I have been excited about the prospect of a new album from Finnish metal band Gladenfold since their 2022 release “Nemesis.” Taking cues from symphonic metal, power metal, and melodeath, it combined a grandiose cinematic feel with speedy playing, killer melodies, soaring vocals, and plenty of aggression. I am a huge fan of this combo, as evidenced by my glowing review (and 2025 AOTY selection) for “Whispers of War” by Crimson Shadows, though “Nemesis” was more balanced from a vocals standpoint. 

The end of February saw the band deliver their latest full length, “Soulbound,” and I have been eating it up nonstop. I will be transparent about two things up front. First, I wasn’t super enthused with the singles ahead of the release, and I still don’t think they best represent this album (though “For My Queen,” the first single, has grown on me exponentially within the context of the album and has since become a favorite). Second, the melodeath was nonexistent in these singles, and it turns out this element is much less prevalent on the new album in general, really only showing up in one song (“Helix of Hate”) and then in glimpses scattered across other songs. Admittedly, this at first disappointed me, but the more I listened, the more the disappointment was dissipated by the incredible melodies, soaring vocals, and incredible song writing. The band has doubled down on the epic symphonic power metal approach, with plenty of killer hooks, dueling guitar solos, thunderous drumming, and that massive overarching feel that makes each song sound bigger than it is. Oftentimes this album makes me feel like what more recent Kamelot and Fellowship would sound like if they had a baby, particularly with lead vocalist Esko Itälä having a sound similar to Tommy Karevik. A lot of the cinematic elements carry that Kamelot vibe, while some of the faster elements have that brighter melodic Fellowship feel (just without the hyper happiness). This album features banger after banger, with melodies that I hum long after a song is over. I find the 9 songs absolutely fly by, leaving me wanting more, generally a solid indication of a well written album.

Cinematic splendor greets your ears as “Fire Wind” begins, symphonic flourishes abounding, as it builds to a driving power metal cadence. This song exemplifies the earlier description, immediately providing Kamelot vibes as the verse begins, but feeling the flow of Fellowship in the chorus and some of the guitar solos. The vocals are pointed and regularly soar, backed by magnanimous choir and dialogue that adds deep textures. The keys are used to great effect, complementing the searing guitar riffs and harmonized solos. The drums are a blazing fury, effortlessly navigating various tempo shifts with nice fills. The primarily galloping tempo is broken up nicely by slower passages that add gravitas to the song, providing a sense of power and urgency. This is a killer opening track!

“Wardens of Time” downshifts, a beautiful harmonized guitar solo opening a driving mid-pace. The song is very vocal-driven with a narrative feel, the melodies throughout memorable, never over the top but firmly planted in my ears. The band makes use of various rhythms, well-placed orchestration, Middle Eastern tinged guitar leads, and brief sinister vocals in the shadows, stitching together a fabulous song that really kicks the story in gear. 

“For My Queen” was the album’s first single, and in retrospect I can see why. It didn’t hit me as hard upon initial release, but it is perfectly placed in the flow of the album, quickly becoming a favorite of mine. After a brief opening flange-crescendo, it turns on the afterburners, racing ahead with a Fellowship-like sensibility that is incredibly catchy. The band absolutely shows off their musical talent and are clearly having fun, with an extended instrumental section in the middle featuring a fabulous guitar solo, crushing riffs and drums, and bombastic symphonics. The next section features amazing polyphonic guitars and keys, impassioned soaring vocals from Itälä, and great punctuating dynamics, before leading to the second (and final refrain) of the chorus that features a late key change for emphasis. The brief instrumental outro ties things up nicely.

“Helix of Hate” thrashes out of the gate, delivering some gnarly growls before settling into cleans over a driving power gallop. The song utilizes a Jekyll & Hyde narrative approach, with the aggression and despair of the verses yielding to the hopeful chorus, big and powerful with soaring vocals. The song does a great job matching musical mood to the lyrics at any given point, darker symphonic textures and chord progressions painting the harsher sections and immediate follow ups, evolving into a brighter propitious chorus, only to darken yet again. The late vocal bridge is magnanimous, vocals soaring into the stratosphere as a guitar solo takes over, before a final refrain closes things. 

“Mercy” was the second single released and caught me off guard as a slower song, though the band did describe it as “not a ballad,” but representing “the emotional and melancholic side of the album.” It definitely has an overall slower mid pace, utilizing myriad dynamic and tempo shifts to achieve its emotional depth. It features guest vocals from Michaela Tuomenoksa of Without Warning, manifesting as solo, backing, and a duet with Itälä, adding depth that complements his vocals exceptionally well. Lyrically, this song digs deep into painful melancholy, with the music again doing a great job conveying this sentiment. Impassioned guitar leads, poignant keys, and heartfelt melodies are pervasive, and the ending is so grandiose with layered vocals and a cinematic feel. This song works so well in the album flow, and again I have gone from an initial lack of excitement to enjoyment when it begins to play.

The intro to “Ghostlike” almost reminds me of Seven Spires with its symphonic power guitar driven intro, with the rest of the song giving me serious Kamelot vibes. There is nice contrast amongst the galloping verses, anthemic chorus, and dark orchestral overtones and melodies that add richness to the atmosphere, with dynamic shifts and intelligent interludes throughout. The late guitar solo starts with a nice heterophonic call and respond pattern before delivering fabulous shredding (which like the beginning reminds me a bit of Jack Kosto of Seven Spires). The final salvo starts moody, transitions with a cool cinematic interlude, and soars to the finish.

“Chaos Waltz” opens with a majestic guitar lead, then takes on a power forward identity with blazing riffing and drumming enveloped in atmosphere. The band adds a regal rhythmic aspect akin to what you might expect from an actual waltz, complete with orchestration and opera-like choir vocals. This dynamic creates an atmosphere of both introspection and judgement as the narrative progresses, a cool mechanic marrying the music to the title and underlying story. The symphonics are prominent and add texture, helping differentiate between the two opposing forces, and you are always wondering whether you will be blazing ahead or lulled into a more dance-like rhythm. It is one of the more unique songs on the album, and I really love how it turned out. 

“Anthem of the Broken” has an appropriately anthemic feel, with majestic melodies and a deliberate pointed feel. It also serves, perhaps unintentionally, as a nice drum showcase, with a broad variety of rhythms traversed across multiple soundscapes. I find myself lasering in on the drums, wondering what is next. Tempos regularly vacillate to accommodate the rhythmic shifts, quickly pivoting from gallops to mid-paced and back, with plenty of fills in between, all while feeling magnanimous. The vocal lines are fabulous, complemented by searing guitar leads, but the chorus in particular is an absolute earworm, enveloped by orchestration and a driving pace.

This album deserves an epic closer,  and it is up for the challenge. “Soulbound Parallax” starts with a chunky riff complemented by orchestration, taps the brakes completely as it settles into a slower heartfelt melody, then ramps into a speedy power metal cadence. The song is more exploratory than anything to this point , taking a proggier approach with its abrupt shifts and extended slower melodic guitar passages juxtaposed against the speedier ones. Piano is used beautifully, at times in isolation with the vocals, and the swirling orchestration adds the right level of atmosphere. The song doesn’t forget its power metal identity, thunderous drums and searing riffing keeping things moving, but it allows space to breathe and flex in other ways. I would absolutely love to see the band do more of this, and the song really closes things out well.

“Soulbound” is a great album, one that I have been consuming regularly. I would still love to see more of the melodeath elements return, but the band adds a ton of variety to keep the album fresh and interesting. From a symphonic power metal standpoint, this satiates and then some, and I cannot recommend this album enough. Now I just need to see the band live!