Album Review: DarWin – DarWin 3: Unplugged November 15, 2021.Single Review: Eliza & the Delusionals – “You” November 17, 2021.Album Review: Jesse Terry – When We Wander November 18, 2021.Single Review: Lina Cooper – “What I Gave to You” November 23, 2021.Single Review: Eliza Neals – “Sugar Daddy” November 25, 2021.Single Review: Kristian Montgomery & The Winterkill Band – “Secret Watering Hole” November 29, 2021.Single Review: Bridget Davis and the Viking Kings – “Highways” November 30, 2021.Album Review: Galactic Cowboy Orchestra – Flirting with Chaos December 3, 2021.Robert Lee – “Any Moment” February 13, 2022 Single Review: Anissa Lea – “Be My Baby” February 27, 2022.Album Review: Samo Salamon – Dolphyology: Complete Eric Dolphy for Solo Guitar April 25, 2022.Album Review: Dean and The Singing Blue Jeanne’s – Crossing the Boundaries May 1, 2022.Album Review: Stormstress – Silver Lining May 19, 2022.Album Review: Robert Lee Balderrama – The Great Hall of Smooth Jazz June 20, 2022.EP Review: Cain Rising – Jimmy and the Angels September 22, 2022.Other dates currently scheduled are April 21st at The Soundbox Tavern in Simpsonville, SC April 22nd at The Drunk Horse in Fayetteville, NC and September 23rd at the Female Metal Event in Eindhoven, Netherlands.Įnter your email address to follow this blog and receive new posts by email. This weekend, you can catch them on Saturday, January 14th as part of the Metal Meltdown at the M15 Concert Bar and Grill in Corona, CA.
The “tour dates” tab on the band’s website currently lists a few upcoming shows. Both songs leave me hopeful for a compelling next album. The band released a subsequent single, “Shade of Crazy,” in July 2016 that brought a heavier edge to Edge of Paradise’s trademark sound the song relies on the expressiveness of Monet’s voice to balance its extra heaviness. Next up, slated for a February release, “Alive” continues that full-on power while deploying an engagingly recurring heavy rhythm. Because of its uniqueness, this album takes a little time to become familiar, but it’s interesting right from the start, and the talent involved is unmistakable. With Immortal Waltz, Edge of Paradise has carved out an original sound built upon time-tested classic, progressive, and symphonic metal elements. And the album closes with Monet channeling Dio on the band’s booming cover of Black Sabbath’s “Children of the Sea.” “Goodbye” follows, its rhythm combining with a more progressive, symphonic instrumentation to create a song with a more theatrical flavor, trending back toward the songs from the earlier portion of the disc. And “Break Away” rides a ploddingly-paced progressive intro into its mid-tempo rhythmic power rock, a la “Rise for the Fallen,” providing a cohesiveness to this trio of songs. “Ghost,” which was initially my favorite of the bunch, soars and drifts a bit more between its moments of vocal power, while its instrumentation never really exceeds moderate heaviness, even as its axework occasionally blisters it’s an inspired mix of elements, in fact. The first, “Rise for the Fallen,” utilizes a catchy rhythmic hook, a variety of vocal techniques varied to meet the moment, and a classic rock-styled guitar solo bridge.
It’s followed by the trio of songs that initially attracted me the most, likely due to their well-constructed classic rock/heavy melodic metal cores, upon which Edge of Paradise adds its trademark progressive and occasionally-piercing vocal elements. As such, this is probably the most accessible track for reaching fans across genres and subgenres. There’s a classic heavy metal ballad on Immortal Waltz, too, “In a Dream.” The vocals here are Monet’s breathiest on this album, and the gentle music crescendoes to power in the chorus, about as metal ballady – and as effective – as it gets. It’s immediately followed by the most carnival barkerish track in the collection, one that’s become a personal favorite, “It’s My Showtime.” The rhythm is hypnotic, the vocals expressively follow suit, and a late-song blistering guitar solo carries the track toward its carnival-themed finale the overall carnival flavor (sans barker), however, is most pronounced in the next song, “Immortal Waltz.” Immortal Waltz starts strong, with Margarita’s vocal wail fronting a metal wall of music on “Perfect Shade of Black.” The expressiveness of her voice and the theatrical soaring, booming, and progressive-metallic axework and powerful drumming behind her establish a level of rocking that’s maintained throughout.
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