Whilst I am not sure that Karma will be for everyone, I have really enjoyed it since the off. It is easily the band's most accessible album to date; and it feels as if the band looked back at Believer, Legacy's lead single, and decided to make an album essentially consisting of songs just like it. Some of the band's progressive trappings take more of backseat here - but soaring choruses and uplifting rhythms are plentiful. It does run out of steam a somewhat towards the end, but the first half of the album in particular really shines. Kicking off with To the Stars, the sound of the band is initially much more stripped back - with the dry riffing of guitarist Malek Ben Arbia and prominent bass tones of Anis Jouini opening things up. The band's lush sound is certainly present and correct throughout the album, but To the Stars is perhaps not as bombastic as is typical - but its driving tech metal rhythm and gritty vocals from Zorgati help it to hit home. There is an accessible heaviness throughout, then, but Codfert's keyboards still add plenty of Eastern melodies throughout - even if it is the guitars and the popping bass which dominate here. This is easily the most vocally-focused album from the band to date, so Zorgati is constantly in the spotlight. He is a fantastic vocalist, though, so he steps up to the plate perfectly - with an urgency during the riffing verses before slipping into soaring power metal mode during the chorus. The chorus sees the band's grander approach take on more of a role, with dancing strings and subtle choral additions - but the main bombast is saved for later. A keyboard solo injects some further Eastern melodies, but generally the track is harder edged and more riff-happy - which creates a strong contrast between the huge vocal hooks and the modern, dry riffing. The band really open things up with Into the Light, though, which could well be my favourite song here. It takes everything Believer did in 2016 and ups the ante considerably. It is jam packed full of hooks, but it never overwhelms the listener. The song takes a more symphonic approach than the opening track, with Codfert's keyboards and strings dominating - whilst the guitar riffing tends to take more of a backseat. Ben Arbia still provides a strong rhythm during the pulsing verses, though, but Zorgati steals the spotlight here - whilst Codfert also shows off with some excellent keyboard flurries which help to accent the vocal lines, particularly as the chorus is approached. There are quite a few huge choruses on this album, but Into the Light's is likely the best. The band's usual sense of drama is fully realised here, with Zorgati really pushing himself vocally as the Eastern melodies swirl around him in a theatrical manner. There is also a pretty proggy piano-led instrumental section, too, which sees Codfert laying down plenty of classically-inspired melodies against a frenetic backdrop - whilst long-time drummer Morgan Berthet clatters around his kit.
Candles Cry is more mid-paced, with snappy guitar rhythms creating a strong groove - whilst synthy strings create their usual North African melodies. The song is less bombastic than the previous track and it instead goes for a groovier approach - which gives the guitar more prominence, as well as a great emphasis on Jouini due to the occasional bass run and riff. There is still plenty of atmosphere throughout, but the keyboards are generally more subtle when they not providing the main hook, which allows the song to feel like it has more of a dynamic approach. The funky guitar riffs only add to this feel throughout and the song also includes more of a lead guitar approach later on when Ben Arbia reprises many of the synth hooks as part of a solo. The chorus is another hooky one, too, and the track is another memorable cut on the album. Let It Go ups the pace and overall attitude, as the piece has more urgency throughout despite the plethora of hooks and the diversity in the overall arrangement. Of the songs featured so far, it feels the most progressive arrangement-wise. The opening guitar and synth pattern creates an energy from the off, and this kinetic vibe is continued throughout - even as the verses take on a surprising Toto-esque feel with a prominent bassline, keyboard accents, and the odd surf rock guitar addition. An Eastern edge stops the verses from feeling pure AOR, but there are certainly shades of that here - whilst the chorus returns to the heavier opening and adds a huge vocal hook over the top of it. This kinetic intro forms a great chorus as a result of its energy and drive - plus Zorgati's vocal melodies play off the synth patterns perfectly, with a later key-changed rendition really showcasing this. A busy guitar solo from session player Pierre Danel (A Few Seasons Later; Missing Pride), who also co-wrote some of the songs here and helped out with the arrangements, adds some shredded melodies to the proggy piece - and Let It Go shows that the band can still be explosive despite the more accessible approach. Words Are Failing feels a bit slower overall and the song takes a much poppier approach - with plenty of effects on Zorgati's vocals throughout and sections which feature plenty of smooth synths and simple drum patterns. There is much less of the band's bombast throughout significant portions of the track, but there is still a heaviness when needed. The opening hook is brooding, with tough guitars and melodramatic Eastern melodies - but the verses are generally much more modern-sounding, although later renditions do feature some pretty busy bass playing. Parts of this song may be a bit sugary for those who want Myrath to sound heavier and more complex, but for me the balance between the sweet verses and the heavier chorus is well struck - and there is a frantic, shredded guitar solo later in the track which features Ben Arbia letting rip over Berthet's fast-paced drumming.
