Magion - Close to Eternity (2010)

Magion - Close to Eternity

We all have our favorites. Some like Country Western, some love rap (although for the life of me, I can’t figure out why), some like the Classic rock material, there’s all kinds of directions out there. But, on this site, there tend to be some generalities that hold across the music. Obviously, there is the female vocal, which is the common denominator. And, there is the metal, you really tend to need a guitar or two, some drums and a base to keep things moving. Beyond that, you can diversify with regard to what floats your boat. For many of us, there is some interest in at least one of the following, a gothic sound and message, a symphonic background, an operatic female vocal, a death metal male vocal, sometimes more than one. I have to say I enjoy all of them, along with some corollary items that can add spice to the overall sound and take it in a variety of directions. That’s the beauty of this music, it really is music, it really is interesting, it really is, in most instances anyway, pretty solid from a number of perspectives. And that brings us to our discussion of Magion, and their initial release Close to Eternity.

The problem with Magion is that they cover way too many of the descriptors listed above, and the do so at the top of each category. You want the music, you get a top-notch band with a drop dead killer vocalist, absolutely as good as it gets. You want the gothic, no problem, the sound is there, and the lyrics cover some interesting territory and are worth listening to. The symphonics, outstanding. The death vocals, well, not here, not really, although there are some male vocals, some approaching the Scandinavian direction. And then, to top it all off, we get production that is world class, this work was recorded at Excess studios in Rotterdam, the same studio that has worked with After Forever, Gorefest, Ayreon and Epica. Then the cd was mastered in Sweden by Dan Swanö whose credits include Bloodbath, Opeth, Edge of Sanity, Millencollin, Katatonia, Novembre. Not a bad pedigree. Oh, and lest I forget it, the artwork is devastating. It is produced by the Brazilian artist Jobert Mello and has to be seen to be believed.

Magion takes hold of you from the first note and holds you till the last. You are taken for a 60 plus minute ride through the absolute top levels of the symphonic operatic gothic musical landscape. There’s just nothing here that isn’t first class. The CD begins with Tabula Rosa, a pure classical work that features the instrumental capabilities of the band. You get a real solid introduction to where you’re headed, even before you get to the vocals which are truly the featured element of the music. As the introduction winds down, the drums kick up, the metal takes hold, the drama increases. Our vocalist is another flaming red haired beauty from the Netherlands, one Myrthe van Beest. And she is a musical beast. This is another in a long line of Dutch sopranos that define excellence in this musical genre. Her vocals here are overlaid, in the truest tradition of the Excess Studios and the master mixer Dan Swanö. And they take off like a 747. The musicians of Magion are all top drawer, and it takes a seriously solid vocalist to stay with them. Myrthe does it with room to spare. Thirteen leaves you gasping for air.

The following selection, Greed, slows down the pace, but the vocals still pound, the sound being more metal than operatic. This variation of style is one of Myrthe’s greatest capabilities. She can go from one style to another in a New York second, it’s almost hard to keep up. And the musicians keep up with this variance, the guitars lead one moment, the keys the next. But, it is the vocal that holds your interest, it is riveting, telling stories of darkness and devastation, the hurt of the world, the pain of existence, the desire to overcome and understand. They don’t directly follow the lyrics we get from the Scandinavians for the most part. According to Myrthe, the band’s lyricist, "They are mostly about love. But indeed not the ‘I love you so much’ happy' kind. I am always intrigued by the darker side of love and what effect it has on our (normally so stabile) minds. Love can make you do crazy things and push you to the edge. It is stronger than our rationality and that's why it is such a frightening thing. I have lost myself many times due to love and I believe that it can really tear people apart. In my lyrics I wonder why we would go that far for something that is so illusive and unreliable. I always amaze (or dissapoint) myself when it comes to this topic and I guess it will always be one of my main inspirations for writing my lyrics." So that’s what drives the stories, but each in it’s own way proves interesting.

You can chose your favorite songs based on a number of criteria, depending on your personal preferences. You can look for a stronger instrumental selection, you can go with the heavier numbers, you can select one of the more vocally interesting, or you can focus on one whose lyrics catch your attention. For me, there were a couple that stood out above the rest. One was Almost Immortal, a nearly 10 minute epic that begins with a pounding guitar that leads into the symphonics that serve to float much of the Magion sound. The guitars continue to drive the sound forward and begin to fade only when the soaring operatic vocals of our red haired songstress take us to new places. Magion is certainly representative of much of the Dutch gothic scene, and if you’re looking for influences, look no further than Tarja and Nightwish. Myrthe reveals that her direction comes from Tarja, The Gathering, After Forever, Within Temptation and Tori Amos. No bad vocalists there and Myrthe can stand with any of them.

Another strong offering is Song for the Living, a shorter number but stronger in the lyrical sense, if not the musical. Myrthe suggests this is a more gothic number. She calls it "a more fictional piece. It's about a soul who lingers on earth just to see her loved one move on way to easily. She stays earthbound to make him remember her, but out of sight is out of mind and he forgets about their song." And the lyrics take us to that dark place:

Hear the sound of the church bells
They don’t sing for me
Hear their sound in the distance
Forgotten melody
I never thought the end would feel like this
I never thought you would forget our last kiss
Nothing more, a distant memory
All that is left of me
I heard the sound of the church bells
When we said goodbye
Play their song for the living
Their grief was just a deceitful lie

Beautiful words and beautifully delivered. And the music is inspired. There are layered vocals that carry the storyline. And the instrumental parts are equally impressive. Guitars crunch, the keyboards howl, the drums pound. The production again leaves nothing to be desired.

There are no deficiencies in this music. Everything you ever wanted, and all done first rate. Eleven songs and each stands on it’s own. Add to that the breathtaking art work and you have nothing short of a masterpiece. You need only go to the Magion Website  to view this outstanding work, as well as listen to some of the music and view videos. And it is well worth the time.

Magion...Bravo Bravo Bravo

copas from http://www.soniccathedral.com/webzine/index.php?option=com_content&task=view&id=475&Itemid=35

Tracklist:
1. Tabula Rasa
2. Thirteen
3. Murder of Innocence
4. Greed
5. Game of Madness
6. Lost in Reality
7. Forever Mine
8. War of Hearts
9. New Season
10. Almost Immortal
11. Song for the Living

TKP

password : bidadariku