Donate

Support us by donating :)




Tuesday, October 17, 2017

Review: Exit Eden - Rhapsodies In Black


Okay, first let me be perfectly clear, I hate cover songs and what I hate even more are crappy pop songs. And let that exactly be what Rhapsodies In Black is, covers of crappy pop songs. Still I am very happy to write this review. Why you might think? Well because it’s absolutely phenomenal what these ladies are doing, which is making a powerful metal song of a well-known pop song without changing it unrecognizably. Yeah sure, that’s fun and all, just put some heavy guitars and a double bass drum under it and you got some metal. If that was all that these ladies are doing then it wouldn’t be very exciting, but this supergroup consisting of Clementine Delauney, Amanda Somerville, Maria La Torraca and Anna Brunner packs some punch. It’s clear that this group of top vocalists aren’t meant to be questioned by me as a reviewer or anyone else regarding their vocal capabilities, because damn, these women can sing. Take for instance Rihanna’s Unfaithful, it is absolutely unbelievable what happens to this song when it’s being sung by people who can actually sing. The Backstreet Boys’ Incomplete suddenly becomes a very good song with some simple changes and some folk influences, this is mainly due to the variable vocal styles of the leading ladies.

But is it really metal? Well, these songs are written as pop songs, even when they are sung by Exit Eden. The band did show me the potential of a great and well thought of pop song. When you give the song just little bit more care, it becomes a song that you wanna put on over and over again. For example, Frozen by Madonna, I myself never thought it was a bad song but wow, what a song it became! Very cool!

So, can I say that I like covers now? Sadly no. Because it on itself beautiful enough Heaven by Bryan Adams loses all of its emotional baggage and warmth due to Exit Eden’s treatment. No, the ladies don’t sing the song in a bad way, but saying it kindly, it’s a very weird choice to put on the album and it should’ve been left alone! Thankfully the rest of the choices are really good. Especially Lady Gaga’s Paparazzi and Bonnie Tyler’s Total Eclipse Of The Heart. These two songs have been turned into full-blown metal songs!

Rhapsodies In Black if you ask me, is for anybody who knows in their heart that pop songs aren’t bad but can be a whole lot better. And of course, it’s also for people who just love good music.

Thanks Exit Eden!

Written by Glenn van der Heijden

Exit Eden Official Website
Exit Eden Facebook
Exit Eden Twitter

Monday, October 16, 2017

Interview: Brian Vollmer of Helix


On Friday September 6 2017, DutchMetalManiac's Alessandro got an opportunity of a lifetime!

After seeing them many times, taking some personal pics and creating a Helix shrine of cool signed memorabilia and personalized, rare items, he got the chance to do a live phone interview with the leading man of Helix – Brian Vollmer himself! It wasn’t long but it was intense and a wealth of information for those starting a band and those who are veterans of the music wars!

Helix is still a metal force to be reckoned with; still performing live across Canada and overseas and with several of their newer releases. 2014’s fully new track listed Bastard of the Blues and 2016’s Rock It Science, a compilation of hits with one new song, (Gene Simmons Says) Rock Is Dead, it brings their total, including solo and compilation and live albums, to at least 25!

Read on! – There’s a surprise at the end!


Brian, I am so honoured to be invited to talk with you live at Planet Helix, your home. Thank you so much!

Hey, thank you for the interview, this is great!

Wow. Can’t believe I’m talking to the lead singer of the “Hardest Working Band in Canada” as is said in your book Gimme an R. You’re still working harder than ever; solo albums, a cool, festive green vinyl single, All I Want for Christmas (Is the Leafs to Win the Cup) (side note: good luck with that one, Brian…lol!) newest record Rock It Science… can you tell us of your upcoming tour?

Well, we have shows in St. John’s Newfoundland October 21st then in Brampton October 26th with Lee Aaron and then October 28th in Oshawa.

Lee Aaron The Metal Queen! No way! I saw and met you all at Metal On Ice, organized so well by Sean Kelly, of Nelly Furtado and Crash Kelly fame. It was amazing. Lee signed my shirt…with me in it, right on my chest!

(Vollmer laughs)

What’s your best, favorite heaviest, Helix album?

Well they all are, really. Albums are a labour of love, they’re like my children. You produce them and then you see them grow and then you have to let them go. But if I had to choose it would be No Rest For the Wicked (1983). The single Heavy Metal Love from that album did really well.

I’m lovin’ the new single and video (Gene Simmons says) Rock is Dead – hilarious! So IS rock dead? Has Gene contacted you about this?

