Leaves' Eyes' 'The Last Viking' - Album Review

Despite a number of Tarja-era Nightwish clones that sprung up throughout the late 2000s to capitalise on the Finnish band's success, I actually find symphonic metal to be quite a varied and diverse genre - certainly more so than many seem to give it credit for. While all of the genre's big hitters certainly share some tropes, as is the case with every genre of music ever created, I actually think that all of the main bands have distinct sounds - each of which brings something unique to the table and helps to make the genre as enjoyable and as vital is. In my view, Germany's Leaves' Eyes are one of the genre's big players. While they might have not broken through into the relative mainstream in a way similar to Nightwish, Within Temptation, or even Epica; the ever-evolving five-piece have been a busy and constant force in the scene since forming back in 2003. I think the thing that really sets Leaves' Eyes apart from the pack for me is their somewhat whimsical take on the overall genre. While the band's sound is still very grand and bombastic, it pushes for the epic and overblown far less frequently than the sound exhibited by many of their peers. There is a certain organic, rustic quality to Leaves' Eyes music - helped by a strong dose of folk that often weaves itself in between the more prominent symphonic and death metal strands of their sound. If any symphonic metal band's music was suitable to be played around a roaring campfire, the Leaves' Eyes are certainly the band to provide that soundtrack. The band's tales of Norse history are told in a grounded, less-fantastical way than one might expect; which suits the band's rootsier aesthetic. Even the band's forays into death metal feel more earthy and ancient than the tight and modernised sound that Epica favour; and everything really comes together to make Leaves' Eyes a perfect band for a cold winter's night. It is fitting then that October 2020 saw the release of the band's eighth album The Last Viking. Following two years after the excellent Sign of the Dragonhead (which I reviewed here), The Last Viking is the final instalment of a loose trilogy that started back in 2015 with King of Kings (which I also reviewed here), which chronicles real Norse history. The tales told here are gritty and without the mythological aspect that so often dominates any story set in that time period; and are brought to life perfectly by Elina Siirala, on her second outing with the band, and founding member Alexander Krull. Siirala really impressed on Sign of the Dragonhead and has turned in another excellent performance here; while Krull's harsh vocals are as demonic and rough-sounding as ever. Founding guitarist Thorsten Bauer and long-time drummer Joris Nijenhuis return here alongside Siirala and Krull, with new guitarist Micki Richter (Atrocity) also adding his talents to the release - keeping up with the band's tradition having at least one line-up change between each studio album! Three of the songs here were released last year as part of the Black Butterfly EP, but presented here in their proper context they feel much more at home - and part of the wider Norse saga the band have been telling over the past few years.

Before going into The Last Viking, it is worth noting that it is probably the band's most ambitious and progressive album to date. While Sign of the Dragonhead was essentially just the band doing what they do best to present Siirala to their fans, The Last Viking sees the band pushing their songwriting in slightly different directions - while still remaining true to the sound that has served them well over the years. The short, atmospheric opener Death of a King opens things up slowly; in a way which is rare for them. Leaves' Eyes are a band to usually kick off an album with big riffs and lots of energy, but the piece put together by Jonah Weingarten (Pyramaze; Echoterra; We Are Sentinals) builds up slowly and organically, with the spoken word from Susanne Dahle Johansen (Mørke) helping to really set the tone. Once it morphs into Chain of the Golden Horn however, the typical Leaves' Eyes sound is pushed to the fore in a big way. Bauer and Richter's guitars dominate; laying down hooky, folky, melodies; while Siirala's vocals take on a commanding presence. Songs like this really continue the good work established on Sign of the Dragonhead, the band's mix of jaunty melodies and crunchy metal rhythms once again proving to be a winning formula. Krull's pre-chorus vocals give the song the earthy energy that it needs, while Nijenhuis, who seems to be the drummer that has finally made the band's drum stool his own after a lot of previous drummers came and went in quick succession, drives everything with his fast footwork and precise grooves. The song might sound like Leaves' Eyes singles of the past, but that is only because the formula works so well for them - and it is a great way to kick off the album. Dark Love Empress slows things down somewhat, and goes for a mid-paced gothic/symphonic approach - with the choirs and orchestrations dominating while the guitars provide a tough backing. Leaves' Eyes have done the moody gothic thing before, but it has not been as big a part of their sound of late. There are a few songs here that bring the sound back however, and Dark Love Empress is one of them. As a result, it becomes a big showcase for Siirala. It allows her to show off her classically-trained voice perfectly - the grand song a perfect setting for her operatic delivery. Musically the song is built as a bed for her gorgeous melodies, but a lone guitar solo cuts through the mix towards to ape some of same melodies - which is the icing on the cake. Serpents and Dragons returns to the faster paces of Chain of the Golden Horn, but the song is much heavier - with Krull taking a larger share of the vocals. The verses are very much done in a call-and-response style between Siirala and Krull - while the choruses are choir-heavy with dramatic melodies that are some of the most bombastic in the band's canon. There is a lot going on here, and it showcases the progressive tendencies referenced earlier. The band have done songs like this in the past, but it feels much more assured this time around. The pace is constantly shifting throughout too. While much of the song is fast, there are occasional moments that slow things down to a heavy chug - which really allows the energy to hit home when the faster riffs kick in again.

