Seventh Wonder's 'The Testament' - Album Review

The COVID-19 downtime has produced quite a few musical surprises over the past couple of years. Whilst some bands essentially downed tools to hide out the storm, others used the time wisely by writing and recording new music. Despite this, though, I was still not expecting to hear anything new from the Swedish progressive metal act Seventh Wonder this year. The band have not exactly been prolific of late, and have essentially become a side project since frontman Tommy Karevik joined Kamelot in 2012. Kamelot are a busy band, particularly when it comes to touring, which has left little time for Karevik to dedicate to Seventh Wonder. As much I as love Kamelot, and think that Karevik is a great fit for them, it is a shame that this partnership has had to come at the expense of Seventh Wonder. Seventh Wonder have only managed to release one album since Karevik joined Kamelot, the excellent Tiara (which I reviewed here) which came out in 2018, and with Kamelot working on new music for an album due out next year I was certainly not expecting anything from Seventh Wonder until that was out of the way at least. I suppose the lockdowns allowed Karevik to work on two albums at the same time, though, as earlier this year it was announced that Seventh Wonder would be releasing their sixth studio album, The Testament, in June of this year. I was not sure quite what to expect from The Testament. Two of the band's three most-recent albums are dense, expansive concept albums (2008's Mercy Falls and Tiara); with the middle one, 2010's The Great Escape, containing a 30 minute-long concept piece with a few other stand-alone songs. I had wondered if the band would go down the concept album route again as it has served them well of late, but when the album dropped through my letterbox last month I was surprised to find it to be somewhat simpler in tone and style - albeit it with the classic Seventh Wonder sound very much intact. In some ways, the album sounds like an updated and more polished version of 2006's Waiting in the Wings - a song-based album that focuses on the band's love of a good hook and without any of the baggage that comes with writing a concept album. The band's two concept albums are easily my two favourite Seventh Wonder albums, but I also enjoy the band's simpler works, too. I use the word 'simple' loosely, though, as The Testament is still very much a progressive metal album. There is still a lot going on musically throughout the album, but it feels a bit tighter overall - as if some of the fat has been trimmed to allow the melodies to shine bright. There are a number of huge choruses here that bring the best out of Karevik as a vocalist, but the rest of the band also have plenty of opportunities to shine - with guitarist Johan Liefvendahl and keyboardist Andreas Söderin in particular getting lots of screen time with their impressive leads and solos.

Despite this, though, the album kicks off in a manner which is not all that typical for the band. Seventh Wonder have never been the heaviest of metal bands, but The Testament gets underway with the chugging Warriors - a mid-paced, groovy track which allows Liefvendahl to channel his inner John Petrucci with a heavy guitar riff. The band's trademark melodic sensibilities are still present throughout the song, but Warriors is a track that generally focuses on riffing and attitude over pop hooks. Söderin's keyboards generally provide an atmospheric backing rather than melodic leads, whilst Andreas Blomqvist's bass adds depth and the occasional flourish. It is very much a song for the guitarists, though, and Liefvendahl shines throughout. Karevik's vocal melodies are slightly grittier than usual; particularly during the cinematic chorus; but he still shines atop the riffy backing. The verses see him adopt the vocal style that he tends to use with Kamelot, whilst other sections see him utilising his more natural range - particularly during the chorus. A great Liefvendahl solo brings everything together, and the song kicks off the album in a fine and weighty manner. The Light is very much typical of the band's core sound, though. The pop hooks are pushed to the fore here, and the technical interplay between Liefvendahl and Söderin is present from the off. The latter's soaring keyboard lead during the song's intro is extremely infectious, and the rhythmic grooves that the guitars create during the verses is offset nicely by a bed of sparkling synths. Karevik sounds more like his typical Seventh Wonder self here, with his vocal melodies impressing from the off. The song's chorus is one that sticks in the brain after only a handful of listens, but for me it is actually the verses where he shines the most. He has such a unique approach to crafting vocal melodies, and The Light sees this talent fully utilised with some rhythmic melodies that are truly the light to the shade of Liefvendahl's riffing. Despite the poppier nature of the song, there is a lot more room for instrumental showboating here than in Warriors. A great solo section sees flashy playing from Liefvendahl, Blomqvist, and Söderin - with each taking the turn to solo impressively before the latter transitions the song into a piano-led mid-section which reintroduces Karevik. The Light is very much classic Seventh Wonder in sound and style, and it is one of my favourite cuts here. I Carry the Blame is another classic-sounding Seventh Wonder track, but it is more overtly progressive than The Light. It opens slowly, with a chiming Liefvendahl guitar arpeggio, which then morphs into a busy instrumental section that features lots of excellent bass playing from Blomqvist. I have always got the impression that Blomqvist is the de facto leader of Seventh Wonder, so it does not surprise me that the bass is generally more prominent in the mix than is perhaps typical. This is a big part of the band's core sound, though, and his lyrical bass playing gives them an edge - and really contributes to the band's melodic hooks, as they essentially have three lead players as a result. Blomqvist's bass dominates I Carry the Weight, with Liefvendahl generally joining drummer Stefan Norgren in the rhythm section to allow the bass and keyboards to shine. Pulsing keyboard stabs perfectly augment the busy riffing; whilst Karevik's emotional vocal delivery perfectly suits the denser track - with another hooky chorus showcasing his talents.