(laughs) No, rock isn’t dead. Of course, that’s not what the song was about. As long as someone picks up a guitar, someone will play metal for a variety of reasons, not just money. And no, he hasn’t contacted me but… (slight pause).. he’s seen it, I’m sure he’s seen it (chuckles).


So, tell me of some of the metal influences you’ve had.

Pretty much what everyone was listening to at the time. Lemmy of Motorhead said you’re influenced by the first bands you listen to. He was also always a gentleman and did it purely for the love of the music. Also, Danko Jones for sure and Danko will be singing on my new solo album Get Yer Hands Dirty!

Whoa! A new album. What the… I have not heard of this!

Yea! My new solo project, Get Yer Hands Dirty, available by pre-sale. It’ll be on CD as well as vinyl.

THAT is so cool! Well I hope to see you with Lee Aaron on the 26th! I want to thank you so much for speaking with us and….

(SURPRISE HERE!)

Hey, .listen…(slight pause)…why don’t you come to the pre-release party here in London next week?

(stunned silence). Umm, you’re inviting me to Planet Helix?

(laughs) Yea, it’ll be a great time. Just email me and I’ll send details.

Oh, wow thank you so much, that’s an honour. Thanks so much for your precious creative time and we’ll see you at the show!

Thank you!

Is there anything else you’d like to say to our DutchMetalManiac readers?

Yea, Buy the records, keep buying the records and support your bands!

--------------------------------------------------------------------------------------------------------------------

As of this writing, Alessandro has quit his job and will be going for a week of rock n roll mayhem. An exclusive invite for DutchMetalManiac to the home of the legendary Brian Vollmer, frontman of Helix! He will be reporting on this tour as it happens...stay tuned!

You need to grab once in a lifetime opportunities; there are other jobs!



Helix Official Website
Helix Facebook
Helix Twitter

Thursday, October 12, 2017

Review: Enzo And The Glory Ensemble - In The Name Of The Son


Enzo Donnarumma from Italy recorded together with his Glory Ensemble the longplayer In The Name Of The Son. Sounds biblical to you? Well, there’s a reason…

… Enzo plays Christian gospel-metal! And knowing that you’re not astonished to find tracks named after bible passages, such as Psalm 8 or Isaiah 53. It starts with a super-melodic instrumental intro composed of flutes and violins. The Tower Of Babel kicks off quite fast with some guitar riffs, before again imploding into an atmospheric sound à la Avantasia. Singing is scarce on that one as well, only sometimes a choir can be heard. More Avantasia and Symphony X feeling comes up with the first biblical track, Luke 128, with clear chants from Enzo, accompanied by a female choir in the back. Female chants are quite predominant on the record, as for example we only hear the choir in Psalm 8. And while these first tracks are still somewhat fast, the fifth one, Gory To God, can perfectly pass as a track on a meditation playlist. It’s very calm and soothing – but as far from metal as you can get. Psalm 133 then picks up the speed and throws in some folkloric elements into the mix. Magnificat is another slow one before the most metal of them all, Isiah 53, comes up. This one’s definitely recommended for any power metal fans! And, wait a minute, there are even some growls on The Trial! And then there are a couple more power metal songs before the whole thing closes off with the bombastic If Not You.

In conclusion: Enzo’s longplayer is very well produced and you can tell that he’s a great musician. The diversity of the songs, combined with the aforementioned points, then even convinced me, not-such-a-fan-of-powermetal and atheist, to like this record. Sometimes it’s still a bit over the top for me, but hey, that comes with the genre! Still, I would warmly recommend this to any powermetal fan or to someone who’s on the lookout for some softer tunes. 9/10.

Written by Julia Obenauer

Enzo And The Glory Ensemble Official Website
Enzo And The Glory Ensemble Facebook

Wednesday, October 11, 2017

Review: Chrysilia - Et In Arcadia Ego


Chrysilia is an Athens, Greece based symphonic folk metal band, with a line-up consisting of six musicians. The eye catcher is no doubt the multi-talented front woman, vocalist and co-founder Chryso Stamatopoulou, who is a classically schooled singer with an operatic touch. Along her side she finds guitarist Teo Ross, Jim Ramses on bass, Simon Kay on drums, John Matzakos on keyboards and Odysseas on violin. Co-founder Elias Pero and producer Bob Katsionis also play important roles, though not in the spotlights. Chrysilia, named after Chryso’s daughter, was founded as a band early in 2016 by Chryso and Elias, but started as a concept quite a bit earlier. Based on the evolvement of Elias’ compositions from his 90’s epic power metal band Sovereign, the concept project slowly but surely steered towards being a band, culminating (for now) in the release of their first full-length. Et In Arcadia Ego is a concept symphonic folk metal album with a romantic edge, a description to which the band would like to add the term ‘soundtrack’, due to it sounding like a metal-based motion picture soundtrack, according to the band.

