5 out of 5 Stars!
Unfortunately, I discovered After Forever, a female-fronted Symphonic Metal band from the Netherlands, way too late. Indeed, the group announced its break-up a few weeks after I purchased this particular album, which completely blew me away, and also introduced me to the genre of female-led groups that often used operatic falsetto vocals, thus sending me on a desperate quest to hunt for similar-sounding bands. I like to think that had I not stumbled upon (and taken a chance on) this release, I might have never subsequently discovered Nightwish, Within Temptation, Edenbridge, Leaves’ Eyes, Silentium, and numerous other artists of this nature.
Anyway, upon first listen, I fell in love with the extraordinary singer Floor Jansen, who would go on to form another exciting band (ReVamp) and is now the singer in Nightwish. Although after absorbing this album for several weeks, I started digging into After Forever’s back catalogue and eventually decided that none of the group’s earlier albums tops this final, stellar, and self-titled release, yet each deserves a listen since Floor KILLS on each and every album.
Here, the band offers a seemingly perfect combination of bombastic Symphonic Metal, barreling Power Metal, with even a burst of Progressive Metal, thanks to the intricate instrumentation and song arrangements. “Discord” opens the album with a mighty bang, with Joost van den Broek’s keyboards layered and grand, and Sander Gommans’s and Bas Maas’s guitars brutal and beastly. Bassist Luuk van Gerven and drummer André Borgman unleash their own furious backing, their musical foundation substantial and rigorous. And although the band includes some “growling” vocals on occasion (typically an aspect that often ruins many albums of this nature for me), I can tolerate them here since they are not dominant within the mix, allowing Jansen’s wide-ranging and pristine leads to shine through and impress.
Although the album contains plenty of other tunes to match the alluring fury of “Discord”—for instance, “Transitory,” “Who I Am,” “Withering Time,” “Evoke,” “De-Energized” and “Equally Destructive”—other songs follow different paths, offering up diversity. The ballads “Cry You a Smile” and “Empty Memories” offer lighter moments, allow breathing space for the listener from the high-voltage moments, and also thrust Jansen’s soaring and emotional vocals to the forefront. On the other hand, the eleven-minute “Dreamflight,” the album’s longest and most adventurous track, is a full-out foray into Progressive Metal—the myriad segments and divergent passages, not to mention the wide array of instrumentation, shines a fierce spotlight on the band’s formidable orchestrational skills. And then, my favorite track, the luscious and upbeat “Energize Me,” has a breathtaking chorus that repeated in my head for weeks on end, showing that After Forever also had a talent for writing memorable songs.
Overall, the album blazes with a luxuriant beauty that most female-led Symphonic Metal/Gothic Metal acts would kill to possess. About the only band I subsequently discovered that could, in my opinion, occasionally match the sheer nuclear grandiloquence of this material is (ironically enough, considering Jansen’s future) Nightwish, but even that group has never delivered a collection of tracks with such consistent vigor and majesty as this.
Regardless, Floor Jansen has me as a lifelong fan, and this swansong release by After Forever is one album I have never removed from my I-Phone since purchasing it all those years ago. Five Stars all the way!