ALBUM REVIEW: Riddles, Ruins & Revelations – Sirenia

It’s not an often written sentiment, but symphonic metal and Eurodance have a lot more in common than most think. They both found a home in the Nordic European countries, and they both contain some of the hookiest choruses and catchiest melodies in their respective genres. They both exude a sense of fantasy and fun, which exactly what Norwegian stalwarts SIRENIA deliver on their tenth album, Riddles, Ruins & Revelations. Each song is as just as much Eurodance as metal, with infectious electronic dance beats and synth melodies that that call to mind a combination of AMARANTHE and CASCADA. Each chorus from song to song is as massive as the next, and a real talent for melody and balance is what sets this record apart and makes it one of the most fun rides in symphonic metal in some time.

The band isn’t messing around from the start, with first track Addiction No. 1 being among the catchiest on the album. It jumps right out with an electronic dance beat front and centre, immediately cementing what this album is going to be. But when the riffs kick in, there’s a metric ton of power behind them. The chorus has huge Eurodance melodies and with a sweeping bridge on top of that, this is the sugar rush needed to go all in on the record.

Among the other tracks that rank as the catchiest on the album are Downwards Spiral, which opens with those lush, wavy textures of classic 90s and 2000s Europop, and the mix of female vocalist Emmanuelle Zoldan and guest male vocalist Joaquim Næss sound immaculate on the chorus. These are some of the best hooks on an album full of them. There’s even a dance breakdown before leading into a flashy guitar solo from lead player Nils Courbaron.

December Snow and Passing Seasons also rank as must listen tracks. Slow, emotive build-ups in each set the tone, with massive harmonies and riffs in the former and a tinge of operatic vocals and electro-pop synths in the latter. Both songs highlight one of the big strengths of the album: the songs are just the right length. With most hovering right below five or six minutes, no song overstays its welcome.

One of the only flaws with the record is the mixing. If it was only a bit crisper and clearer production wise, this record would rise to another level. It’s a shame too, because it really is revelatory to hear Eurodance and metal mixed in this way. Not since ESKIMO CALLBOY has a band done it this well, and Beneath the Midnight Sun is a track that perfectly meshes the two genres that on paper could not be further apart. It’s the danciest, poppiest track on the record but it works incredibly well and doesn’t feel like schtick or a gimmick in the slightest. There’s a huge dance breakdown before the second chorus that will win over anyone who hasn’t had a great time thus far into the record.

Towards and Early Grave is another highlight. It takes a more straightforward metal approach in its construction, but still effortlessly blends massive, poppy choruses in with a shuffling, swaggering riff charge. It’s got a great use of harmony and there’s a smooth electronic build into the riffs in the last third of the song. We Come to Ruins is another track that takes a more modern electronic tinged metal vibe. It’s faster paced and more urgent than most tracks here, and also has a more epic and grand tone that feels more traditional. But it’s got loads of texture to spare and waves upon waves of great synth sound.

There are a few tracks on the record that don’t hold up quite as well, but are by no means bad in any way; simply not as memorable. Into Infinity has a huge, chugging breakdown and some well placed dark chanting, but nothing sticks out melodically compared to what surrounds it on the album. The same can be said for The Timeless Waning, which starts off promising with a great opening riff and a bigger portion of harsh vocals, but ultimately doesn’t evolve into anything as special as the other tracks previously mentioned. This Curse of Mine closes the record in average fashion. It’s another straightforward metal track with great vocals and a rollicking pace, but aside from another very flashy solo, it doesn’t stick out.

But by and large, this album is to be celebrated. It’s been a fantasy to see two of the catchiest sub-genres of music mashed together in a way that truly celebrates the best of both worlds, and SIRENIA‘s Riddles, Ruins & Revelations is a record that truly bridges the divide and does an excellent job pulling influence from that not so far off world that does it real justice. Many other bands have started trending in this direction, but none have done it as well as this. The songcraft is excellent, the musicians are all playing to their fullest potential, and the passion for the material is there. The dance world and the metal world are not so different after all. Open your ears, friends. The future is now.

Rating: 8/10

Riddles, Ruins & Revelations is out now via Napalm Records.

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