CD Info
2012
Independent Release
12 Tracks
English Lyrics

We don’t cover a lot of Australian bands on the Zine, not sure why, there are some good ones. And the one under discussion here is proof of that. I’ve been listening to this CD now for a few weeks and have been trying to figure out how to classify it. I asked lead singer Ellah Rose what she thought and she suggested Australian progressive, but she sure hedged her bet, don’t think she was real comfortable with that one either. So I don’t think I’ll spend a lot of time on that issue, we’ll go in another direction. And that one has a lot to do with the vocals, which are mostly Ellah Rose, although there are male vocals here and there. She has an accent, of course, all Australians have an accent, but I’ve heard that accent before and hers just isn’t the same, it’s more of a cross between a formal English accent and the Australian. Now, Ellah and I spent some time discussing the issue, and her singing style in general and the lass has an interesting background. Seems she began doing Barbershop. . . Barbershop, can you believe that? Now, I happen to be an expert in Barbershop, my father’s been doing it now for over 80 years and I probably would too if I could hold a note in a canister, which I can’t. But I asked her what part she did and she said, "All of them". Does that give you some ideas regarding the musical ability of the lass? But, not to worry, this CD is not Barbershop. . . it’s not Gothic either, what it is isn’t exactly clear, but it’s damn fine music, going in more directions than the departure gate at Chicago’s O’Hare. And, the range of instruments is equally broad. We discussed this issue as well, seems Ellah’s band mates have a tendency to go "large" with the musical direction, and there’s nothing I like better. But Ellah says she needs to occasionally tie them down, says she likes to see multiple formats and approaches, and you sure get that here...both vocally and instrumentally.

Personally, I tend to prefer the Gothic direction; I like the ethereal, the doom and gloom, the desperation of eternity, the hopelessness of reality, the finality of death, the remorsefulness of existence, the pain of existential . . . well, you get the point. We don’t get that here. I mean, the title of this work is Sweet Obsession and Ellah suggests that this has to do with relationships, with love and the way it defines one’s outlook. Well, ordinarily, that would leave me running away screaming but here it actually seems to work, to an extent. I mean, if anyone’s seen their share of devastated relationships it’s yours truly, and I’m trying to keep the body count down to a manageable level these days, which is to say zero. But Ellah’s still young, still considering the possibilities and seems to have some interesting thoughts on the subject, without getting to cheesy. Of course, that Barbershop background might influence her a little, but the interests of the rest of the band seem to have tempered things a bit, so don’t get too frightened by the potential for "love" oriented ballads. And, of course, there’s that interesting "down under" voice singing the stuff which gives it a completely original perspective. I mean, have you ever seen those Australian women on the beach, damn, they can sing anything they want fars I’m concerned.

But, there is some nice lyrical quality to the work. Seems Ellah has been writing lyrics since about the age of 8. She’s one of those people who just gets a thought, sits down and writes something, and she’s pretty good at it. She’s not necessarily the one who writes the music here; there is something of a group effort there. But the thoughts are, for the most part, coming from her. And again, the lyrical approach seems to take a direction that is distinctly something other than American or English English, if that makes any sense. I mean, you do know they talk strange down there, right. And you get that distinctly original lyrical flow in the lyrics here, something quite appealing really, it’s just a little different.

The music is also distinct, from a number of perspectives. Not all of it, you get some nice symphonic sounds, keyboard based and otherwise, you get some nice guitar work and the drumming leaves little to be desired. But, you also get the oud, yea, the oud, that’s not a typo although I am into my 4th Cuba Libre. What’s an oud, you ask. Well, funny you should enquire, it’s a Turkish instrument, a cross between a guitar and a sitar; you mean you didn’t know that? But, it’s an interesting instrument, used on several tracks including the intro to the lead song Follow. There are other instruments, including a sitar, something I’m a little familiar with having seen Ravi Shankar at Monterrey in 67. There’s also an accordion and, and here’s something unique, a pan flute. You know, like those Greek Gods use to play while they were seducing young Greek women. I always wanted to learn that one, seemed like something every ocean lifeguard should be competent with. And, there are a few other instruments, this is not a musically weak production, you get a symphony of strange making sounds that not everyone can make. But, those are not the typical sound. For the most part, what you get is symphonic metal, pretty damn good symphonic metal, with a vocal that will not be totally unfamiliar for listeners who appreciate the music typically reviewed on this site.

Well, that music begins with Follow. I have a few videos but, in some instances, they’re live captures from a club down under, which generally means they’re not in the same league with a Nightwish or Within Temptation production in terms of production quality, especially the audio. But you do get a bit of the feel for that "Australian Progressive" or whatever we settled on, and a little listen to our Aussi lass in song, however limited. Believe me, these don’t compare with the audio quality we get on the CD. But, Follow does introduce you to the material, if in a somewhat limited a way. It’s one of my favorite songs on the CD, you start out with that ever popular oud, gives it a very different sound. But this bunch can crank with the best of them when the spirit moves, and a solid metal guitar soon combines with some solid keyboard symphonics to remind us that we’re in a neighborhood where we’re comfortable. The vocal, although a little different than Tarja, Floor and Simone, is no less interesting. And trust me, you can understand every word, a rarity in this type of music.

Lyrically, as I mentioned, you don’t really approach the everlasting darkness. But, musically, there is some of that feeling to some of the music. All Knowing Eyes certainly takes us to a place that would appeal to the inner Goth in all of us. Again, a somewhat different approach to the vocal sound, but a really nice keyboard thing. Epica never sounded better. And, we get a death metal vocal that, while is isn’t a big part of this music, is actually quite nice. And, you know how I value that approach. Some nice lyrical work as well:

Cry for me I hear / Your voices warring over

Everything I am / To you I am nothing
But fuel for your self worth

Probably some of the best kick ass metal as well, and it’s the "big sound" I love, lots of symphonics that are kind of required to keep up with Ellah’s big vocal. There’s a similar sound with Your Ghost which starts out with a "haunting" guitar / keyboard sound before moving to a duet between Ellah’s vocal and a male death vocal. The keyboards then begin to take charge, over a blistering drum roll, before moving to some more of those "Australian" vocals, something that just makes this music for me. Ellah has a vocal you just have to appreciate, and the background doesn’t hurt a bit.

Now, I wouldn’t say everything’s perfect here. We did have a bit of a tiff over one song. The title is Highlander and don’t get me wrong, it’s a beautiful song, one of the loveliest on the CD. I listened to it a number of times, I do treasure the beautiful, and this one hit the sweet spot. But Highlander, I mean, where’s the Scottish, where’s the Bonnie Prince Charles, where’s the damn kilt? Well, Ellah did have some explanation, seems the song was developed, was put into the act and was performed. . .all without a title. Then one day, it just got the title Highlander. Not that there’s not some nice lyrics, there are:

Seek not solitude in your war, dear / There can be only one
Life, it is all you have left now / The war without you 
It has now begun / And there can be only one

Nice but, Highlander does have some connotations for many of us, I’d have gone a different direction, but then who asked me.

One more that I really have to mention. The title is Joga and it was a highlight. Some of the best emotion from the vocals, some of the best instrumental work, especially with the guitars. I’m thinking this is the compromise approach Ellah was talking about, just enough symphonics, but with some other musical structures that set it apart. . .and, towards the end, some over the top metal. Seems like a perfect statement to what this music is all about.

Well, that’s Leadlight Rose, from that continent somewhere west of LA, I think. And here’s the good news. You can download the album for free, at this location:

Band Provided Link 

It’s great music, the price is right, and it’s the closest you’re going to get to Australia anytime soon, can’t beat that.

9.5  / 10

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