Delain are my guilty pleasure. One of my many, in truth – but chief in the rogues gallery.
I couldn’t quite pin-point what it is about them that find even acceptable or enjoyable.
With bands like Delain you dont really have to think too hard (and certainly shouldnt try to): that’s all there is to it.
Leave the hard man stuff at the door. Just go along with it.
But, yes, much of it must come down to Charlotte Wessels’ voice: clear, liquid and a little nasal, it just hits a certain spot that I find incredilby listenable.
Their last album did well round these parts, and it’s a pleasure to report that there’s equally as much quality on offer here.
It kicks off in fine form with ‘Hands Of Gold’. Who could deny such a chorus of eurometal? Closer to the edge / closer to experience trills Charlotte for the lead vamp, and it’s beautiful.
‘Monster’ is more of what you want from such Wacken headlining confection. Again, the music would be entirely average without her crystal tonailty on it.
It sounds like it’s been written by a crack committee of rock industry savants – wasn’t Alice Cooper’s ‘Trash’? – who’ve even made sure to incude up to the minute Meshuggah hints in it. I would laugh at the notion if I didnt enjoy it so much.
Colossal ‘woooooahs’ embellish Suckerpunch, a song already so embellished with every keyboard texture and orchestral sample it groans from it, and yet one finds oneself transported to a starry field in Germany to yell along.
‘Chrysalis’ is the one for teenage girls in their Nightmare Before Christmas phase, which gets out of the way just in time for ‘Fire With Fire’ to come back in with a bit of pump.
Of course it’s all pop, not metal – not really: that much is distinctly obvious in the god awful ‘Danse Macabre’, which does what most pop music does these days in taking a warble more than a lyric and making it the main earworm of the song.
Or trying to – this ‘eeee eee yaa aah’ muck doesnt quite cut it.
Helpfully ‘Scandal’ comes in to rescue the whole thing in a distincly 80’s Heart style manner, so full marks there.
Any individual tune on this could be in next year’s Eurovision its so saccharine and Germanic. But by jove it’s enjoyable.
Some stuff just can’t be excused, and I’m not even going to attempt to justify enjoying such a commoditized and depthless piece of work.
I just do, and heartily.
3.8 / 5 – Earl Grey ::: 16/09/16