Lyrically based on the concept of Arcadia, an variously interpreted mythological dreamland, the story of Et In Arcadia Ego is a metaphorically translated version, telling about a journey in time and fantasy, myths and reality, fairytales and politics, life and death itself, through the eyes of a girl growing up. Of course her name is Chrysilia. The setting is of course the Peloponnese, which is said to be where Arcadia is located. Concept-wise this is an exceptionally well-thought-out album, also expressed in the title, which is an often quoted, never fully fathomed phrase. Hopefully the band managed to translate all this into the music itself as well.

Opener By The Gates Of Ypsus is the first sign they indeed might have done just that. If you ever wondered what you could expect from soundtrack metal, this is the perfect song to be tutored. Like in a motion picture soundtrack there’s an abundance of soundscapes and intermezzos depicting either emotions, atmosphere or changes in the story line. Bombastic, but with the right amount of power and heaviness to classify as metal, this song definitely sets the tone for what promises to be a great album. The music provides a perfect frame for Chryso’s vocals, augmenting rather than supporting them. More than once a strong opener spells disaster for the rest of an album, simply because its quality cannot be matched, let alone surpassed. In this case, however, things are very different. The great prologue finds its equal in its successor called The Menalon Trail, another cleverly composed, powerful song in which the music augments the vocals in a similar way.

Up next is the mandatory power ballad, Desperate Wings, in which Chryso’s romantic side takes over, a role that fits her like the proverbial glove just as much as the role of power vocalist fits her. Most striking in this one is Odysseas’ violin work though, leading the song from the depths of its composition. As a bonus the album ends with an orchestral version of this song, in which the combination of Chryso’s voice and Odysseas’ swirling violin is even more convincing. That one, however, is to be found only at the end of the album. Before you get there, there’s much more to enjoy on Et In Arcadia Ego. Whether you pick the sweet Chrysilia that grows from a sweet lullaby into a full-blown folk song, the beautifully tensive and emotional The Fifth Season, with, once again, great violin work or the slow, relatively heavy King Of A Stellar War, all songs as well as the performing musicians’ contributions breathe the same high quality. In all honesty, I could have picked any song in this summary, I really cannot find a mediocre song on this album, which I consider an impressive achievement.

Having thoroughly heard and enjoyed this, it’s obvious the band’s addition of the term ‘soundtrack’ to the description of Chrysilia’s musical genre is spot on. Parts of this release could indeed very well be taken from a motion picture soundtrack, but when compared to an actual soundtrack there’s an essential difference. Unlike in real soundtracks the music on Et In Arcadia Ego is coherent at all times, with logical variations in speed, heaviness and rhythm without losing the required variety and atmospheric impressions a concept album needs. When you look at this from a strictly metal-oriented point of view you might not be fully satisfied, simply because it’s not a pure metal album. Not even close I’d say, but that doesn’t change the fact I consider this one of the best releases of the year, if not the best. Music, rhythm and vocals are tuned and in sync to near-perfection and there’s a definite emphasis on atmosphere over power, although it in no way can be called a powerless release. This album has a little bit of everything without losing track or coherence. The compositions are works of art that have been thoroughly thought through to ensure music and vocals complement instead of co-exist. Sweet release, this one will rank high in my year list for sure. Highly recommended.

Written by Henric van Essen

Chrysilia Official Website
Chrysilia Facebook

Monday, October 9, 2017

Review: Into The Arcane - Het Verlangen Der Geest


Dutch atmospheric doom metal band Into The Arcane formed back in 2016 and are teasing their first full-length, which can be expected around the end of the year, with a four-track EP called Het Verlangen Der Geest.

First up is The Glass King. Into the Arcane entitle their sound as “atmospheric doom rock”, but with their first track they’re far from any slow, dragging melodies that you might expect now. Rather, it’s actual mid-tempo rock intermingled with death metal and doom influences, and the lengthy songs switch between vocal and instrumental parts. The Innocent Hunter then rather fulfills the doom part with its slower pace at the beginning and the black metal influences you can perceive, but then switches to a more fast-paced sound quite alike the first track. Nicely enough though, for variation, the track’s second part is nice, slow and atmospheric and cut out for the autumn moods we’re in now. In general, variety plays a big part in Into The Arcane’s sound, and it’s fun discerning all the different influences that went into the EP – all that while the guys still maintain a certain trademark sound, as can also be perceived on tracks number three and four, What Lies Beneath The Shroud and The Slumber Of Man.

