I usually struggle to sit through a lot of ten minute songs, but there is plenty of variety here, not much repetition, and before I knew it the track was already over and I almost wanted to go back and play it again. What could a band put up next after such a sophisticated mid-tempo soundtrack? Stardust continues that in the same vein, and with pounding drums, deep rumbling bass and a mixture of equally catchy chugging and melodic riffs combined with sweeping keyboards, its another supreme effort, and that heavy breakdown in the middle is bound to leave some listeners with a sore neck. One of the catchiest choruses on the album makes this one of the major highlights. I really don’t have many complaints out of Sacrificium and it seems to grow on me more with each listen. And with their brilliant new singer in Dianne Van Giersbergen being a perfect fit for their style, Sacrificium is a real triumph, really refreshing and full of life. The band has managed to survive and stand out among so many similar genre bands that have popped up at the end of the nineties when genre leaders as Nightwish had their breakthrough.
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For all the fairly different imagery depicted on Sacrificiumthis is an album that exemplifies that age-old truism of not messing with a winning formula. The jury is still out on what kind of sound Nightwish will come up with having Floor Jansen at the helm, but if they want to get some good ideas about where to aim, they would be advised to look where Xandria has been for the past 2 years.
Crunching and fast bass playing combined with the powerful drumming and riffs give the track the best rhythm section of the album, pounding away with a ferocious energy.
Xandria is a symphonic metal band from Bielefeld, situated in my home province North Rhine-Westphalia in Germany. Write your own review.
The guitar playing is fantastic, with the song filled with fast, epic sounding riffs with a really thick heavy tone and great melodic leads, the guitar solos in the middle of the track are really well placed and brimming with energy. On the more extreme end of things on this album is “Betrayer”, which takes far further strides towards thrashing it up in the riff department, and even takes an occasion to throw in a nice chaotic blast section, clearly eclipsing the otherwise aggressive character of “Soulcrusher”, the equivalent song from the previous album.
Some of this tinkering presents itself in a slightly greater concentration of guitar elements that point towards more of an Epica influence, though Marco’s riff approach still remains closer to the support-role character of Emppu’s work with Nightwish rather than morphing into a galloping semi-thrashing character befitting of Mark Jansen.
Likewise, this album opens things up on a particularly auspicious note with a massive 10 minute plus epic of a title song, incorporating the same sort of nuanced interplay between piano driven balladry and rapid paced symphonic power metal majesty that would go with a classic Nightwish epic such as “Beauty Of The Beast” and “FantasMic”, but presented in a manner more along the lines of a darker, heavier anthem off of Once.
A few minutes in comes a clean melodic guitar lead which shortly kicks into a lot more speed and complexity. Extremely xandia vocals, palm muted guitar riffs, and epic keyboard arrangements make this an incredible track that many bands seem to have forgot how to achieve.
The song sounds a little bit faster and it is almost ajime metal orientated. Stylistically there really isn’t much like this on this album, but it could easily trap someone into enjoying the entire body of work and enjoying several other bands of the genre as well.
The song xamdria very dark breakdown parts that would probably appeal to a much wider audience than just a power metal fanbase. If I had to pick this would probably be my second favorite track, its just very upbeat and offers yet another twist in the story that the Sacrificium tells.
The vocals in this song are even greater than usual as they reach out for nearly angelic heights without losing their grounding power. Beginning with some quire vocals and kicking into a distorted yet memorable guitar riffs with overly intricate keyboard work it instantly grabs you.
It completely embodies what Xandria and Sacrificium are all about to me. From the first time I heard the Kill the Sun demo I immediately fell in love with this band’s songwriting. This is not an easy task because there is no bad track on this album as they all vary between very good and excellent. And with their brilliant new singer in Dianne Van Giersbergen being a perfect fit for their style, Sacrificium is a real triumph, really refreshing and full of life.
Stardust continues that in the same vein, and with pounding drums, deep rumbling bass and a mixture of equally catchy chugging and melodic riffs combined with sweeping keyboards, its another supreme effort, and that heavy breakdown in the middle is bound to leave some listeners with a sore neck.
Temple of Hate is another incredibly catchy one, with an infectious fiddle melody in the intro and great string sections through out, one of the more straightforward tracks, this is a really fun power metal track.
They choose to begin the album in the most ambitious manner possible, with a ten minute title track.
Xandria – Sacrificium – Reviews – Encyclopaedia Metallum: The Metal Archives
What could a annime put up next after such a sophisticated mid-tempo soundtrack? Just like several songs on the album there are quite a bit of operatic background vocals that only adds a lot of layers and depth to the compositions. Just when I thought that I heard the best vocal performance on the animee album, I am proven wrong with the very last song.
Heubaum has continued writing some of the most touching songs I’ve heard out of any band. Every section sounds beyond epic, and it all combines into a sweeping dramatic piece, a lesson to everyone out there on how to write a symphonic metal song. Another aspect of the album that hasn’t really been touched on is the folk aspect in songs such as Little Red Relish.
She kind of reminds me of Tarja Turunen in her prime. Naturally there has been some tinkering around the edges in terms of the album’s flow and pacing, but the same stylistic devices of simple driving guitar riffs, massive orchestral sounds, and a well-balanced mixture of haunting dissonance and animf beauty has remained constant almost to xnime fault.
A couple years ago a littler known symphonic metal outfit hailing from Germany decided to put Tuomas Holopainen on notice about a sound that he’d long forgotten how to create. The sound is also a lot fresher and heavier than expected. Although most of it doesn’t stick with you, one band that always did for me was Xxndria from Germany.