Come One, Come All, To The Theatre Of Existence: TALES OF PERDITION Unleash Spellbinding Symphonic Debut Album
London symphonic metallers Tales of Perdition are no strangers to this blog - I'm a big fan of the sort of music that makes me feel ready for an epic quest. I was super grateful to be introduced to them earlier this year with their new batch of singles, released in the run up to their debut album. And now, the album is here, fusing symphonic metal and the New Wave of British Heavy Metal together with a healthy dose of grand theatric flair. The band have reached out their arms, inviting us all to The Theatre of Existence.
The lights dim, the atmosphere rises, and then -
Hollow Crown kicks the album off in style. I always think that the first track on an album has to feel like an opener, and luckily this one succeeds. Some wordy verses aside, it's accessible for a new audience but still delivers the bite that fans of Tales' previous releases will appreciate. There's blast beats, symphonic soundscapes, and bold anthemic choruses leading into flashy solos. Bonus points for the cowbell hit around the 3:09 mark, an instrument that doesn't get nearly enough representation in metal as it rightfully deserves.
The album next rattles through a couple of previously released singles - Hold Down The Hunter and The Outer Pale. Both tracks fit in nicely, flowing smoothly. It's hard to say too much that I haven't already said before, but it's nice that the remaining singles, Golden Child Returns and Occam's Razor, are spread further out, giving long time fans a chance to hear something new before going back to old favourites.
Diary of the Paranoid is the next new track on show, and the first with a runtime of over seven minutes. An acoustic guitar sets the scene, ominous whispers rounding out the soundscape, and a cackle from vocalist Alea shifts things into gear. It is so far the darkest and most cinematic track of the album, taking full advantage of its longer duration. Things go full Maiden at the halfway point, turning into a winding instrumental section with more twists and turns than an unkept country road, before coming back for one last chorus. There is a lot of 80s metal flair here - the band's NWoBHM influences are less than subtle.
The album is rounded out by three other new tracks - Reignite, Blood of a Saint, and A Universe Away. A combined hefty runtime of 22 minutes, there is a lot to love here.
The bass intro and military-esque drum patterns in 'Reignite' sees a switch up of dynamics, and there's some particularly juicy rhythm work in 'Blood of a Saint', very The Beautiful People initially. Theatric, bluesy, easily danceable and chantable. Particularly good qualities of a band of this cloth. It's in closer 'A Universe Away' where the album reaches resolution, a gentle piano accompanying an acoustic guitar and Alea's vocals. As the heavier guitars come in and the drums get louder, it feels like closure, rounding out the last 50 minutes or so.
I could tell from the singles released in the build up that this would be an album worth listening to. I can confidently add too, that it's an album I will revisit.
The Theatre of Existence is out NOW on all streaming platforms
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