Black Butterfly is much more typical of the band's recent output, with big melodies pushed to the fore and a chorus that sticks in the brain from the off. The version of the song present here is different from the one that featured on last year's EP of the same name - with Clémentine Delauney (Whyzdom; Serenity; Visions of Atlantis) lending her vocal talents to the track, duetting throughout with Siirala. Delauney's poppier delivery mixes well with Siirala's more operatic approach - while Krull's occasional barks add a dark, gothic contrast. It might not be the most energetic song here, but it is certainly one of the most melodic. It is a song that is clearly made for the stage, as the chorus is one that once heard will instantly be sung back by crowds - and as result it is one of the songs here that hit home during my first foray into the album. War of Kings is similar, but with a heavier overall approach to give the song a great balance between the melodic and the demonic. Krull's vocals are again given a greater presence, with the verses taking on a similar call-and-response approach to Serpents and Dragons - but with Siirala singing over more atmospheric sections; and Krull taking over once the guitars kick in. The approach works really well; and is carried forward into the chorus which is one of the album's heaviest - with lots of gang vocals to back up Krull's growls. In fact, it is one of the few songs here where I would say Krull's vocals ape Siirala's - he is really the star of the show here! The song's guitar solo is also one of the album's best too, with lots of great shredded licks mixed in alongside more melodic leads. There are certainly a lot more guitar solos than is usual for a Leaves' Eyes album here too, which might be something to do with Richter's inclusion - as he can be seen playing the solos in some of the band's new videos, something which Bauer usually exclusively handles. His influence might have lead to more solos, and I am certainly not complaining about their inclusion. For Victory ups the pace and throws in a few of the band's trademark folky melodies - going for an anthemic approach overall with more gang vocals in the chorus and plenty of heroic guitar leads. It might not be the most impressive or progressive track here, but for pure energy there are few better. The guitar riffs are surprisingly intricate however, but it is the folky leads that really impress; along with the chorus that is another moment that is sure to go down well live. Siirala and Krull team up well for the diverse chorus - the strident and potent melodies sounding fantastic atop the bombastic backing. The album then makes an about-turn following three 'bigger' sounding pieces with the short, low-key, mid-album break that it is Two Kings One Realm. It harks back to the album's opening moments with folky atmospherics and some rare delicate clean vocals from Krull that really fit alongside the dark percussive backing. The overall approach is another use of the band's older gothic sound, but it fits perfectly here as it is given a folky twist - and it provides a rare, but welcome, change of pace.

