Writing Sample 1: Music review – Hunter’s Moon (Published on Metal Temple)
- rjmontgomery89
- Apr 17, 2019
- 2 min read
Hunter’s Moon (2019)
Delain
Label: Napalm Records
Vocals: Charlotte Wessels (lead), Timo Somers (backing vocals)
Guitar: Timo Somers (lead), Merel Bechtold (rhythm)
Bass: Otto Schimmelpenninck van der Oije
Keyboards: Martijn Westerholt
Drums: Joey de Boer (tracks 1-4), Ruben Israel (tracks 5-14)
Guest Artists: Twan Driessen (backup vocals, track 4), George Oosthoek – (backup vocals, 5), Marco Hietala – (backup/duet vocals, tracks 8, 9, 10, 11, 13, and 14), Elianne Anemaat – (cello, track 7)
I’ll admit, I’m biased. I’ve loved Delain since high school and when I heard they were coming out with new material, I couldn’t wait. While it’s only four new songs, the rest of the album is live tracks, organized akin to Nightwish’s “Over The Hills and Far Away” EP. No surprise there, as Marco Hietala, Nightwish’s bassist, is a frequent guest singer on Delain’s work.
“Master of Destiny” begins with a soft intro, then goes from 0-100 after forty-five seconds. Then we’re treated to the pounding symphonic stylings of this genre. This song reminded me of my old teenage favorites, especially “Silhouette of a Dancer.” I enjoyed the echoing guitar solos and the outro.
I love music that transports me to my own Neverland, where I could get lost in a grand adventure, and “Hunter’s Moon” is no exception. My one caveat is that the background growls are too muted, especially if it is who I think it is singing – the background singer sounds a lot like Marco and Marco’s voice should never be growling and drowned in the back with the ambiance. It’s too good.
“The Silence is Mine” was OK, and probably the weakest of the original tracks in my opinion. It was short, electronic-heavy, but a solid track.
“Art Kills” brought me back to the title track from Delain’s second album “April Rain,” but with a more electronic sound. I still don’t know if adding electronica opens the doors for more progress and experimentation in the genre, or if it kills the human element of symphonic metal. Either way, the guitar solo is amazing.
The sound on the live tracks was clear and sharp, even with the audience in the background. Some of the songs, such as “Danse Macabre,” didn’t even sound live when they opened. Even better: many of the tracks feature Marco and he and the lead singer can produce harmonies that weren’t on the original studio album. I particularly loved the harmonizing on “The Gathering,” which is also one of my favorite Delain songs.
My one caveat was the cover of “Scandal,” originally by Queen. At first, the singer’s lower vibrato couldn’t match Freddie Mercury’s legendary voice and it shows. When Marco steps in to make the song a duet, and takes over the lower register of the song, the quality is back to its usual, good self. However, the opening exposed a flaw in the singer’s range that didn’t have to be uncovered. Other than the first few lines of the song, though, it’s a solid, innovative cover where Delain makes the song their own.
Overall, I love the sound quality on the live tracks, and the original songs are good enough to make me excited for their next full album.
Songwriting: 9
Originality: 9
Memorability: 9
Production: 10
Overall: 9
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