It is always interesting being first exposed to a band via an EP, particularly when they have a couple full lengths under their belt already. It is even more interesting when this EP only has two songs, with the first being an original song clocking in at 18 minutes, and the second a cover of perhaps one of the most well-known songs by fellow countrymen Alcest. But this is exactly what Paris, France, band Orkhys has done on their March 2026 release “Errance,” and what a journey it is! The first song, a progressive metal opus comprising 4 “chapters” (or at least how it comes across to me) contains primary flavors of symphonic and folk, while adding melodeath and blackened elements (musically, not vocally) as well as beautiful acoustic and post rock passages. Lead vocalist Laurène Telennaria is phenomenal, blending folk and symphonic with some atmospheric alternative rock vibes mixed in, flowing and soaring effortlessly in her native French tongue. The instruments and overall song compositions are incredible, with rich balance and plenty of great guitar and bass work along with technical speedy drumming. A unique wrinkle is the inclusion of the harp, which naturally brings a bit of a Celtic folk vibe while also adding texture, particularly when it is playing the role of guitar solo (which is so cool to hear!).

Not really being familiar with the band, I was curious how this EP compared to their 2024 full length “Legends” and gave it a few listens. That album has a couple of songs on the longer side, in the 6 – 7 minutes range, but most are in the 4 – 5 minutes range and don’t approach the length of the single original track on this EP. The full length identifies as symphonic / power metal with heavy folk elements, bringing in black metal and melodeath influences at various junctures, and a couple of songs definitely have some progressive leanings. However, nothing on that album approaches the progressive complexity of “Errance,” making this album a unique entry in their discography.

The title track (“Errance”) begins with a somber harp melody, easing you in before your auditory senses are crushed by a symphonic metal assault that wouldn’t feel out of place on a symphonic death metal album. Crushing riffs and thunderous drums complete with blastbeats thunder ahead while fiery guitar leads tantalize amidst enveloping orchestration. Telennaria’s vocals enter the fray for the first time around the 2-minute mark, and they are powerful yet with a soft edge, full of emotion while effortlessly flowing from one passage to the next. Musically, you feel the transition to more standard symphonic / power metal when she comes in, with alternation between the more vocally driven verse / chorus passages and the heftier instrumental sections, which even includes a harp solo mixed in with the guitar leads. When these heftier sections take over, I almost expect a growl given the death / black influences permeating through. No growls show up, though the band does have precedent for it (listen to “Bae An Anon” from the “Legends” album).

Around the five minutes mark, things slow considerably, feeling a bit like we are transitioning to a new chapter. It is almost Alcest-like with the atmospheric guitar picking, making me wonder if the cover they do after this song had any influence on the song writing here. A slow build ensues, which also sees incredible harmonized vocal layering, eventually relenting to a renewed blastbeats assault with blackened guitar riffs forming the base for a beautiful harp solo. Telennaria reenters and absolutely soars, enchanting with her stunning voice. A hefty transition susbsides into calm, her voice guiding you to the next transition just past the 8 minutes mark.

We are now entering what I consider Chapter 3, by far the longest, bringing a lot more folk and post rock influences. It begins with softer melodic picked guitar and bass parts and folk tinged vocals. There is a quick build with cinematic flair, sweeping orchestration and harmonized guitar leads pairing with Telennaria’s magnificent vocals. This chapter also does a great job connecting back to earlier parts of the song, reprising many of the vocal melodies, guitar riffs, harp solo, and aggressive blastbeats. The use of dynamics is fabulous, the ebbs and flows of the many longer instrumental sections bringing a calming effect juxtaposed against the faster more aggressive sections. The build near the end is cinematic and bombastic, bringing all the elements together in a flurry of melodic aggression, guitars blazing while the harp croons its blissful melodies, Telennaria’s impassioned vocals chill-inducing in their epic delivery. As the song enters the final 90 seconds, it fades into an extended outro that feels a bit like a fourth and final chapter, a beautiful picked guitar and harp melody sans drums, light bass providing just enough of a foundation. 

The second song is a cover of the Alcest song “Autre Temps” from their 2012 album “Les Voyages de l’âme.” It is a pretty faithful adaptation and will sound very familiar if you know the song. Orkhys does a great job melding their influences, bringing more of a folk influence to the post black metal vibe Alcest is known for. Replacing the keys with the harp works super well and brings an organic feel to the song, while the vocal delivery, though similar, adds its own touch that makes the song feel fresh and different. It is a wonderful choice that does Alcest proud. 

This EP is definitely different from their previous material, taking a more progressive approach while still utilizing familiar elements and being willing to experiment. I enjoyed “Legends,” but I found myself preferring the approach on the EP, and I would certainly love to see this trend continue across future material. It is possible this was just a more experimental album and may not be an indicator of future direction, but I do hope they take elements from this EP forward. This is a great listen and worth checking out!