In conclusion: Into The Arcane have laid out a great EP, wetting the appetite for what’s yet to come with the longplayer. What impressed me most is the diversity of their sound, which makes Het Verlangen Der Geest very fun to listen to – so this one comes highly recommended! 9.5/10.

Written by Julia Obenauer

Read part 8 of Promoting Bands, in which we also mentioned Into The Arcane, here.

Into The Arcane Facebook

Saturday, October 7, 2017

Interview: Vuur


Anneke van Giersbergen already has a great musical career. Of course, it all started with The Gathering, she worked with Devin Townsend, Ayreon, Danny Cavanagh and formed The Gentle Storm with Arjen Lucassen, besides various solo albums. Now, she formed a new band, Vuur, in which she presents her progressive metal side. On October 20th, Vuur's debut In This Moment We Are Free - Cities will see its release. DutchMetalManiac's Glenn van der Heijden, who reviewed the album here, and Tim van Velthuysen met Anneke and spoke with her about Vuur, the album and freedom amongst other things.

Congratulations on your new album and band. You played a couple of shows in Drachten and at Dynamo Metalfest, how were the reactions of the audience?

I do look back at those shows very good, because we thought we are going to do a try-out show in a small venue so we could make some mistakes and learn. Then it was sold-out very quickly, so we put it in the big room, which was also sold out superfast. There were many people coming to our very first show ever, so we were very nervous, because now it must be a very good show. We pulled it off and after it we did some festivals, also in some other countries. Festival audience is also a bit different because they don't necessarily come for you and you have all new, long, complicated songs, but everybody reacted very well.

So, you didn't anticipate that big reaction?

No, we knew we made a good album, but you'll never know how people will react.

The writing process of In This Moment We Are Free - Cities included seven people, how did it go?

I started writing with Joost van den Broek, who also produced the album. Every Tuesday for a year I was going to the studio, besides writing everywhere I was going. In the end, when the songs were finished, the band came and we recorded the songs. They add a lot of personality and are great players. For example, when I think that Ed Warby, the drummer, can do nice things at some moments, he would do it much cooler.

Because you know him?

Yeah, but still they do things more amazing than you thought they would.

Was choosing Joost van den Broek a no-brainer for you?

Yeah, we played together in The Gentle Storm, where he was doing keyboards. He isn't a tour animal, so he wanted to go back to the studio, so I asked, whether or not he would produce a new metal album when I would form a band and he said yes.

All tracks are named after a city you've been, was it difficult to choose the cities?

Yeah, there are so many cities to choose from. I already got a lot of angry messages from people who said I didn't include their city. So maybe I am going to make Cities Part 2. You have your favorite places to go, I wanted some European, some South-American cities.

Your album is a lot about freedom, it's a very central theme, what is your message about freedom and how does it relate to Vuur's lyrics? What is freedom for you?

That's a good question, because freedom is for everybody something else. If you live in a country which is in war, it means something entirely different than, for example, for me when I live in Holland, a peaceful country at the moment. So, we have the opportunity to be free as an artist, in your mind, to express. If I express something in my music, I feel the responsibility for it to be important, because there are people listening to it. I should have a message. My message is always positivity, I am a firm believer in it.

With the past years with terrorism do you think that sort of freedom is threatened at the moment in the world?

I think in Paris, or everywhere where are bombings, terrorist attacks or any kind of conflict, there is also always a kind of undercurrent flow of people who come together and help each other out. Those new communities formed all over the place where something is happening. We always focus on the bad things in the media, why can't it be like "this bad thing happened, but then this happened"? People are coming together and help each other out. You see it now with Donald Trump, the worst possible president you can have, but still there are people who think if the government is not helping me anymore, we will do it ourselves. That's positive. I don't understand why bad things are happening, but I do understand that also very good things are happening.

It's a great album, how are you going to surpass that on a new album?

I don't know! I am happy you like it, I put everything I had in it. I think that's exactly what I need to do next time. To have good focus, make it together and make something real honest, because that's how it is.

You were waiting to do this, but you didn't have the musicians for it. Now you have, is it everything you hoped for?

