Pythia's 'V - Part 1: Unhallowed' - EP Review

The fact that my last two reviews on this blog, including this one, cover symphonic metal bands proves my recently made point - which is that I have started to listen to the genre again much more in recent times. A few of the big hitters stuck with me, but I did lose interest in the genre, alongside similar genres like power metal, for a while, and I have enjoyed revisiting some of those bands I used to listen to a bit more regularly. One such band is the UK-based symphonic metal act Pythia. In fairness, the band have been fairly quiet in recent years, so there has been little to drawn me in - but I do not think that, until earlier this year, I had even listened to any of the band's albums since I covered their last album, The Solace of Ancient Earth (which I reviewed here), back in 2019. I certainly enjoyed The Solace of Ancient Earth, although perhaps not as much as some of what had come before, and it relaunched the band following a rather major line-up overhaul - showcasing that the then new-look Pythia could still cut the mustard. Since releasing their fourth album, though, Pythia have been pretty quiet. They undertook a few shows in 2019 to support the album - but in more recent times they have only played a handful of shows, with the pandemic also likely not helping matters. I would imagine that Pythia are essentially a glorified hobby for those involved; which is not to belittle the band's efforts, more to acknowledge the unfortunate reality that many smaller bands find themselves in; and symphonic/power metal bands from the UK have often struggled to take hold. The genres are just not that well loved here for whatever reason, with most of the genre's big hitters generally relegated to one UK show per tour at one of the smaller London venues - and bands from the UK which try and make it in the symphonic and power metal worlds generally do not succeed. That being said, though, Pythia really should be more well known. Earlier this year, following the announcement of their latest release, I went back and relistened to all of their albums for the first time in many years - and really enjoyed what I heard. Their debut album, Beneath the Veiled Embrace from 2009, should really be seen as something of a minor classic of the genre - and the three which followed, including the aforementioned The Solace of Ancient Earth, are all very enjoyable. Only guitarist Ross White and drummer Marc Dyos remain from the band's early days now, though, but the current Pythia line-up has been in place for a number of years at this point - having debuted on The Solace of Ancient Earth. Given the band's many line-up changes in the past, and the general turnover of members that bands of Pythia's size tend to experience, it is surprising, but welcome, to find the same line-up in place in 2025 - and the current six-piece is therefore responsible for the latest EP V - Part 1: Unhallowed. Rather than release a fifth album, it seems, Pythia have decided to release their new material in chunks - assuming that, given the EP's title, at least one more part is to follow. EPs are often welcome, bite-sized additions to catalogues - and V - Part 1: Unhallowed finds Pythia feeling assured and together following their first outing as line-up six years ago. The band's classic and very traditional take on symphonic metal is very much intact - with frontwoman Sophie Dorman showcasing both some classical tendencies and plenty of melodic power.

