Borealis – World of Silence MMXVII – Album Review

Artist: Borealis

Album Title: World Of Silence

Label: AFM Records

Date Of Release: 27 January 2017

It’s nice to make a new musical discovery and the first of 2017 comes in the form of Canadian band, Borealis. I’d heard the name but never investigated further. However, keen to get the Blog of Much Metal off to a strong start, I did a little looking around. As it happened, along came an email from those good people at AFM and my interest was piqued enough to give this release my attention. Not a bad move as it turns out because ‘World Of Silence MMXVII’ is a very nice album with a lot to enjoy. And rather fitting too, as it is an entirely re-recorded and re-mixed version of their debut album released in 2008. What better place then to begin my new voyage of discovery?

For those like me who are currently unfamiliar with the name Borealis, they are a quintet formed in the mid noughties from Orangeville, Ontario in Canada. They actually began life a fair way removed from their current output as they were originally a female-fronted metal band more in the operatic, symphonic style. Nowadays, based on the output of ‘World Of Silence MMXVII’, they are much more of a melodic prog metal band with the symphonic element more or less intact.

I obviously can’t comment on how this re-recording compares to the original but what I can say is that I am impressed by this album. Stylistically, it takes its cue from many of the names within this loose subgenre. As such, I can hear nods towards Vanishing Point, Kamelot, Mystic Prophecy, and a whole host of others including Nightwish in some kind of lasting recognition of their early roots. It means that the musical output isn’t always the most original but there’s no denying the fact that Borealis do have an air of quality about them. This is a record I can see myself listening to on a relatively frequent basis, certainly until the Canadians release their fourth full-length in the latter stages of the year. And indeed, this is a strong enough showing to mean that I am seriously looking forward to hearing what Borealis circa 2017 sound like.

The album is dominated by big, chunky riffs courtesy of Matt Marinelli and Mike Briguglio as well as some exuberant lead work that only increases the melody and provides for some welcome flamboyance. Layers of synths and keys from Sean Werlick swirl and flow in and out of the music to create lashings of atmosphere and further melody. In addition, the rhythm section of drummer Sean Dowell and bassist Trevor McBride is incredibly strong with Dowell catching my attention frequently thanks to his intense hell-for-leather style that pulls the music along with urgency and a boundless energy.

The album kicks off in wonderful fashion as the first three songs are all superb. ‘Lost Voices’ is a high tempo, barnstormer of an opener. It moves along at pace and with surety, opening up into a properly strong chorus ushered in by a gorgeous lead lick. The more I listen, the better it gets, to the point where I find myself hitting repeat quite frequently.

‘Midnight City’ is a killer tune with a huge chorus, a bouncy rhythm and dark Evergrey-esque overtones, whilst Vanishing Point looms large within ‘From The Fading Screams’, principally in the vocal department. Lead vocalist Matt Marinelli often employs a clean yet snarling, gritty approach but here, the deep and rich timbre is heavily reminiscent of Vanishing Point’s Silvio Massaro. Believe me when I say that this is a high compliment from me.

The other thing that I like about Borealis is the way in which they seem to be able to pen songs that deliver irresistible introductions. I’m not saying that the compositions from then on are poor, far from it in fact. It is just that some of the intros are just delicious, drawing me in for further listens. Take the piano and synth beginning to the aforementioned ‘From The Fading Screams’ as an example or the slow build of ‘Eyes Of A Dream’ where the symphonics duet with yet more ear-catching drumming before the guitars come crashing in on proceedings. ‘World Of Silence’ kicks in with a seriously cool repeated guitar lick and double-pedal drumming whilst ‘The Dawning Light’ has a wonderfully cheeky and melodic beginning that is the foundation for one of the best tracks on the album.

OK, so I am thoroughly smitten and would recommend this band to anyone who likes any of the bands mentioned within the review or indeed anyone who likes heavy metal with gusto, plenty of melody, a hint of prog and a healthy symphonic edge. ‘World of Silence MMXVII’ has thoroughly whetted my appetite for Borealis and I will definitely be awaiting the new album later in the year with eager anticipation.

The Score Of Much Metal: 8.0

[youtube https://www.youtube.com/watch?v=cr4tjR8N_C8]

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