Austrian gothic symphonic metal band Edenbridge has been around for quite some time, releasing their 12th full length in their 25+ year career in mid-January, entitled “Set the Dark on Fire.” Founded by guitarist and composer Arne “Lanvall” Stockhammer and long-standing vocalist Sabine Edelsbacher, the band has long been known for an overly theatrical take on the genre, with rich orchestral and choir arrangements at the forefront of their melodic metal compositions. This album sees the band moving in a heavier direction without sacrificing the symphonics, creating a cinematic journey that is impressive. For starters, the orchestration is absolutely grandiose. It is impossible for me to listen to this album and not wish I was experiencing this on a large stage with a full choir and orchestra complete with character acting. People have noted that I love using the word “bombastic,” but this album is the epitome of that term. Everything on this album just feels massive, and if you close your eyes and immerse yourself in the music, you can almost feel yourself being transported to a Broadway production that is significantly heavier than average. Sabine’s voice is phenomenal, an uber talented soprano with tremendous versatility. So many symphonic metal leads fall into the trap of being one dimensional, taking an operatic first approach. Sabine is muti-dimensional, effortlessly playing the operatic part while running the full gamut of her impressive range, adding a gothic edge in the process. The guitars display plenty of metallic weight, hitting hard with powerful riffs and great guitar solos. The drumming is powerful, crushing when necessary, and adds a lot of depth to each song. Edenbridge has crafted a bombastic theatrical journey that is best experienced when you can devote your full attention, as the songs work so well together and feed into each other as one living organism. This doesn’t mean you can’t listen casually or to individual songs, but it will lack the same emprise.

“The Ghostship Diaries” starts with a nice gothic-tinged power metal groove, complete with symphonic flourishes, giving instant Epica and Nightwish vibes. Sabine is on full display early, with a darker melodic approach in the verse and a soaring emotive chorus, infectious melodies invading your ears. The guitar solo is fabulous, mixing a frenetic melodic flurry with a more somber calculated approach. The ending feels massive with its gothic overtones and orchestration on full display, fading out in theatrical style.

“Cosmic Embrace” starts with a melancholic tone but carries a significantly brighter feel in its mid-paced riffing. The first half feels much more like a standard power metal song, until you are swept up in the filigree of the cinematic orchestration in the second half, adding the bombast that is a consistent phenonemon on this album.

“Where the Wild Things Are” melds a folk element to the band’s sound, complete with some non-traditional instruments (I swear I hear a dulcimer in there!). The song is melodic with a very sing-along quality, and I could see this inciting fun crowd participation live. The chorus reminds me a bit of “Land of the Free” by fellow Austrian’s Visions of Atlantis, who would also pair quite well together in a live setting. The classical guitar interlude serves as a nice dynamic transition to a short vocal bridge before opening back up to a fabulous dueling guitar solo. The ending gives a nice near acapella rendition before closing out in grand form!

“Tears of the Prophets” is a beautiful soft instrumental interlude that functions musically as an intro for the longest song on the album, “Our Place Among the Stars.” The verse has an ominous riff that sounds like it was birthed from old school black metal, just way slower and crisper, a nice complement to the gothic edge in Sabine’s vocals. The symphonics are lush with an eerie atmosphere, adding to the melancholy feel that is punctuated by the heartfelt chorus oozing emotion. Even the guitar solo has a mournful appeal, with diminished chords and some major and minor key jumping. This song is absolutely breathtaking, showcasing how the band can hit you hard regardless of the speed they are going.

The title track has a nasty guitar groove that just feels heavy, and the spooky symphonics envelope it to create an ominous atmosphere. I love the chord progression in the chorus, complete with keyboard flourishes and blazing drums. The second half goes into overdrive, with a thrashy power sprint that maintains the dark sound and allows the guitars to let loose on yet another impressive solo while also giving the bass a brief spotlight. This is easily one of the heaviest songs on the album, and also one of my favorites!

“Bonded by the Light” is the only true ballad on the album, a piano-driven theatrical piece that should absolutely feature Sabine centerstage, large spotlight illuminating her. The use of dynamics is fantastic, with big symphonic swells and well-placed drum hits, and a hopeful message that is seeking to leave fear and hurt behind. I love the emotional guitar solo and heartfelt ending vocals. This song is bombastic in its own right!

“Divine Dawn Reveal” is another short interstitial that features a Middle Eastern melody underneath ethereal vocals, essentially an intro for next song “Lighthouse,” which continues the melody and sews it into the fabric of the dark power-driven melodies. As I listen, I envision being in a dark tower in ancient Egypt, the siren’s vocals reverberating around me as I am seeking a divine light while danger abounds. The bass guitar drives the rhythm with proficiency, enabling the guitars to consistently reprise the dark melody, while the choir and orchestration encompasses all and makes way for the driving rhythms and occasional sinister blastbeats. The dynamic and tempo shift halfway allows Sabine to serenade you with her haunting vocals, paving the way for a somber guitar solo that quickly transitions into progtastic fret gymnastics. The ending is just massive, and the acapella finish is surprisingly fitting. What a fantastic song, and a great way to end the album ahead of the big finale.

You want bombastic? You get it with “Spark of the Everflame,” an epic 4-part opus spanning nearly 14 minutes. It begins with “Let Time Begin,” which absolutely sounds like the opening to a theatrical production with its lush orchestral arrangements and powerful guitars and drums. As it ends, you are thrown into the thrashy fray of “The Winding Road to Evermore,” which like the opening track brings that Epica appeal to the table. The guitar groove has a nasty heaviness to it, with symphonics billowing around, creating a cinematic aura. The chorus, both musically and vocally, has a gothic ambiance that is just overwhelming, and this vibe extends to the ominous guitar solos and crushing riffs. The backhalf of the song is cinematic in its composition, and as it winds down, it merges effortlessly into the baroque instrumental aspirations of “Per Aspera Ad Astra.” I imagine sitting in a gothic castle on a hill overlooking crashing waves, the music and sounds of nature ringing around me as I peer out into the expanse. You are eased forward with the acoustic guitar intro of finale “Where it Ends, Is Where it Starts,” before triumphant vocals take hold, only to reprise the riff from Part 2. You get a power metal gallop embellished with keyboard flourishes that yields to a powerful choir backed chorus and magnificent refrain, making you feel as if you just witnessed the finale of a Broadway production.

This album has many complex layers and is over the top and cinematic, which for the casual listener may be overwhelming. The patient and discerning listener is rewarded, as there are many treasures to unlock that are worth discovering. I think this would be absolutely phenomenal live, and you will get to hear my opinion sometime in March after I get the opportunity to see them in Germany!