The Wheel of Time feels much more progressive, though, with many of the more accessible moments from the previous songs stripped back to present a bass-led, mid-paced, atmospheric slab of power metal with genuine groove and a tricky arrangement. There is still a huge chorus, though, which is very much in-keeping with the rest of the album but much of the song feels more old-school Myrath with plenty of emphasis placed on the rhythm section and traditional percussion - with Jouini standing out with some funky and slapping rhythms. These sections are much more atmospheric and downbeat than is typical here - so the chorus, which is pretty uplifting, acts as a contrast to the grooves and atmosphere found elsewhere. A fat, riff-led section later adds some weight - whilst a Pink Floyd esque moment with some swelling slide guitar melodies adds depth. There is a lot going on throughout the song, but it all hangs together nicely - making it one of the most interesting cuts here. Temple Walls returns more to the album's core sound, but it is the first song here which does not really grab me all that much. Where Myrath have really excelled on this album is in the chorus department. All of the best songs here are centred around soaring chorus hooks - but the chorus here does not flow all that well, despite a few of the individual hooks sounding pretty strong. None of the musical motifs are all that strong either in my opinion. There are some decent rhythmic moments, but neither the guitar riffing nor the synth melodies are that memorable - and the track fails to grab hold as a result. Ben Arbia's guitar solo is fun, though, but the track fails to live up to what came before. Child of Prophecy really gets the album back on track, though. It was the single which really got me excited for the album - and the dynamic song is a real winner. At first it seems as if the song is going to be a power ballad, and some may class it as such, but there is too much riffing here for me to truly consider it a ballad. It opens slowly, though, with Codfert's piano and Zorgati's voice setting the tone - before Ben Arbia crashes in with a slab-like riff, which defines the rest of the verse. There are plenty of string melodies and additions here, too, so there is a lot of atmosphere throughout - but the mix of the piano-led sections and the riffier moments are what the make song really tick for me. It is not all that complex, but the sense of light and shade is welcome - and there are links back to the band's more progressive past here. The chorus is another winner, too. It is perhaps not as bombastic as is expected, but I think that actually works in its favour. The song smoulders more as a result and Zorgati's emotionally-charged chorus delivery is a big part of what makes the track great - especially a later rendition which is more stripped back. It is one of the songs here which I have come back to the most since the album came out - and it is a great example of how to do a more interesting arrangement whilst still remaining hooky.
For me, though, the album does not reach such heights again - with the closing three cuts being something of a step down. The Empire is a bit denser atmosphere-wise, but its mix of Eastern melodies and some sections which sound strangely poppy in a Western sense makes for an odd combination. Production-wise, this track has really been drenched in sound. The opening guitar and bass riff is pretty memorable, but there are so many layers of synths and strings here that parts of the track feel swamped. Codfert's production is generally excellent, but I think this song is a bit of a misstep production-wise. It just feels a bit overproduced at times - with Zorgati's voice struggling to compete during the chorus. Heroes is better though, and the track just feels much more metallic overall - with a driving guitar rhythm from the off. The verses are surprisingly frantic and urgent, then, with little of the band's usual dense atmosphere and Eastern melodies. The guitars and Zorgati's voice drive everything, then, with only a subtle atmospheric approach taken - at least until the chorus crashes in and something more hooky and large-sounding takes over. The chorus is not as strong as some of the others here, but it is still pretty powerful - with some simple, soaring vocal hooks and a strong piano backing. It is my favourite song of the closing trilogy due to this melodic approach and the fact that the track conjures up plenty of energy with its riffing and overall vibe. The album then closes out with Carry On, which is more of a slow-burning atmospheric piece - with the occasional heavier section adding depth. I like the overall approach, which feels more dynamic, but I am not sure that all of the pieces here fit together that well - and the heavier sections feel quite doomy which is not generally an approach associated with Myrath. It is good that the band have tried something different here, but it lacks their usual bombastic approach. As such, the overall atmosphere feels at odds with the rest of the album - and the chorus hooks are actually a little on the annoying side after a while, especially given the strange effects on Zorgati's voice. It is my least favourite song here, which is shame as it does mean that the album closes out on a weaker moment. It is not awful, but it feels like an experiment which has not paid off - and it lacks the band's usual feel-good and soaring vibes. Despite this misstep, though, the album in general is really good. Whilst Legacy is a stronger album with a more fulfilling sound, the simplicity of the hooks here make Karma a really fun listen - and I can see the album gaining quite a bit of traction in the power metal world. I do feel like the band have shaved away some of their uniqueness here, but the hooks throughout are undeniable - and this is an album I can see myself coming back to a lot.
The album was released on 8th March 2024 via earMusic. Below is the band's promotional video for Into the Light.
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