Country: Netherlands
Sub Genre: Progressive Metal, Experimental, Avant Prog, Classical
Release date: May 9, 2012 (digital), June 3, 2013 (CD, Layered Reality Productions)
Tracklist:
1. Cordyceps
2. Providence
3. Hourglass
4. Filling the Void
5. Inheritance
Line-up:
Laura ten Voorde - Violin, Vocals,
Ruben van Kruistum - Cello,
Franc Timmerman - Lead vocals, Grunts and Growls,
Wabe Wieringa - Guitar,
Christiaan Bruin - Drums,
Dennis Burgemeester - Bass,
Laurens Hoppe - Keys
Description/Reviews:
First conceived by classical violinist Laura ten Voorde when straight-up classical music was not doing it for her, Adeia melds elements of classical music with progressive metal. You have got to love a band that sandwiches Opeth in between Rachmaninoff and Simon & Garfunkel in their influences list.
A line from their own bio says it best: “They created a sound comprised of classical melodies, progressive rock elements and a nice dose of heavy grunts, growls and guitars.” The first few minutes of “Cordyceps” had me wondering how this album had made its way to me; it was all violin and piano and clean, light vocals. Then at about 2:14 everything changed. Suddenly the guitars started getting heavier and the vocals were much more rock-oriented. Ok, now we were getting somewhere. By 3:23 the vocals went harsh and I became very interested.
It seriously sounds like they took some classical music, some Pink Floyd and some Opeth and threw it in a blender. I suppose given the current state of Opeth this does not sound like an unusual thing, but these are three very distinct sounds that are all cohabitating in the same space at the same time, as opposed to evolving over a span of years like the Opeth sound. Mixing all these elements is not a new concept in metal music, but somehow Adeia manage to make it seem unique. (George Washburn at metaldisciple.com)
Also read review at
soundoftheunderworld.blogspot.co.uk
Media/Samples
Entire album online
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