Dutch symphonic metal band Epinikion is a newer band on the scene, forming in 2020 and releasing their debut album, “Inquisition,” in 2022. The band started as the vision of two people, keyboardist Renate de Boer and guitarist Robert Tangerman, and the debut album was written by the two and recorded in conjunction with a number of session musicians. Taking on a rock opera mystique, it was well-received and led to the recruiting of permanent band members to allow them to take the next step forward, including the ability to play live shows.

Fast forward to 2026, and Epinikion is a full fledged sextet, releasing their sophomore album (and first as a full membership band) in February, “The Force of Nature.” They have amped things up considerably, marrying bombastic orchestration with a heavy blast of metal that is epic. The guitars can be as silky as they are crushing, with a healthy helping of guitar lead and solos that scream melody and technicality. The bass is a pulverizing powerful force, and the drumming is big and majestic, both thunderous and lightly treading when necessary. The symphonics are theatrical and, yes, you guessed it, BOMBASTIC, a crucial component that flexes its muscles constantly and perfectly complements the other instruments without sacrificing heft. The orchestral arrangements enrich the compositions majestically, adding so much depth and character. Speaking of depth, the songs are rife with layers, progressive underpinnings supporting a hefty cinematic symphonic metal framework, myriad instrumental voices working in concert amidst a sea of dynamic shifts and clever variance in passages. And wow the vocals! Lead siren Kimberly Jongen has an alluring voice, easily soaring to the rafters of the opera house when needed while typically staying closer to terra firma. There are times when she reminds me of Krista Sion from Dialith, deftly navigating a broad range while injecting passion and punch, though she more consistently plays in the alto range than Krista does. The theatrical aspects remind me of the bombastic presentation of Edenbridge, and you can taste flavors of Nightwish and Epica along with some Dialith power metal and vocal touches. Epinikion takes the best of these influences while still doing something a bit different, stamping their own effects on the symphonic metal genre. These 12 songs are fabulous, a cinematic album that hits again and again. The lyrics are consistently powerful and relevant, and the passion within is only matched by the intensity of the music, an amazing combo that really delivers.

“The Moon, the Sun and the Stars” opens things up in cinematic fashion, an instrumental movie soundtrack intro that sets the stage for something much larger. This sounds like the beginning of a rock opera, a symphony of keyboard flourishes, soaring woodwinds and brass, confident strings, majestic percussion, and enveloping atmosphere that builds excitement, transitioning perfectly into the title track, “The Force of Nature.” The opening is just wow, carrying the symphonic melodies from the intro and pairing it with a fabulous driving guitar melody, drums racing while the orchestration hits a massive inflection point. Jongen comes to centerstage, her vocals punching through the orchestration as the song amps up. The chorus has a killer melody punctuated by her incredible voice, guitars and drums blazing ahead in power metal fashion. The bridge post the second chorus sees operatic vocals dueling with a majestic symphonic-heavy instrumental, leading to the first guitar solo with epic symphonics swirling around. The final chorus refrain couples soaring operatics over the punchy delivery, making it feel larger than life.

Ethereal is how “Lessons in Life (Are for Free)” begins, moody and atmospheric as it ratchets up, layering guitars and drums amongst the symphonics. It sprints ahead a minute in with thick orchestration guiding thunderous galloping drums in the verse and machine gun double kicks on the chorus, a sharp contrast to the slower cadence of the vocal lines. Fantastic soaring vocals lead to a symphonic solo section complemented by guitar, ending in bombastic fashion with a massive finish.

“Come into my World” is a vocal-driven vehicle, opening with a melodic metal feel before settling into a driving symphonic vibe, thumping bass and guitars guiding the rhythm amidst orchestral flourishes. Jongen has a poppy sensibility that is determined, with great melodies and harmonies, particularly in the pre-chorus. The chorus has a big theatrical feel, crushing guitars with a massive vocal delivery, settling into a singalong earworm in the second half of the chorus. This song in some respects feels like an invitation to continue with the band on their cinematic journey while also bringing relevance to real life struggles, imploring the listener to “Come into my world” and “Let’s no longer fight.” 

The start of “Your Ultimate Joy” marries acoustic guitar and swelling orchestration, building to a steady power metal cadence that incorporates Middle Eastern flair and a commanding vocal delivery that is punchy and emphatic. Though the vocal tone is different, I get more recent Dialith vibes from Jongen’s approach, particularly in the incredible chorus, ascending vocal lines mixing in soprano vibrato amidst the more alto delivery. The verse melodies are powerful, bold and in your face as they deliver their pointed message. The extended instrumental section has a proggy feel, killer guitar leads painted in soft polyrhythmic hues, drums thundering as the symphonics create an airy atmosphere. This transitions into a power metal gallop utilizing the same mechanics, while punchy vocals accentuate with an almost gothic edge. One final refrain of the chorus leads to an ending verse that ends in massive fashion. The lyrics here are incredible, a rebuke to domestic abuse while telling the story in a very real and relatable way.