Flames in the Sky breaks the downtime however, but it builds on the atmospheric approach by morphing into a chugging mid-paced track that moves away from the band's overall folky approach and instead goes for a darker, gothic strut with layers of keyboards and mechanical guitar rhythms - at least during the verses. The choruses however are more typical of the band's sound, with faster guitar leads and Siirala's operatic vocals; but for me the song actually works best when it is at its most gothic. The band's core sound is represented better elsewhere, so it is the moments that actually break away from the mould that stand out the most - purely as they are somewhat different from the norm. My favourite moment here however is actually the Krull-led bridge. His harsh vocals sound as potent as ever, but the addition of some neo-classical guitar leads really bring the section to life, and it sounds quite different from anything the band have done previously. Almost in direct contrast to the approach of the previous two songs however, Serkland is classic Leaves' Eyes. This is the sort of song that the band have been writing in their sleep for the past decade or so, but the melodies and folky atmosphere make it instantly enjoyable. It another song that was debuted on last year's EP, but placed in the context of the album it hits home in a more powerful way - especially as its jaunty melodies follow a couple of darker, more atmospheric pieces. This is another song that is likely to be a winner when played live, and anyone who enjoyed the overall more direct approach of Sign of the Dragonhead will instantly latch onto the track. The main guitar/mandolin line is such a hooky moment, and the chorus melodies build on this - with Krull's occasional barks punctuating the gorgeous classical delivery of Siirala perfectly. It is fitting that Varangians follows on from Serkland, as the overall style of the song is very similar - with one jaunty folky track leading into the other. Varangians places more emphasis on Krull's vocals however, which helps to set the two songs apart. Siirala's vocals are still present, particularly during the poppy chorus, but overall this one of the band's few songs that place much more emphasis on Krull. Despite the abundance of harsh vocals here however, the song never really feels overly heavy. The folky melodies are so joyous, that even Krull's barks take on a similar feel. This mix works surprisingly well however, and the song is another enjoyable cut on an album that is packed with memorable tracks.

Night of the Ravens, the final of the EP tracks, is probably the least interesting of the three - but there is still a lot to enjoy here. It is probably the purest slab of symphonic metal here, and the song lacks the folky vibe that makes Leaves' Eyes stand out. I think it is this that makes the song one of the somewhat weaker efforts here, but I use the word weaker relatively here as the song is still enjoyable. The chorus is packed full of great melodies, and is very easy to sing along with, but the song as a whole lacks that special Leaves' Eyes touch. It is a song that could have been written by any of the Tarja-era Nightwish clones that I motioned earlier, and it just feels a little generic as a result. Krull is not featured at all, and the song is missing his earthy grit. His absence, and the lack of any folky goodness, mean that Night of the Ravens fails to hit home in the same way that most of the other tracks here do - but the melodies still ensure that it is enjoyable. The epic ten minute-plus title track gets the album back on track however. It is the longest song that the band have written to date, and it rivals the handful of epics that the band have penned in the past. Unsurprisingly, the band's progressive side is on display here - with the song a real mix of everything that has made the band great over the years. Slower, heavier sections sit side-by-side with faster, folkier sections - with the talents of Siirala and Krull both put to good use. The latter's harsh vocals are given plenty of time in the spotlight here, particularly during the slow-paced semi-choruses that recall his 'other' band Atrocity with their pure death metal fury. Some of the moments here are some of the album's heaviest, but there are also lots of great atmospheric moments that strip everything back for a bit of respite. These moments are usually fairly short-lived however, and often just act as a build up towards the next explosive riff or solo. The amount of great riffs and leads thrown into this song is impressive, and it reinforces my earlier observation regarding the increase in solos. The guitar playing on Leaves' Eyes albums has always been deceivingly inventive and diverse, but there seems to have been even more emphasis placed on it this time around - with The Last Viking including enough riffs, leads, and acoustic interludes to fill most albums. It is easily the band's most ambitious song yet, and it is one the album's real stand-out moments as a result. It is left to Break Into the Sky of Aeon to bring the album to a close however, which is a slow-paced slab of gothic metal - something the band have not attempted in such a way for quite some time. There is an old-school Tristania-esque sound on display here, and it is probably not since the band's 2004 debut album Lovelorn that Leaves' Eyes have sounded this gothic. Siirala's vocals are deliberately sweet here, harking back to that old-school sound, while Krull's growls are much more pronounced than usual - while a piano tinkles away in the background. I love this throwback to the band's early sound, and it works so well after the expansive and diverse title track that preceded it. It shows how progressive and varied this album is - and the old-school gothic doom of Break Into the Sky of Aeon is a perfect way to close it out. Overall, however, The Last Viking shows Leaves' Eyes both at their best and at their most creative. The album took a good few listens to truly grow on me, but I now think it is one of their best and worthy successor to the excellent Sign of the Dragonhead. It is not 'just' another Leaves' Eyes album, and I can only see my opinion of it growing as I spend more time with it over the next few months.

The album was released on 23rd October 2020 via AFM Records. Below is the band's promotional video for Chain of the Golden Horn.