To get my main criticism out of the way, though, The Wonders Still Awaiting is too long. This has been a common problem with many albums in the CD era, but at just under 75 minutes Xandria could have exercised a little more restraint. There is nothing here that jumps out as being poor quality, but a more concise album would have likely hir harder. Despite this, though, there is a lot to like here. The album opens with the epic Two Worlds, a song which introduces the new Xandria line-up and sound well. It allows the band's trademark bombast to shine, building slowly from some gentle strings - before the guitars of Heubaum and Klawonn kick in. The opening guitar moments are weighty, showcasing the increased heaviness, but the song on the whole is pretty dynamic. Vourvahis is soon introduced, her verse vocals sitting against a chiming keyboard backing. Her voice, despite being quite smooth, has a warmth to it that suits the music. Her melodies during the verses have a playfulness to them, but this is fairly short-lived as the song soon becomes more of a straight ahead rocker. It builds nicely towards its chorus, which ups the heaviness again thanks to Gatsios' fast double bass drumming. Vourvahis approaches the chorus in a strident way, and it is a hooky moment thanks to her expressive delivery and the fast-paced approach. Elsewhere in the song, focus is placed on the band's riffing. There is a lot more focus on guitar-led passages than is sometimes common in symphonic metal, and there are some weighty instrumental sections here that include crushing riffs - whilst a short harsh vocal-led section continues this trend. Vourvahis' harsh vocals are generally used sparingly, but they do add a different edge to the band's sound - contrasting nicely with her more traditional approach used elsewhere. Reborn follows, which is the song that predictably re-launched the band last year. It is less sprawling than the album's opening number, but there is still plenty of the aforementioned heaviness. The riffing throughout is pretty high in the mix, whilst the strings and choirs take on a much more gothic tone - creating a surprising amount of darkness in what is essentially a hooky single. As always, Heubaum is also responsible for the album's keyboards - and his twinkling melodies create a bed for Vourvahis' vocals during the verses, which also feature a surprisingly prominent bass presence. Schwarz's bass adds depth, but generally the keyboards lead the way, whilst the guitars kick back in for the very Epica-like chorus. The approach to choirs during the chorus is very Epica-esque, and there are also similarities between the way Vourvahis sings and Simone Simons' more recent singing style. Reborn is poppier, though, but the influence is still there - giving the hooks a bit of an edge. There is room for a short guitar solo, too, although it is not clear who performs it. I note that the album's booklet also credits Malek Ben Arbia (Myrath) for 'additional lead guitars', so with three players to choose from the solo has to go uncredited here - as is the case throughout.
Another of 2022's singles follows in the form of You Will Never Be Our God. It opens in heavy fashion, with some harsh vocals and dark-sounding guitar patterns, but the song soon morphs into another up-tempo bombastic track filled with hooks. It features the vocals of Ralf Scheepers (Gamma Ray; Primal Fear), but saying he is used sparingly is an understatement - and I am not sure I would have noticed his presence if he was not credited. You can hear him during the choruses sometimes, but he never really gets a chance to shine. I am not sure what Scheepers really brings to the piece, which is a shame as it would be been fun hearing a proper duet between him and Vourvahis. Despite this, though, the song is still fun. It is perhaps less of a stand-out than the opening two numbers, but the chorus is another hooky moment - and the amount of harsh vocals does make the song distinct from Xandria's past. There is another fun guitar solo, too, showcasing the band's bigger approach to the instrument overall. Up next is the album's title track, which is a much floatier song - with the heaviness of the opening three songs reined in somewhat. It feels like the band have turned back the clock somewhat - with a much more keyboard-heavy sound and Vourvahis' vocals placed right at the front of the mix. The guitars take much more of a back seat, but the occasional lead guitar moment ensures there is some variation throughout - and there is still the odd slab of a riff to be found, although these moments are largely used for effect. The keyboards and strings generally drive everything here, but the lighter sheen is welcome following three heavier pieces. Ghosts then gets back to the album's trademark more fast-paced and heavier tones - but again still manages to include plenty of big melodies. There is a lot of Nightwish's bombast here, the stronger focus on guitar playing certainly sets the song apart from the legendary Finnish band - as does the sweeter approach to vocals generally, although, again, there is a brief passage that features harsh vocals. The faster riffing throughout, though, is still countered by lots of strings and soaring choral sections - so the lightness of the title track is not fully lost. The song is a great mix of sounds, then, with a good balance between heaviness and melody. The chorus is another soaring moment that brings the best out of Vourvahis - and it is one of the songs that stood out from the off thanks to its punch and hooks. Your Stories I'll Remember is the first real change of pace here, and it opens slowly with some delicate piano melodies. Vourvahis soon starts to sing gently against the piano, and there are also a few folky overtones thanks to some subtle uillean pipe melodies courtesy of Johannes Schiefner. Symphonic metal has often included folk elements, and this song is a great example of how the two sounds can sit together. Vourvahis' gentle voice is perfect for the song, but there are still heavier moments - such as the chorus which features more of a guitar presence. My favourite moment, though, is likely a great instrumental mid section which features some soaring violin melodies from Ally Storch (Haggard; Folkearth; Ally the Fiddle). These moments help to enforce the band's ballad-esque tendencies - and the folky touches add an earthy quality to the album that otherwise would not exist.