“I Thought You Were on my Side” builds a quiet progressive soundscape, off kilter acoustic picking and strumming in the verse contrasting with a gentle piano melody for the chorus, with somber orchestration swirling around. The guitars pick up more in the second verse, crescendoing into the chorus, all instruments coming to the table while the vocals soar. The build becomes bombastic, cinematics colliding with a melodic wall of sound, showcasing Jongen’s incredible voice with killer melodies. A short guitar solo yields to the bombast of the chorus once again, backing choir and symphonics all encompassing as it hits an inflection point, dropping down to a somber combo of acoustic guitar and piano as things fade out. 

One of my favorites,  “Don’t Wake up the Dead,” is a theatrical metal masterpiece, starting in eerie fashion with an Epica-like opening, epic orchestration (wow the brass!) over sinister guitar riffs and pounding drums. The vocals are ominous and ethereal, reflecting the darker subject matter, sprite-like backing vocals adding texture as the crushing riffs and drums continue. Dynamics are used to great effect, particularly at the mid point as the distortion is exchanged for woodwinds and brass, creating massive atmosphere. The orchestra begins layering a crescendo of guitars and drums, punctuated by cinematic keyboard swells that converge into a multi-layered orchestral metal assault. Jongen’s vocals have a theatrical feel to them, matching the flair of the surroundings. From an album flow standpoint, this song feels perfectly placed, a halfway pivot that sets the stage for what is next. 

“Monsters in my Head” is the longest song by quite a bit at just over 9 minutes, a proggy opus deftly melding atmosphere, melody, and heft intertwined with epic cinematic majesty. The movie soundtrack opening shines with cinematic glory, exotic melodies showcased by beautiful orchestral arrangements featuring flutes and clarinet. Ninety seconds in, it erupts with guitars and drums while still maintaining the steady orchestral arrangement, building urgency with off balance drumming and riffs that add cavernous heft while the symphonics swell and overtake you. Jongen enters the fray just shy of the two and a half minutes mark, a haunting ethereal quality to her vocals that match the ominous melodies and sinister rhythms underneath. The chorus brightens slightly, a singable catchy melody, before devolving back to the dark heavy depths. A second refrain of the chorus leads to an ethereal section with ghost-like backing vocals, bass thumping underneath keys and guitar flourishes that slowly build to an incredible extended guitar solo. The vocals come back in, soaring above the clouds while the soloing continues, finally circling back to the off-balance riffs and drums as a final verse and choral refrain close things out. 

“Two Hearts” is the only truly slow song, a symphonic layer cake with a power ballad aura featuring myriad instruments, melodies, and dynamics. It starts with a simple somber piano melody, then floats in moody atmosphere atop a bass riff with backing choir and symphonics enveloping the room. The chorus comes in big and powerful, the guitars and drums coming in authoritatively. The second verse continues the build, off rhythmic riffs supporting the surrounding orchestration, making the second chorus more grandiose. A silky guitar lead opens the gate to a cinematic playground, orchestral flourishes and soaring vocals playing with your ears, followed by an emphatic guitar solo enveloped by an atmospheric choir and orchestra. The song closes with one final heartfelt choral refrain.

“Run with the Wolves” has a folksy feel, flutes soaring over the crushing riffs, deft leads, and thunderous drums. After the big intro, it is off to the races, Jongen’s vocals impressive over the galloping pace and frenetic flutes. I love the drums in this song, adept whether in a fast sprint or a slower pound, technical fills abounding. The second half of the song has a progtastic bombastic feel full of cinematic flair, featuring a symphonic throwdown with a backing choir while Jongen pierces through anthemically, and a theatrical orchestral progression that complements the massive guitars and drums. 

“What Goes Up Must Come Down” is a heavy and power forward symphonic metal opus, bringing to mind Epica and Nightwish, including more operatic vocals than previous songs, prepping you right from the start with the intricate opening before knocking you over. The orchestration is fabulous, bombastic being the word of the day, pairing perfectly with the hefty drums and guitars while weaving them all together with progressive threads. If the album is a rock opera as it so often seems, this song feels very much like it is approaching the final climax, building urgency in all of its layers. I love the brief middle dynamic shift piling on the cinematic appeal before smacking you again, carrying you to the end atop chaotic double kicks, atmospheric symphonics, and crushing riffs and guitar leads. This is definitely a favorite. 

“Eyes Will Glow” feels like a closing song considering the cinematic journey we have been on, big and powerful in both its softer and more anthemic parts. The slower sections have more of a theatrical feel, while the driving sections feel cinematic and, as I like to say, bombastic. In many respects it is one of the simplest songs on the album, and yet it works well.

Epinikion has crafted a fabulous slab of cinematic symphonic metal that is enrapturing. I love getting lost in its varied textures, and I hope to experience this live at some point! If you are a symphonic metal fan, this is a no brainer, but if you enjoy insightful metal with technical complexity and great melodies, you definitely need to check this out!