In my estimation, “Riders on the Wind” is probably one of the finest songs the band has recorded since its inception, with Siirala’s melody lines floating atop both full and rich instrumentation and a driving and head-bopping rhythm. For me, a handful of tunes really stood out, their choruses and riffs proving happily memorable and annoyingly repeating in my head at the oddest of times. So bravo to the band members for selecting a gifted vocalist who could jump aboard ship (a Viking vessel, no doubt) without causing any serious disturbances in the otherwise calm and consistent waters.Īnd as always, the material the band chose to record for this new album is often spirited, typically melodic, and generally better than numerous other female-fronted groups in this genre, with several tracks going above and beyond. In fact, had I not known prior to hearing this album about the change in lead singers, I might not have noticed anything different. Siirala voice, I am happy to report that her range, tonal quality, and manner of delivery are in keeping with what I’ve come to expect on all Leaves’ Eyes’s albums. So, with Sign of the Dragonhead being my first exposure to Ms. Now, although vocalist Elina Siirala is not entirely “new” (having already appeared on the group’s 2016 EP Fires in the North) she’s new to me since I hadn’t heard that particular release. Especially-as in the case of Leaves’ Eyes-a highly recognizable sound, thanks in no small part to singer Liv Kristine, who’d fronted the group since it burst onto the scene in 2004. But when a singer, the very voice of the band, changes from one album to the next? Well, things can (and often do) take a drastic turn when it comes to an act’s overall sound. I mean, no one generally notices whenever a keyboardist, drummer, bassist, or guitarist is replaced in most groups, unless that particular musician is so utterly unique as to have a trademarked sound. In general, a band altering a lead singer is always risky business. Yet when it comes to Sign of the Dragonhead, there is one notable difference, one that had the power to seriously alter the band’s style since the previous album (2015’s King of Kings), and that’s the addition of a new vocalist. High production standards, complex song arrangements, often-bombastic orchestrations with choirs and the inclusion of whistles, fiddles, bagpipes, and archaic instruments such as nyckelharpas, and stellar musicianship grace each new Leaves’ Eyes’s release, thus allowing fans to know exactly what they will be getting without even having to sample tracks before making the purchase. This staunch consistency, however, is not without its problems, which I’ll address below, yet on a positive note, it makes the group instantly recognizable.
One thing I can say about Leaves’ Eyes-despite the occasional lineup changes through the years, the group possesses an unwavering style, and one that is moderately enjoyable, for the most part.