Register Forgot login?

© 2002-2024
Encyclopaedia Metallum

Privacy Policy

Eidolon > Seven Spirits > Reviews
Eidolon - Seven Spirits

this is an album - 45%

Demon Fang, April 30th, 2022

Exit Slav Simanic and enter… nobody. Yep, from here on out, the guitars would be covered solely by Glen Drover (outside of the odd Andy LaRocque cameo on Apostles of Defiance and The Parallel Otherworld). Thankfully, he’s still got chops to spare. He can riff and solo with the best of them, he can! Unfortunately, Seven Spirits ends up becoming quite a downgrade from Zero Hour. In trying to be a heavier, more “modern” album (for 1997) with heavier-sounding production, it excises quite a bit of what made Zero Hour so enamoring. I guess you can’t get rich and famous playing 80s-era melodic thrash during the 90s, but maaaan it’s like we got a more streamlined affectation that doesn’t really pay off.

It’d be one thing if songs like “The Path”, “In Visions Past” and “No Escape” simply lacked the more subtly intricate melodicism from Zero Hour. A simpler, groovier but still slightly thrashy approach can result in some fun or even rousing music. It’s another when the music is decent at best. On the whole, it’s like it’s got a lot of what made Zero Hour work – the melodic structures and razor-sharp riffs – but what’s missing is the fire and the execution. Songs like “In Visions Past” and “The Inner Demon” come across somewhat underdeveloped. The riffs themselves are good, as are the solos. But what they produce are merely decent rhythms. There’s some life to them and whatnot, but not to where they particularly stand out in any major way. But even on songs like “The Path” and “The Seven Spirits” where they have more room to breathe, again, it’s all there but nothing really gets things going.

On the lower end of things, “No Escape” is this one riff over and over and over again for five and a half minutes. Sounds fine for a couple of minutes, but beyond that? Snore. The better songs on this album have similar issues, which is why Seven Spirits comes across as a letdown overall, but “No Escape” is the worst of it. “Confession”, on the other hand, is the best of it. It has the ingredients for a fairly big opener – “atmospheric” intro, a set of welcoming speedy riffs that settle you right into the album, and a few shreddy solos to add that bit of flair. It has the most developed melody overall, at any rate. Then again, length isn’t an indicator, as the “epic” “Shattered Image” – which is the third track for some reason – is a multi-part snore-fest laden with tepid rhythms and okay riffs. Nearly ten minutes of basically nothing happening. Any momentum built by “Confession” and almost maintained by “In Visions Past” – gone. “The Path” has a decent groove going for it, but the momentum never picks back up again.

Then there are the ballads “Priest” and “Set Me Free”. Oh boy, the ballads. Just some generic strings that exist, some vaguely atmospheric moments to try and elicit some moods, and maybe there’s a chord to give it a bit of heavy metal credence… it really doesn’t do anything interesting. They’re just really easy to tune out. Brian Soulard’s vocals at least work well during these songs, retaining a light tone that suits them rather well. They work well on their cover of Ozzy Osbourne’s “Diary of a Madman”, although that song better realizes what they were trying on the two ballads. Shame it’s also the best song on this album.

The heavier approach unfortunately left it a bit colder. There may be some good parts here and there, the opener is a fairly good song, and their cover closes off the album well. But in-between are eight songs that range from decent to background noise. The overall approach also seems to have affected Soulard’s vocals as, outside of the ballads and the cover song, they’re quite flat and the light tone he carries is ill-suiting towards the somewhat harsher tone and more groovy tone. Honestly comes across quite monotonously at times, and even the best moments are just kind of there. Then again, that’s about the short and narrow of Seven Spirits. It’s there. It’s okay. Nothing more. Nothing less.

Plays It Too Safe - 82%

darkreif, June 12th, 2007

Eidolon has stepped up to the plate since their debut effort. Originally more of an 80s melodic thrash sound, Eidolon have updated their sound with a pinch more aggression to the mix creating a more fitting album for the style of the band. An increased production value for the band (but still not the best) definitely helps but there are still a few too many flaws for the sophomore effort to be considered a classic.

After the loss of a guitarist and with no replacement for him, Eidolon more towards a bit heavier sound. Instead of intertwining leads and solos the band focus on heavier riffs that break out into lead breaks and solos rather than layering them. Of course, there are layers to the guitars at times but not near as much as their previous effort. Saying that a guitarist left without a replacement usually means that the writing is going to be less complex - and for the most part it is for Eidolon. Except that Glen Drover happens to be a hell of a guitarist and now he is writing without worrying about too much compromising - which results in a more cohesive guitar sound with a sharper focus. So really this album is a step up in the guitar category since their debut effort. He also brings in his melodic sections for songs once again - this time in a more relevant way giving the album a hint of progressiveness as the songs change from riffs to melody quickly.

The bass parts have taken a step back (more modern production more likely to blame than band choice) and this leads to a more cohesive sound for the band. The bass, despite a step back in loudness, has an increased role in the band. Because of the loss of a guitarist, the bass is required to keep the song going when leads or solos are present and thusly now has a more important role. The bass isn't anything extraordinary but it does the job and that's all that is required.

The drums are once again slightly disappointing considering how good Shawn Drover is. The writing is better on this album compared to the first but don't expect to hear anything too complex. He does some nice cymbal work on a couple songs and every once in a while he does an interesting rhythm but overall his work is pretty linear. It fits the rhythm and sound of the album well and not much can be complained about considering.

The vocalist is once again the most trying part of Eidolon. His vocals seem even more out of place now that the music has moved in a more modern direction. Even though he tries for variety at times (spoken word appears a couple times) he could really push himself to reach a few points. He tries to be harsher at times too but never really moves out of his comfort zone. He has a good voice but it never really blends with the music on this album.

Overall, the band is improving their writing and their overall sound. The band seems to be working together better but problems with a vocalist that doesn't quite fit really hold the music back. Seven Spirits plays it a little too safe to be a classic.

Songs to check out: No Escape, The Ninth Circle, Confession.