This Lyon-based quartet has been steadily gaining popularity in their home country, and not just because their songs are in French. Kells’ unique blend of catchy melodies, gothic atmospheres, and alternative / nu metal has made them one of the most accessible up-and-coming bands of its kind. Since their 2005 self-released debut "Gaïa," Kells has played all across France and in neighboring countries with the likes of After Forever, Epica, Apocalyptica, and Paradise Lost. The band’s singer, Virginie Goncalves, uses her young, charismatic voice to the fullest. Her fragile breathlessness is capped by her unadulterated ability to belt out the lyrics without much effort.

With their sophomore album "Lueurs" (French for "lights"), Kells continues to build on the appeal of "Gaïa." The songs are straightforward, energetic, and fairly short; and the band’s tight, groovy chemistry is not governed by the booming bass or rattling percussion that has soured other recent "femme metal" nu metal offerings. Ethereal elements are aplenty here, with several tracks featuring keyboards, piano, a string quintet, or an eight-piece choir. The most obvious improvement on "Lueurs" is the production – it’s more professional than that of "Gaïa," yet it’s rough and simplistic so that no one instrument overpowers the others.

It would make perfect sense for a band like Kells to start an album off with a bang – but that’s not the case with "Lueurs." Instead, the ethereal "Réminiscences" eases the listener into the band’s territory. Gentle acoustics and a ghostly backdrop create a "lightly epic" sound that hints at what’s to come. The track then melts into "Avant que tu…," the ultimate definition of Kells’ music. Harsh guitars and paranormal choral chants paint the storm of emotions that’s emphasized by the clear-cut lyrics:

"Telle une fleur [Like a flower]

L'ardeur se meurt [The ardor dies]

Le vent nous glace [The wind freezes us]

Et la brume emplit tes pensées [And the mist fills your thoughts]"

Next is the first single "La sphère," which could be dubbed the hard rock reincarnate of "Lady Marmalade." Dark and saucy French lyrics swim in lofty strings and the white noise of low-tuned guitars. The croaking grunts of guest vocalist Candice Clot (from the French metalcore band Eths) are grating at first, but their synergy with Virginie’s feminine croons is oddly undeniable. It’s the better of the album’s two domineering tracks – with "Lueur" being the second and more mediocre of the two. Its coarse industrial segues and lyrical story of the battle of good and evil are promising, but drummer Jean Padovan’s lurid grunts are so incoherent it’s hard to tell what language he’s uttering.

The remaining songs on "Lueurs" are a more balanced and enjoyable fusion of angst and ambience. Fluid, evocative string arrangements make tracks such as "Sans teint," "Ailleurs," and "Le dictat du silence" all the more memorable. The choir returns to temper the urgency of "Mes rêves," and it’s a bit of shame that this song – the halfway point of the album – is the choir’s final bow. "Délivre-moi" feels a bit poppy with the alarm-bell keyboard intro, but it still crunches as hard as the other tracks.

"Lueurs" has only a few breaks from the midtempo rockers. "Sur le fil" is calm and bittersweet, and the violin’s high notes compliment Virginie’s melancholic vocals. The birth of Virginie’s daughter with boyfriend and Kells guitarist Patrick Garcia undoubtedly inspired "In Utero" and "Merveilles," which both describe aspects of motherhood. The former track is a vigorous ballad of pain and uncertainty, and the latter reflects on the new joy in a beautifully hushed and acoustic manner.

It’s clear on "Lueurs" that Kells’ signature sound has ripened since its humble beginnings on "Gaïa." The band has wrapped maturity, enthusiasm, and enchantment into a vibrant, attractive package (right down to its stunning cover art). Kells’ concentration may be on metal fans who share their language, but "Lueurs" has the European allure and quasi-mainstream charm that will win over fans beyond France’s borders. And for this, Kells should be commended for "un travail bien fait."

8.0 / 10