Saints of Eden must split a lot of people. I’ve heard people moan that they’re too Goth, or that they’re too Metal. But in the end they do what they do and they do it well. Having formed from the ashes of Carl McCoy’s briefly lived post-Fields of the Nephilim project Nefilim by Cian Houchin the band have done a lot to assert their individuality over the years. This new album is no different. It instantly feels heavier and grittier than their previous efforts. Full of Darkwave electronics and NDH guitars it fills the same kind of spot as ASP do but with less of the ethereal pomp.
The opener ‘Timesphere’ sounds off like a cross between groove-laden Hardcore and Melodic Death Metal with some early Goth added for good measure - it’s an interesting mix, but it could have done with a little more work on the mix as it comes off a little flat. ‘Rip Fire Hold’ heads into chugging Melodic Death Metal again with those rather good raspy vocals that sound especially great on the big chorus with it’s accentuating keyboards. ‘Game Over’ feels very much like an old school slice of Gothic Rock with it’s strong bass line, heavy use of keyboards and clean vocals - it shows how easily the band can mix things up. ‘Phaze Me’ heads into the same kind of territory as the opening track, again it feels a little flat in the mix, but it is still a very catchy track that will probably sound great live. ‘I’m Outside’ breaks out the fast electronics for a nod to 90’s style NDH - again flat feeling production work but a very fun track to listen to.
‘One’ sounds like it has a distinctly Fields of the Nephilim guitar riff, but it very quickly heads down the Darkwave route instead, thought the bass sounds a little lost in the mix. ‘Red Mist’ again heads back to the 80’s Goth rock sound which despite a great performance, doesn’t really have a kick to it. ‘Scapegoat’ once again heads for that NDH meets Melodic Death sound which doesn’t quite seem to work as well here as it does the first few times. ‘Lost So Incompletely’ starts with another Neph-a-like riff with lots of delay on it, that’s where the resemblance ends though as the song goes for the big sing-a-long option instead… shame the production feels so flat again. ‘Surrender’ is one of those tracks you’d expect on a SOE album - that isn’t a bad thing at all, it’s the kind of song that although it’s safe, it is all the better for it. ‘Price Ya Gotta Pay’ finishes off the album very strongly with the best mix job of any song on the album and a feeling that all the parts have finally come together well with the mix of Metal, Industrial and Darkwave at it’s most potent.
This is a really good album, perhaps more accessible to fans of the band’s heavier side than their Goth side, but it still has something for everyone. The only draw back to the album is this very subdued mix on it. It does sometimes get very annoying when certain elements get lost in the song that would otherwise give it that kick to make it into a great track. Ah well the only option then is to crank the volume up and hit the bass boost button before you press play.
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