Seventh Wonder have always managed to suitably showcase their instrumental prowess within their melodic songwriting style, so going down the route of writing full-blown instrumental pieces has not generally been their thing previously. With the exception of some short linking and overture pieces on their two concept albums, Reflections is the band's first bona fide instrumental piece and it is a track that allows the four musicians to show off without having to fit their melodic leads in around the vocals. Despite this, though, the band's classic approach to melodies is still very much present. There is a lot more soloing throughout the song, as is expected, but all of the guitar and keyboard leads are similar in style to the band's usual vocal hooks - so the song still is easily identifiable as being by Seventh Wonder. Liefvendahl and Söderin tend to trade melodies and solos back and forth, with the rhythm section providing a tight groove that keeps everything moving at a decent pace. The song comes to an end with an atmospheric bass solo from Blomqvist - which then neatly transitions into the next song. The Red River picks up where Reflections left off atmospherically, with Söderin taking over on the piano to lay down a sombre intro. The song is not a ballad, however, and it is not too long before another big riff kicks in - and the track becomes a slightly darker take on the band's trademark sound. There is definitely a little bit of Karevik's Kamelot day job here atmospherically, and the sound overall is generally denser than is typical for Seventh Wonder. That being said, though, there is still enough of the band's core sound present to ensure that the song feels at home on the album. Söderin's keyboards still have an airy sound, despite the darker tones, whilst the chorus is still packed with hooks - even if they do not soar in quite the same way. That being said, though, the song transitions further towards the band's core sound as it moves along. A melodic solo section dispels some of the darkness, whilst a piano-led mid-section allows Karevik to sing in his more traditional range. As such, the song has a dynamic arrangement - which contributes to the overall light and shade of the album. Invincible dispels all of the darkness, though, and the poppy track is very much one that is made to showcase the band's approach to melodic songwriting. It is the shortest song here, clocking in at less than four minutes, and it is very much hook after hook - despite the odd off-kilter progressive metal riff. Karevik dominates throughout, and his carefree approach to vocal melodies is really allowed to flourish. The song's chorus is easily one of the album's hookiest moments, even though it does sound somewhat similar to melodies from the band's past. The song was clearly written to add some additional pop hooks to the album, though, and it very much succeeds at doing so - with the progressive side of the band's writing largely taking a backseat save for the occasional flourish.

Mindkiller reintroduces the band's progressive side, though, but it remains another hooky track that mixes heaviness and melody. The song is certainly heavier than Invincible, but it is not as a dark as The Red River. The song is somewhat similar to The Light in style, then, but it feels somewhat heavier than that song - largely thanks to the prominent bass playing of Blomqvist. This is another song that really pushes the bass playing for the fore, and it stands out as a result. Whilst the guitars and keyboards provide the main melodies and are generally playing leads throughout, the main riffs come from the bass. Everything plays around Blomqvist's gritty and driving performance, and it is this feature that ensures that the song really showcases the band's core sound in a big way. The vocal hooks are perhaps not quite as catchy this time, but the song's chorus is still a strong one - and the myriad of guitar leads and keyboard textures throughout help to keep the song interesting. The album's penultimate song, Under a Clear Blue Sky, is the longest track here - at just under nine minutes. The band have largely kept the overall length of the songs down here, but that allows Under a Clear Blue Sky to stand out - and it acts as the 'epic' on the album that allows the band to stretch out somewhat. It starts slowly, with some clean guitar melodies and some whimsical, lyrical bass playing, before it morphs into a mid-paced rocker with a busy guitar riff that is packed with melodic twists. The thing that makes the song stand out for me the most, though, is just how many hooks there are throughout. For me the song is one of the standout cuts on the album, and that is because there is always something new happening melodically. Karevik's vocal melodies throughout are in his trademark soaring style, particularly during the chorus which picks up the pace compared to the verses, whilst Söderin constantly changes things up with his many keyboard textures - be it synths or more traditional-sounding organ. There is a lot of soloing, too, and the bass playing from the song's intro returns during a lengthy instrumental mid-section that moves from an atmospheric bass solo into a hard-hitting riff-fest - which then transitions again into a slow-burning vocal-led section with chiming piano melodies. The song is a real winner for me, and it is a great representation of the band's talents both for melodies and for arrangements. The album then comes to a close with Elegy, its only ballad, which is a real vocal showcase for Karevik. Violin is added to the band's sound here, courtesy of Görgen Antonsson, with the sombre instrument adding significantly to the song's emotional pull. Karevik usual emotional vocal approach is used to full effect here, and there are few singers in the progressive metal world that convey emotion quite like Karevik. Elegy is a great representation of his talents, whilst Söderin's piano, subtle strings, acoustic guitar, and the violin all come together to create a great bed for his fragile melodies. It may seem strange to end the album with a ballad - but for me it really works. It has the feel of an end credits scroll, particularly following the epic Under a Clear Blue Sky, and for me it ends the album on a reflective high. It suits the album's relative simplicity, too, although there is still a lot to digest throughout as The Testament has a lot of different sides to explore despite its brevity. It is another strong release from the band, and something of a palate cleanser after three epic, lengthy albums. Fans of the band will find a lot to enjoy here, and those interested in seeing what Karevik does outside of Kamelot can do worse than starting their journey here.

The album was released on 10th June 2022 via Frontiers Records. Below is the band's promotional video for The Light.