Yeah, even more. The guys in the band are really fantastic, they all have been in other bands, we have some all-star band. The latest recruitment is guitarist Jord Otto, he is a really good solo-player. I feel like every element is in order. There's nobody missing, we can do what we like, because we have great musicians.

Is there a democracy?

No, not really. Everything is my idea; however, the band is pushed forward due to the characterizing. I didn't want it to be me and a bunch of guys, but everyone has their own fingerprint in it.

Can you tell us something about the beautiful album cover?

The whole album has to do with freedom, duality, darkness and light. I wanted to have the artwork represent that, so the guy is made out of stone and is carrying this heavy city on his head, but there is also green and light. I wanted to make a balance between darkness and light.

Again, the positivity which is important.

Yeah, maybe we should all embrace the darkness in ourselves, but also the light. It's too much this or that sometimes.

The media is like that, right? Social media also adds a darker side to it.

Yeah, but there are also people on social media who, for example, put cat movies on it, that's good. The normal media have the tendency to represent only bad things.

You are going to tour with Epica and Myrath, looking forward to that?

Yes, I think the three bands together make a good diverse musical evening, we are going to play a lot of Vuur stuff of course, but also some Devin Townsend and Gentle Storm.

So Vuur is your dream come true?

To be honest, yes, and that's why I wanted to stay. So, I gave the band a name, it’s a train that is now running.

Earlier you already tried giving your own band a name with Agua De Annique, but that kind of failed.

Vuur is much clearer. The difference is when I just left The Gathering I came up with a band name, but nobody knew it was me. Now it makes sense.

Aren't you going to miss all the other, non-heavy stuff, you did?

I am not stopping with that, the only thing I did was giving Vuur a band name, so all the heavy things will be under Vuur's name, with hopefully the same people. Everything else I would do under my own name, so it's just a bit more clarity and it won't be all at the same time.

So, you will stay a workaholic?

Yes, I like singing and working. I am happy that I have so much work.

In December you have the headline shows, can you tell us something about it?

On 10 December we are in Utrecht and we do three shows in Paris, Vosselaar and London. So, four headline shows with Scar Symmetry and My Propane, Jord's band. We are going to do a lot of Vuur stuff, but also some old stuff, it will be big shows. Utrecht will be the only Dutch show for the moment we are going to do and then we will tour in 2018 and of course then we will also come back with Dutch club shows.

Do you have anything to add for our readers?

The most important thing is that we are happy to tour. Tomorrow the video for My Champion - Berlin will be online, which is exiting.



How was creating that music video?

Cool, actually there is a great story especially for people being Dutch. The lights in the video are the lights of Bløf. I worked together with Bløf for their new album, Aan, which is a great album. When I was with them on their live show, the lights on stage were really nice. I told the guy who would made our video, who also worked with Bløf and we could hire them. So, we have their lights on our video. We made a cage out of light, it's a performance video, because I wanted to let people see the band.

Because Vuur is your dream come true, is there something you are scared of?

This is a period between making the album and releasing it, so now there is this vacuum. You are waiting for the album to come out, nobody has heard it and you don't know how people are going to react.

I talked to Arjen (Ayreon) a while back and he was really scared for The Source coming out, I couldn't believe it. Is it also like that for you?

Most artists are really happy with their new album and think it's all that it could be and then it’s done and there is this vacuum comes and you get really scared. There's always a wave of fear, a moment of doubt.

Are you always yourself or do you put on some mask at some moments?

I am always myself, when I put on a mask which I sometimes tried, I always failed. Honesty is the best thing, real honest people like Devin Townsend or Arjen Lucassen make, in my opinion the best music possible. It also brings fear, awkwardness but it beats wearing a mask at all times. When I try, I always feel uncomfortable.

Even in those countries in South-America where you practically need bodyguards to escort you?

Yeah, but it's awkward, strange because I feel I am just Annie!

You still have angry The Gathering fans, right?

Yeah, it's ten years ago. It's not that bad anymore, but I got a lot of angry messages. Now the bodyguards only need to maintain the positive fans.

Thanks for your answers!


You can also check two parts of Promoting Bands in which Tim van Velthuysen wrote about VUUR here and here, as well as an interview with Anneke van Giersbergen by Glenn van der Heijden here. Joost van der Leij also wrote an live review about Dynamo Metalfest with VUUR in its lineup here.

