By Carl Begai
Get past the fact the title for Delain’s new record sounds like an episode of the Teletubbies, and that the artwork is perhaps better suited for a ’70s hippie album than a metal band, Moonbathers is the all-important next step in a career that could have easily – some might say should have – wheezed and died years ago. Diehard fans will argue that Delain’s 2012 album We Are The Others yanked them out of symphonic metal obscurity, but it was The Human Contradiction two years later that made Delain big deal players on an international scale. That record stood head, shoulders and elbows above anything Delain had offered previously and set the bar for the follow-up pretty damn high, particularly since the album’s appeal led to major tours with Sabaton and Nightwish, guaranteeing maximum exposure. The fan-fuelled jury will weigh in over the coming months on whether the band succeeded in meeting the challenge, but from a former fence-sitting convert’s point of view Moonbathers is even more diverse than its predecessor, the song-writing top notch. And give Delain an extra point for having the audacity to cover the Queen classic “Scandal”.
Founder / keyboardist Martijn Westerholt, who started his career as a member of Within Temptation way back when, agrees that the 2016 Nightwish tour through North America was one of the best forums possible to introduce new material to Delain’s growing fanbase, which was one of the reasons for releasing the Lunar Prelude EP early this year.
“People were asking when we were going to tour again, and they were asking when we were going to release new material. We can only do one thing at a time, but we thought ‘Why don’t we do both?’ and chopped the album production in pieces. That way we had some material for the new tour, and it was a good warm-up for the album. The response from the fans was great. Most of the time, doing a support tour means that you lose a lot of money on it because you have to pay for expenses, but we had amazing merchandise profits on the Nightwish so we were able to cover our costs. That’s something that is very rare, so it’s a good sign to see whether people like the new music or not.” Continue Reading
By Carl Begai
There was a time not so long ago when Delain was relegated to being a Dutch symphonic metal afterthought, regarded by the “experts” as a wannabe Within Temptation with a startling lack of balls and no identity. Unkind words indeed, which were eaten and subsequently choked on when the band unleashed The Human Contradiction in 2014. It didn’t merely open the door for Delain; it carved the band its own private entrance to the bigger leagues. So it goes that the follow-up, Moonbathers, was expected to fall just short of The Human Contradiction’s mark because, let’s face it, lightning doesn’t strike twice when a band is put under that kind of pressure.
Like bloody hell it doesn’t.
Having never bought into Delain’s keyboard-driven metal, The Human Contradiction was a wonderfully addictive surprise that flew in the face of my regular playlist (with the exception of Amaranthe). Perhaps it’s the freshness of the Moonbathers material, but the band has taken their songwriting and performances to a new level, particularly where vocalist Charlotte Wessels is concerned. The album grooves, bounces, croons and crushes its way through 11 tracks, displaying even more diversity than what The Human Contradiction brought to the table (which was considerable). “Hands Of Gold” featuring vocalist Alissa White-Gluz (Arch Enemy) – the only guest appearance on Moonbathers – is the perfect lead-in as a continuation to the previous record, with Wessels carrying the track through soaring melodies and gritty voice. First single “The Glory And The Scum” shows off a heavier, darker side to Delain that crops up time and again over Moonbathers’ course, contrasting sharply again the softer tracks like “Chrysalis – The Last Breath” and “The Hurricane”. The deeper you go the better the album gets, peaking with the three-point blast of “Fire With Fire” (fast and heavy), “Pendulum” (crushingly anthemic) and “Danse Macabre” (exceptional). It can’t be stressed enough that Wessels has come into her own as a singer, using her voice as a full-on instrument to bring a welcome new dimension to the Delain sound. The tribal chanting on “Danse Macabre” alone is a goosebump experience. As for the cover of Queen’s “Scandal”, the song is tailor made for Delain and guaranteed to become a live favourite. Continue Reading