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Metal - Released February 7, 2020 | Napalm Records Handels GmbH

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This sixth studio album from the Dutch symphonic metallers is the follow-up to 2016's Moonbathers. With more of their trademark melodic metal, powered by the stunning vocals of Lotte Wessels, it features some of the heaviest material they have recorded in years, such as the epic, brutal single "Burning Bridges." ~ John D. Buchanan
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Rock - Released September 16, 2016 | Rhino Atlantic

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Rock - Released October 21, 2016 | Rhino Atlantic

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Rock - Released September 16, 2016 | Rhino Atlantic

Pomp metal doesn't come any more, well, pompous than Delain's, as was made apparent on the Dutch ensemble's very first offering, Lucidity, released in 2006 by Roadrunner Records. That's because Delain are the brainchild of former Within Temptation keyboard player Martjin Westerholt, whose lengthy experience and considerable contacts helped him marshal a veritable army of vocalists and musicians to perform on this album (as stated above, this was an ensemble more so than a band), which goes some way toward explaining why it sometimes sounds like there's an entire symphony orchestra whose members are elbowing each other in the studio. An orchestra, it should be noted, in which guitars most definitely play a secondary or at least subservient role to Westerholt's omnipotent keyboards, and, in combination with the surprisingly slack, one-dimensional pacing heard throughout, really dampens Lucidity's appeal for the metallic audience (most will be fast asleep by the time the energetic "A Day for Ghosts" arrives near the end). Amidst all this, it's apparent that singer Charlotte Wessels has a very lovely voice, as pure and powerful as any other Euro-metal diva, but ultimately lacking enough individual identity to stand out from peers like Sharon den Adel and Liv Kristine -- both of whom make cameos here. The same is true for her supporting cast, and so the incredibly lush orchestration and operatic grandeur found on "Sever" and "Sleepwalker's Dream" wind up smacking of vintage Nightwish (Marco Hietala's intolerably forced guest vocals on other cuts don't help), while the violin-like articulation and Cristina Scabbia-like tones heard on "Frozen" and "Daylight Lucidity" definitely bring Lacuna Coil to mind. Worse still, closer "Pristine" is only narrowly saved from a fate worse than Evanescence by some unexpected Cookie Monster growls, which come from absolutely nowhere, and return there just as quickly. All this, in sum, amounts to an extremely poised, professional, beautifully executed album, sadly lacking in personality, but for anyone oblivious to the many bands it footnotes, Lucidity could very well feel like an all-out masterpiece. ~ Eduardo Rivadavia
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Metal - Released February 19, 2016 | Napalm Records

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Rock - Released June 4, 2012 | Roadrunner Records

"To pomp or not to pomp" has never been a question for the members of Delain. The Dutch group led by former Within Temptation keyboard player Martijn Westerholt has been preaching portentous melo-symphonic-goth-metal since their "diapers & demos" days -- so much so that even the style's considerable target audience seemed to need the evidence of a few albums before being convinced they should take Delain seriously. In any case, good things come to those who wait, and Delain's third, 2012's We Are the Others, may just be the opus that connects the dots for all parties -- not least because the band has reigned in those excesses somewhat and streamlined their songwriting to earthly levels mere mortal listeners can grasp more easily. For all their continued commitment to instrumental sophistication, potential singles like "Electricity," the title track, "Hit Me with Your Best Shot" (no relation to the Pat Benatar classic), and "Get the Devil Out of Me" are governed by catchy choruses, infectious synth lines, and lyrics of self-empowerment that any insecure teenage girl in search of a strong female role model can relate to (cue the emergence of vocalist Charlotte Wessels as a more confident presence center stage). Granted, none of these tracks possess quite the earworm power of Nightwish's biggest hits (and, should it not be obvious, the Finnish chart-toppers are still the horse to beat in this Euro-female-fronted pomp rock race), but Delain is getting closer and closer. And if Nightwish is still just beyond the group's reach, Delain is arguably already running stride-for-stride with next-best peers such as Lacuna Coil, via electronically spiked material such as "Milk and Honey" and the lovelorn "Where Is the Blood," featuring an unlikely cameo from Fear Factory's Burton C. Bell, wherein lies much of its eyebrow-raising appeal. It's ultimately the latter track, along with more forceful guitar-driven fare like "I Want You" and "Not Enough," that will probably appeal to metalheads seeking something a little less schmaltzy -- further proof that there's a little something here for almost everyone. So call it a play for the mainstream, or, perhaps less callously, a true multi-genre crossover: by whatever terminology, We Are the Others feels like the album that will finally draw a significantly expanded audience to Delain's door. Pomp and awe, indeed. ~ Eduardo Rivadavia
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Metal - Released August 26, 2016 | Napalm Records

