Ad Infinitum - Chapter I: Monarchy (2020)

The band Ad Infinitum was formed around the musical ideas and ambitions of Swiss singer Melissa Bonny, also known for her appearance in Rage of Light, who released their debut album last year through Napalm Records. On that album she proved to be a very capable vocalist and the whole band presented impressive proficiency in songwriting and creativity, but the electronic/trance infused style they used didn’t really do the trick for me. However, it piqued my interest just enough to have me keep my eyes peeled for this new project and it’s a great thing that it did because Ad Infinitum plays in an entirely different league. Does any of the words catchy, symphonic, melodic or epic sound like something you might fancy? If so, then hop abord without a second thought and I am willing to guarantee you won’t regret it for a second.

Chapter I: Monarchy, blends all the best components of symphonic metal and power metal with a strong element of theatrics, offering one of the most engaging albums I’ve had the chance to hear since the beginning of 2020. Since they are compared to the likes of Kamelot and Delain, the expected sound should be quite clear in the sense that they take a pretty accessible compositional approach with conventional song structures, hooky choruses and an impressive degree of orchestral flamboyance. What isn’t quite as predictable is the level of quality, maturity and originality that the newcomers are capable of boasting out of 43 minutes of music, easily competing with the leading names in the genre without replicating any of the previously seen approaches to the style but by putting together a new, refreshing sound that is entirely their own.

The key to Ad Infinitum’s unique and addictive sound is in their capacity to build and maintain a downright colossal momentum without making heaviness the core of their music. A lot of it comes from how the album is produced. I would dare say it has the best production value of all the albums released this year. The sound is clear and impactful, allowing all those nasty riffs, low-end chugs and blistering double pedals to drive the songs forward but the mix puts a lot of emphasis on the melodies and orchestrations, infusing the music with a sense of lightness and ease of motion that elevates the listener through higher auras of uplifting energy. The soothing, pure, almost tangible texture of the orchestration, both thick and transparent is on its own an absolute delight to your eardrum and the way the vocals and lead guitar melodies blend into it simply binds the whole soundscape into a full, cohesive and dynamic structure of skillfully refined sonic magnificence.

But while all that is gorgeous, let’s now take a closer look at the actual craft of these musicians. That intro! I’ll say it again. THAT INTRO!! In just one minute they evolve step by step through all the layers of sound that subsequently unravel throughout the entire duration of the album. From waving symphonic elements and infectious melodies to groovy hooks and massive breakdowns, the spectrum of flamboyant wizardry refuses to find any clear boundaries. I have to commend the drum performance as for me, it simply steals the show. Once drummer Niklas Müller sits behind that kit he can do anything from chilling in a basic kick-snare pattern to bursting explosive power metal kick patterns and even brief moments of blasting. But what makes his performance really stand out is the amount of groove, character and energy that he can breathe into what is undoubtedly the most un-emotional musical instrument, fiddling with syncopated polyrhythms, subtle fills of cymbal work and striking kick strums (See “Infected Monarchy”). Now that may seem like a lot of crammed nerding about but it actually isn’t because it’s driven towards complementing the songs and all these detailed elements don’t overpower the music but only occur sporadically in cleverly chosen key moments where the can just boost a flame into the soundscape. As far as guitars and bass go, they are not as dominant as you’d expect on a metal album since the symphonic elements take the spotlight for a lot of the time but instead, riffs are an equally balanced component along with everything else that comes into play. However, the groove on that bass during certain chiller moments comes through nicely and the guitar lead melodies and solos are of crucial relevance in providing the songs with the fiery nature of energy and passion that dominates the album. The impressive technical passages aren’t in full focus but still occur in almost every song, playing an important role in the expressive value of the music.

And don’t even get me started on the vocals! I am mesmerized not only by the silky texture of Melissa’s voice but also by the control she has over volume, range, grit and pronunciation, all directed to sustain superbly theatrical display of emotion, from epic and uplifting (Marching on Versailles) to dark and cynical (See You In Hell) or even slightly cheerful (Live Before You Die). And then there’s that occasional outburst of growls in certain moments to spice up the mix with just a dash of a death metal edge. Another thing I have to admire about this album is the approach to the symphonic component of the music. As with most bands in this genre, the orchestral background plays a crucial role in achieving the desired full-blown epic sound but in this case, it isn’t only aimed to sound big but also dynamic, diverse and expressive. You can hear various elements combined from swirling violins to grave cello tone, piano, keyboards and my personal favorite addition, pizzicato strings that simply trigger all of my brain’s reward centers (“Fire and Ice” is the best example). It doesn’t get sweeter than that.

“Chapter I: Monarchy” is intended to take the listener on a journey through history in the heart of Versailles and as far as I’m concerned, it succeeds without a shadow of a doubt. Every song on the album relates to a certain scene or occurring element in the time of Louis XIV. The plague masks in the “Marching on Versailles” video as well as on the cover artwork and the poisoning scene in “See You In Hell” (a favourite for many) are just the most obvious ones. While it’s not an exact concept album following a singular narrative flow, it does have that story-telling, soundtrack effect delivered especially by the cinematic nature of the symphonic elements and there are also a couple of spoken word sections that not only display Melissa’s strongest artistic dramatization but also allow the listener to really envision a scene and get involved in the vibe of the album. But if you can’t be bothered by lyrics, concept and historical vibes, I assure you that just the hooks, dynamics and energy of this album will be easily worth your time. Give this stunning debut a spin and I’m certain you will be back to hit repeat!