music (shame on me) because what I am hearing on The Quest is exceptional. And while her lyrics are not overtly Christian (touted more as fantasy-based) they do have a positive emphasis with an open-ended interpretation applicable to listeners from all walks in life and faith. The production and mixing quality is fantastic (Oliver Phillips/Jacob Hansen) and it was immediately apparent to me (just reviewing the list of artists employed here) that Leah – much like Arjen Lucassen (Ayreon/Star One/Gentle Storm) – is not only a gifted musician, but also a gifted collaborator. Troy Donockley from Nightwish (pipes and flutes), Chen Balbus from Orphaned Land (saz and oud) and Timo Somers from Delain (guitars) are just a few of the contributors here, each bringing in their own expertise and interpretations to the music. Sander Zoer (ex-Delain) lays down the drum rhythms with power and pace, when called upon, but this isn’t a power metal album by any means so don’t expect an endless onslaught of double bass.
The opening (and title track) is a 10 minute opus which perfectly exhibits the juxtaposition of ethereal melody with heavy rock/metal crunch. The vocal chants in the introduction herald the Middle-Eastern melodies which follow. While all of the typical elements of symphonic metal infuse this track, the breakdown chorus at the 7 minute mark serves to set apart the music of Leah from others in the genre – her voice is an instrument that can completely carry the song at any given moment. She steers clear of the operatic soprano wailings that sometimes (in this genre) make the words indiscernible – her voice is centered, yet magical and heavenly all the same. “Edge Of The World” takes on a more aggressive, almost Within Temptation radio-friendly flavor, the faster metal-paced drums playing a greater role. “Lion Arises” is similarly a song that most fans of gothic, symphonic metal will embrace with fervor. “I’m at peace as the lion arises…” Once again, there is this balance between aggression and peace … and it is repeated over and over again on this album.
Troy Donockley’s pipes/flutes really take over on “Ruins Of Illusion” and on the follow-up track “Labyrinth,” the latter track one of the most lyrically deep and profound tracks on the album. The beautifully melodic chorus echoes, “once upon a time I was so lost inside this labyrinth/let me dream on/within these walls both saint and sinner will fall/the chains which bind us all.” The cinematic elements on “Abyss” take things even higher, the Celtic lilt to the melody entrancing. Here, also, is one of the moments where the guitar, pipes, drums and instruments collide with passion and fervor. Like the title track, this song similarly delivers on multiple fronts and showcases everything Leah and friends have to offer. This glory ebbs into the piano-driven “Oblivion,” another balladic song which alludes to the struggle of living “between two worlds.” “Ghost Upon A Throne” feels like a triumphant arrival/conclusion both musically and lyrically. This mid-tempo song has a definite melodic/commercial vibe, declaring with confidence, “I believe I’m throwing off these chains/I can see you’d never want this way/and my bleeding heart never betrayed/now this shadowed past will be forgotten.” The final track “The Water Is Wide” is essentially a hymn – a beautiful melody (think “Amazing Grace”) – a tribute to love.
Needless to say, The Quest is a triumphant collection of songs – an album I will be “listening” to and enjoying for many months. If you are a fan of female-fronted heavy music with cinematic and symphonic/progressive qualities then you shouldn’t hesitate to check this out.
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- Reviewed in the United States on August 18, 2020
- Reviewed in the United States on December 30, 2019
- Reviewed in the United States on February 6, 2019
Top reviews from other countries
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- Diamond PrincessReviewed in the United Kingdom on August 6, 2022
Five Stars of Pure Enjoyment!
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