Glasya is a relatively new symphonic metal band from Portugal with the ambition Attarghan being the very ambitious second album. The band formed in 2017 and released Heaven’s Demise in 2019 announcing them as a unit to keep an eye on with a most impressive epic symphonic album with a distinct Middle East sound with great passages of musical interplay and operatic female vocals. Comparisons were obviously drawn with early Nightwish but just about every female fronted goth and symphonic metal band has drawn those same comparisons too but the real trick is to kick on and find your own niche in what is rapidly becoming a saturated market.
Now we come to what some call the crucial second album and the band has taken what went before and maximised everything by a power of ten. It seems that the band self-identify as a ‘Soundtrack Metal band’ and most certainly this new release has a huge cinematic feel with a truly ambitious score to match. The record is a concept piece concerning the stirring tale of Attarghan, a former general of the Persian Empire who took the side of the people against a despotic Emperor. It is a story of the sword, blood, gore and battle with an epic love story to match and is told through music and an extensive story narrative which sets up each track and drives the legend forward. Everything is in English so you can keep up with the epic tale of derring-do and the voice over is of the type that you get from Redd Pepper, the man with the deep and rich voice that heralds each and every new Hollywood blockbuster, you know it for sure as it is a deep and sonorous voice that really thrills. Now, I’m not sure if this is some half-forgotten Middle Eastern history or an invention of the band and I truly hope it is the former but really expect that it is the later. No matter the authenticity, the story is bold and inventive and the band plays it just perfectly with a magnificent score to do full justice to the ever expanding storyline.
The band is an impressive six-piece with Eduarda Soeiro on vocals, Hugo Esteves and Bruno Prates on guitar, Davon Van Dave on keyboards and orchestrations, António Durães on bass and Bruno Ramos on drums and what a team they make as their output surely equals the sound of a full orchestra. There is that epic sound of the Middle East permeating throughout the music and you can almost see and smell the desert, camels, dates and ancient cities as the images settle into your brain. If you have heard Alanis Morissette’s I Remain (soundtrack to Prince Of Persia) then much of the album seems to follow the template she created and what a homage this album is always assuming that the band have heard the song! Eduardo Soeiro has a wonderful, emotion filled voice and check out her performance alongside the equally impressive Caterina Nix of Chaos Magic on the song’First Taste Of Freedom and there is a nice appearance from Temperance’s Marco Pastorino on the track From Enemy To Hero.
This band does not do anything by halves and this is absolutely over the top with just about everything thrown in to the mix and critics will claim that it is preposterous and overly ambitious and maybe even rock opera of a sorts but others will totally buy into the concept and see it for what it really is which is a magnificent and cinematic tale of love, death and redemption told to the backing of a thrilling and epic score. This is not just an album for symphonic rock fans but for everyone who loves a little rock theatre and to see a rock band artistically stretch themselves as much as possible.
Attarghan is a simply unbelievable concept and will blow away everyone brave enough to give the band a chance.
- Attarghan (1:43)
- From Enemy To Hero (4:59)
- Way To Victory (5:21)
- Retaliation (5:15)
- First Taste Of Freedom (4:30)
- Journey To Akhbar (4:39)
- Queen’s Temptation (3:50)
- Battle For Trust (5:58)
- The Sound of 10.000 Feet Marching (4:39)
- Within The Sandstorm (6:01)
- We Weren’t Meant To Be (4:34)
- At The Empire’s Gate (0:48)
- Eye to Eye, Sword To Sword (6:12)
- A New Era Has Come (5:49)
- The Legend Lives On (1:54)