Vuur Official Website
Vuur Facebook
Vuur Twitter

Friday, October 6, 2017

Review: Vuur - In This Moment We Are Free - Cities


Well first let me say that I feel absolutely privileged that I can write this review of the debut album of Anneke van Giersbergen’s VUUR titled In This Moment We Are Free - Cities. The expectations for this album were very high. Anneke van Giersbergen, ex-The Gathering and for me pioneer of the female fronted genre, who hasn’t made any metal since the beginning of her solo career in 2007, other than guest appearances with Devin Townsend and Ayreon, is going to make progressive metal. How is it going to sound? And when it was announced that colleague and friend Marcela Bovio was leaving the band because of musical differences, anticipation for the album reached an even higher peak. With the exception of Marcela Bovio and Delain and Purest Of Pain guitarist Merel Bechtold, VUUR’s personnel is the same as that of The Gentle Storm, Anneke’s collaboration project with Arjen Lucassen, which is also the only metal music Anneke van Giersbergen let us hear in a long time.

VUUR exists of longtime Anneke van Giersbergen alumni Ferry Duijsens, Johan van Stratum, Ed Warby, and newcomer Jord Otto. If I want to talk about the album I have to begin with Ed Warby. Because when hearing the opening track My Champion - Berlin, it is already clear that in addition to Anneke’s versatile unmatched vocals and leadership, Ed Warby is the absolute backbone of the band. For anyone who thinks that VUUR’s music has any resemblance to the music of The Gentle Storm, considering the fact it has almost the same band members, let me be clear, VUUR is totally different. In the second song Time - Rotterdam, you can clearly hear the progressive side of the band. Anneke shows what she’s made of and uses every skill and talent she has to show what VUUR is all about. Loud, raw and crystal-clear and always with Anneke’s warmth, modesty and positivity. Now, when I say raw, I don’t mean ontological or without having any idea, no Anneke’s vision is clear. VUUR is here to stay! Something else that she was clear about is wanting to have Joost van den Broek as the producer of the debut album. You can hear that he had a great hand in making In This Moment We Are Free - Cities and the order in which the tracks are placed on the album it’s also carefully thought of.

The third track is The Martyr And The Saint - Beirut where guitarists Ferry Duijsens and Jord Otto show that you don’t always have to open all registers of your guitar to clearly be present. The same goes for bassist Johan van Stratum who other than doing what he is supposed to do on every song, clearly announces his presence on the fourth track The Fire - San Francisco where he, with some beautiful baselines shows that he is definitely irreplaceable. Next up is Rio’s song Freedom. Here Anneke shows that if you build up the song in a good way you can let the listener feel what you as an artist think that freedom is all about. Then there is the London track, Days Go By, this song had to familiarize people with the music of VUUR and boy did it succeed. What a powerful and spectacular song in which Anneke utilizes her vocal range and skill set. Then it’s up to Santiago’s Sail Away. A catchy chorus with many moments where the musicians have the time to shine. Shredding guitar solos and again a prominent role for drummer Ed Warby.

Valley Of Diamonds - Mexico City, a song with a very threatening undertone, an outstanding buildup and a great variation in vocal styles. Musically it’s one of the best songs on the album if you ask me. Your Glorious Light Will Shine - Helsinki reflects the positive vibe I talked about earlier, again, this song is very interesting musically and it’s very hard to describe everything that’s happening in this one song. The guitarists Jord Otto and Ferry Duijsens do an outstanding job on this one. The same applies to the next song Save Me - Istanbul which brings a bit of culture to the table. Again, Anneke’s vocals are phenomenal with powerhouse Ed Warby in the background. The guitarists are shredding again like no tomorrow. The beautiful closing song Reunite - Paris is a real power ballad where Anneke thinks about the question what has happened to the level of tolerance in the world, a critical note but with the sentence “I will watch over you” still blaring through your speakers. The song is a beautiful closing track from an outstanding debut album and speaks about all of the horrible things that has happened in the world regarding terrorism and the growing intolerance in the world. I think it is no surprise that the song Reunite is coupled with the city Paris. In every song the album title In This Moment We Are Free comes back, it’s a central theme. Do you want to know how Anneke thinks about freedom or how this album came to pass? This and many other things I discuss with yours truly in an interview I had on the seventh of September. It is uploaded tomorrow on DutchMetalManiac.

VUUR is here and they are here to stay! Spread the word!

Written by Glenn van der Heijden

You can also check two parts of Promoting Bands in which Tim van Velthuysen wrote about VUUR here and here, as well as an interview with Anneke van Giersbergen by Glenn van der Heijden here. Joost van der Leij also wrote an live review about Dynamo Metalfest with VUUR in its lineup here.

Vuur Official Website
Vuur Facebook
Vuur Twitter