My Curse Is My Redemption gets back onto the heavier path again following the previous ballad, and the song is quite similar arrangement-wise to the album's opening few tracks. Generally it rocks pretty hard, but there are also quieter moments. It opens with some mid-paced riffing, creating a staccato rhythm thanks to Gatsios' double bass grooves, whilst the verses are a bit slower-paced - focusing more on keyboards and vocal melodies. Much of the rest of the song is quite heavy, though. The choruses are full-sounding, with some big, crunching chords pushing everything forward, whilst the soaring strings and choirs are never too far away to plug a gap - there is a lot going on throughout despite what seems on the surface like a relatively simple song. The arrangement is full and bold, and it makes the track another memorable moment. Illusion Is Their Name follows, and ups the heaviness again still further. It is one of the fastest and most venomous pieces here, and the guitar riffing is really pushed to the fore. Some of the riffing here would not sound out of place on a melodic death metal album, and Gatsios' drumming is suitably fast to account for that. The strings ensure that the song still feels at home on a symphonic metal album, but I really like how the band go for the throat here. The heavier moments throughout the album are often some of my favourites, and it is great to see the band further tweaking their sound here. There are also lots of harsh vocals throughout. The pre-choruses are packed with them, and there is a great harsh vocal-led bridge section later - which then explodes into a lengthy shredded guitar solo. Due to the no-holds-barred approach taken throughout, Illusion Is Their Name is one of my favourite cuts here. I would love to see the band develop this side of their sound further going forward - as the heaviness suits the new line-up, adding a touch of bands like Arch Enemy to their established sound. Paradise reins it back in, though, and returns to a more gentle sound. There is still plenty of weight throughout, but the song features a lot more keyboards - with Storch again returning to add her stringed instruments to the mix in a prominent way. The song is not exactly a ballad, but it certainly sees the pace slowed - and the song overall feels much more sweeping. The chorus has a cinematic approach thanks to the huge string backing - whilst the verses have an atypical sound due to some chiming clean guitar melodies. Another lengthy guitar solo is included here, too, and it builds on the emotional tug of the melodies throughout - pulling everything together nicely. Mirror of Time opens with a riff that recalls the heaviness of Illusion Is Their Name. It is not quite as consistently heavy, but the song is still an overall highlight. There is still quite a bit of heaviness throughout thanks to some great harsh vocals and a stronger emphasis on guitar leads - as well as another excellent bridge section which really embraces its Gothenburg influences. The best part of the song, for me, though, is the chorus. It is one of the hookiest here, and it really stood out from the off. It is surprisingly heavy despite its hooks, and again it demonstrates why I would love to see the band push this side of their sound more going forward as it could really become what helps set them apart from the crowd.
Scars slows things down once again, and, at first, seems like it could be the most stripped back song on the album overall. This does not turn out to be the case, but the slow opening does help to build a mood. The piano and strings set the tone early on, which Vourvahis once again sings over delicately, but this serenity does not last too long - as the guitars soon crash in and the song becomes another cinematic symphonic rocker. There are heavier songs here, but there is still a surprising amount of harsh vocals throughout. They are generally used to add depth, but their inclusion works well in my opinion - whilst the focus is still on a more melody-driven, symphonic approach, with another big chorus that the rest of the song is basically hung from. The Maiden and the Child picks up the pace again, and the bombastic song harks back to the album's opening few numbers - as well as the last couple of albums. It is a much more traditional-sounding symphonic metal song at its core - although the driving rhythms throughout give it plenty of punch. Like many of the album's best moments, it is the guitars that really drive everything. There are plenty of strings and choral moments here, but they are mixed into the background somewhat - which instead allows the guitars to shine. The riffing tends to be somewhat busier than is typical of the genre, but that has often been the band's approach throughout this album. It is not as heavy as some of the more melodic death metal-influenced moments here, despite a great harsh vocal-led bridge, but the heaviness still works in the band's favour - and it is a great overall mix of all of the album's key sounds. It could arguably be the song here that brings everything together in the most complete way, and it is another favourite. The album then comes to a close with its longest song, the nine minute-plus Astèria. The song is not significantly different from anything else here - but the length does allow for some of the ideas to be fleshed out somewhat more. Some of the more progressive ideas from the previous album also resurface, but this song is certainly not as technical as the material from Theater of Dimensions. The core sound here is retained, but there is more scope here - as well as more of a focus on atmosphere, with a few slower sections that feature contemplative strings before the next heavier section kicks in. Harsh vocals are used to add injections of extra heaviness, whilst there is another lengthy guitar solo to once again showcase the band's focus on the instrument here. Given the more progressive approach taken, there are a few more Epica comparisons that can be made, but that is not a bad thing in my opinion. There is enough of the album's core sound to ensure that the song is not just an Epica rip-off - and the vocals throughout still have a great pop sensibility despite the knottier and heavier arrangement. It ends the album in strong fashion, bringing everything together, and it is a song that helps to firmly establish this new era of Xandria. This album needs to be seen as a fresh start for the band - and arguably the beginning of their third era. Whilst it builds on the last few albums, it also feels like something new, with an approach to heaviness that was not present before. I would love to see the band explore this heaviness further going forward but, despite its length, The Wonders Still Awaiting is a winner for me - considering that I perhaps was not expecting too much given the turmoil that the band went through over the past few years.
The album was released on 3rd February 2023 via Napalm Records. Below is the band's promotional video for Reborn.
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