Guitarist Jamie Hunt, bassist Ash Porter, and keyboard player Marcus Matusiak complete the line-up - with all six musicians pulling together on the EP's five songs to create a memorable 25 or so minutes of music. Pythia are not exactly breaking the mould with this EP, but as an example of memorable and often guitar-heavy symphonic metal there is a lot to like here. Kicking off with Unhallowed, choral vocals slowly fade into view - setting a gothic tone. As if to reinforce the band's somewhat heavier take on typical symphonic metal, though, a big guitar riff soon kicks in - which morphs into a lengthy and melodic lead guitar section, with precise leads providing an early hook before a shredded passage transitions between the intro and the song proper. Matusiak's keyboards still play a big part throughout, filling out the verses and providing some subtle melodies during a later pre-chorus, but these songs are generally very guitar driven - with the crunch from White and Hunt propelling the verses and the busy drumming of Dyos reinforcing the band's tougher approach. The song gallops along at power metal-esque speed, then, with the pre-chorus slowing things down somewhat to allow the aforementioned synth hook and a shredded guitar motif to shine - but both the verses and the chorus are largely fast-paced, with Dorman showing remarkable clarity of voice despite the speed. A later instrumental section kicks off with a power metal keyboard solo, before a shredded guitar solo takes over - reinforcing Pythia's general approach to busier instrumentation than is often the case in the genre. Path of Decay also opens somewhat slowly, with some haunting clean guitar melodies and shimmering keyboards setting an early tone - but it is not long before the rest of the band crash in, and another melodic guitar lead takes over to create a hook over a tougher backing. Compared to the opening track, though, Path of Decay is a bit more mid-paced overall. Dyos lays into his double bass drums a lot less here, despite some busy fills, with somewhat groovy riffing instead creating the song's character. The verses in particular allow the guitar riffing to shine, with Dorman singing in a slightly lower register over a mix of doomy chords and chugging riffs - before she transitions to something more akin to her usual delivery for a more bombastic chorus which is packed with busier drumming and ever-present guitar leads. There is more crunch during the guitar solo section, too, which is based around a simple riff and drum pattern - but this allows the shredded leads to really shine. A Curse in the Blood slows the pace down further, building on some of the doomier moments of the previous track - emphasising the band's heavier approach. There is no slow build this time, with a crunchy riff kicking in from the off, creating a lumbering sound which works well. The gothic side of the genre is showcased here, and the arrangement is allowed to be dynamic - with more spacious verses featuring chiming guitar melodies, more prominent bass, and percussive drumming. Despite this, though, the song never feels like a ballad - and there are similarities to early Within Temptation at times, despite a crunchier and flashier sound overall. Dorman's voice is always full of character, too, and the slower pace allows her to showcase a bit of emotion in the verses - before her classical-adjacent delivery spices up the heavier chorus.

Returning to a faster pace and a much more bombastic sound, Muses of the Night feels like Pythia at their most epic - and this is apparent right from the off thanks to some fast-paced riffing and shredded guitar leads. There is little of the tougher restraint that the band can often show, and this song feels a hark back to their early days - when Pythia were really attempting to produce something bombastic on a budget. They have always excelled at such a sound, though, and Muses of the Night is no different. The plentiful guitar leads throughout keep the song exciting, whilst Dyos really lays into his double bass drums and Matusiak creates plenty of symphonic textures with his keyboards. The guitars impress throughout with their crunch and dexterity, but really this is a song to showcase Dorman. The speed does not seem to affect her, and she is able to lay down plenty of hooky and clear melodies despite the overall pace - and she also utilises her most pseudo-operatic delivery on the EP during the chorus, which sees her hold a note for a long time against a galloping backing and shredded guitar lead only to later deliver another higher pitched line. The song is true symphonic metal bombast combined with old-school metal riffing and drumming - and this part of what I have always liked about Pythia. The EP then comes to a close with Bright Flame - which opens with Dyos' drumming, as he lays down a percussive, mid-paced beat, around which the song then builds. Reining in some of the bombast of the last song, the track returns to a crunchier mid-paced sound - with guitars and Dorman's voice soon joining the initial drum pattern. This groove is returned to throughout the song, but the arrangement is a bit more varied overall - with parts of the verses featuring piano melodies filling the gaps between guitar chords, whilst other sections feel more guitar-driven and groovy. Parts of this song are some of the most keyboard-heavy moments on the EP as a whole, which goes to show how guitar-focused Pythia tend to be compared to many other symphonic metal acts. This keyboard prominence helps the song to stand out, though, and Dorman's voice shines against this arrangement - despite her more than holding her own during the heavier sections. A later folky guitar melody heralds a bit of a change of pace, too, leading to a vocal bridge before a wah-drenched guitar solo takes over. The mix of crunch and a more dynamic arrangement is a welcome addition to the EP, despite the band's core sound still being apparent, and Bright Flame ensures that things end on a grounded and groovy note. Overall, then, V - Part 1: Unhallowed represents Pythia doing what they do best. It may not move the needle significantly on the band's overall sound, but following a six year gap between releases it is just great to hear Pythia still sounding vital and exciting - building on their past work. I hope that there are more songs from these sessions to follow in a future EP - and I would also like to catch them live in the near future, as it has been many years since I saw them opening for Sonata Arctica back in 2013.

The EP was released on 23rd May 2025 via Golden Axe Records. Below is the band's promotional video for Unhallowed.