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Metal - Released April 7, 2014 | Napalm Records

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Rock - Released June 1, 2012 | Roadrunner Records

"To pomp or not to pomp" has never been a question for the members of Delain. The Dutch group led by former Within Temptation keyboard player Martijn Westerholt has been preaching portentous melo-symphonic-goth-metal since their "diapers & demos" days -- so much so that even the style's considerable target audience seemed to need the evidence of a few albums before being convinced they should take Delain seriously. In any case, good things come to those who wait, and Delain's third, 2012's We Are the Others, may just be the opus that connects the dots for all parties -- not least because the band has reigned in those excesses somewhat and streamlined their songwriting to earthly levels mere mortal listeners can grasp more easily. For all their continued commitment to instrumental sophistication, potential singles like "Electricity," the title track, "Hit Me with Your Best Shot" (no relation to the Pat Benatar classic), and "Get the Devil Out of Me" are governed by catchy choruses, infectious synth lines, and lyrics of self-empowerment that any insecure teenage girl in search of a strong female role model can relate to (cue the emergence of vocalist Charlotte Wessels as a more confident presence center stage). Granted, none of these tracks possess quite the earworm power of Nightwish's biggest hits (and, should it not be obvious, the Finnish chart-toppers are still the horse to beat in this Euro-female-fronted pomp rock race), but Delain is getting closer and closer. And if Nightwish is still just beyond the group's reach, Delain is arguably already running stride-for-stride with next-best peers such as Lacuna Coil, via electronically spiked material such as "Milk and Honey" and the lovelorn "Where Is the Blood," featuring an unlikely cameo from Fear Factory's Burton C. Bell, wherein lies much of its eyebrow-raising appeal. It's ultimately the latter track, along with more forceful guitar-driven fare like "I Want You" and "Not Enough," that will probably appeal to metalheads seeking something a little less schmaltzy -- further proof that there's a little something here for almost everyone. So call it a play for the mainstream, or, perhaps less callously, a true multi-genre crossover: by whatever terminology, We Are the Others feels like the album that will finally draw a significantly expanded audience to Delain's door. Pomp and awe, indeed. ~ Eduardo Rivadavia
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Rock - Released March 23, 2009 | Roadrunner Records

Symphonic metal with prominent pianos and a glamorous female singer -- that would be an unwieldy name for a genre but after enough years of bands that clearly wore their copies of early Gathering CDs into the ground, still appropriate. Thus the sophomore effort by Delain, which has all the flair one would expect for a band that might be the new Evanescence or the new Birthday Massacre or its own self. Or something else again, but the elements on April Rain won't surprise many -- Charlotte Wessels' sweet, soaring vocals; the chunky but polished rampage of the band; the half-AOR, half-snarled thrash; plus, of course, orchestrations galore, as "Stay Forever" delivers from the start. It's an album to enjoy for its ability for the obvious -- for newcomers it might be less so, of course, so it's a chance to enjoy the big pomp and Euro-metal guitars in their own right. Everything does seem like it should be soundtracking the latest Underworld movie, no bad thing necessarily. ~ Ned Raggett
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Metal - Released October 27, 2017 | Napalm Records

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Metal - Released November 15, 2019 | Napalm Records Handels GmbH

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Metal - Released August 1, 2013 | Napalm Records

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Rock - Released March 23, 2009 | Roadrunner Records

Symphonic metal with prominent pianos and a glamorous female singer -- that would be an unwieldy name for a genre but after enough years of bands that clearly wore their copies of early Gathering CDs into the ground, still appropriate. Thus the sophomore effort by Delain, which has all the flair one would expect for a band that might be the new Evanescence or the new Birthday Massacre or its own self. Or something else again, but the elements on April Rain won't surprise many -- Charlotte Wessels' sweet, soaring vocals; the chunky but polished rampage of the band; the half-AOR, half-snarled thrash; plus, of course, orchestrations galore, as "Stay Forever" delivers from the start. It's an album to enjoy for its ability for the obvious -- for newcomers it might be less so, of course, so it's a chance to enjoy the big pomp and Euro-metal guitars in their own right. Everything does seem like it should be soundtracking the latest Underworld movie, no bad thing necessarily. ~ Ned Raggett
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Metal - Released April 7, 2014 | Napalm Records

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Metal - Released August 26, 2016 | Napalm Records

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Metal - Released February 22, 2019 | Napalm Records Handels GmbH

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Metal - Released September 27, 2019 | Napalm Records Handels GmbH

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Metal - Released January 24, 2020 | Napalm Records Handels GmbH

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Metal - Released August 12, 2016 | Napalm Records