One of the qualities of an artist, especially a musician, is their integrity: refuse any compromise with market requirements. However, whatever may be said, some metal formations sacrifice to these facilities by creating a music that meets the expectations of the public. This is fortunately not the case of Kells, which traces its way with its “modern metal” label replacing the “neo symphonic metal” crowded with large emphatic cavalcades often associated with the last term. Favoring a balanced mix between a traditional neo metal and some classical elements, Kells is back with an album titled “Anachromie”, and a new drummer (Julien Nicolas).

Line-up:

• Virginie Goncalves - vocals
• Patrick Garcia - guitar
• Laurent Lesina - bass
• Julien Nicolas - drums

Tracklist:

1. Bleu
2. Se Taire
3. Illusion D'une Aire
4. L'heure Que Le Temps Va Figer
5. L'asphalte
6. Emmurés
7. Quelque Part
8. Le manège déchanté
9. Cristal
10. Addictions
11. L'Autre Rive
12. Nuances
13. L'écho
14. Furytale
15. On My Fate

Far from the atmosphere Melancolico-zen“Lueurs”,“Anachromie” strong of a production of Ted Jensen(Metallica,Alice In Chains), chooses aggression and despair throughout the thirteen tracks plus two English versions of the single “Se Taire” (“Fury Tale”), and “L’heure que le temps va figer” (“On My Fate”), concessions to foreign markets which bring nothing to the original versions, however, if scoring advantage in mind as repeating at the end of the album two songs of music most representative of the latter.

However, the alliance neo metal/orchestrations which was the originality of “Lueurs” is no longer a novelty here nor the interest of this album, the vast stylistic innovation lies mainly in the singing of Virginie. She seems to have found a balance in her singing. Suddenly, the lyrics are much more audible (without being more understandable) and the singer allows herself some vocal intensity variations which go up to the scream. Yes, you read that right. If, on “La Sphere”, the lovely let it to Candice of Eths, here she decided to showcase the versatility of her own organ. We can find that she puts some across without them being really relevant nor necessary, but the tigress roars are not less impressive, and all metal singers (and a fortiori symphonic) will not be able to claim to have had the boldness to do it. Similarly, the mixing operates superposition of different types of voices that complicate the outcome by bringing contrasts between the different registers of the singer.

If we find no major changes in the length of the tracks, they are however better exploited, and although, the intros are still quickly done, the ends, however, are more elaborate, they even got some effective transitions (this is the case between “L’Autre Rive"and ”Nuances“). Overall, there are a few glimmers of memories which are really appreciable, sometimes the group expertly distilling atmospheric passages (”L’Heure que le Temps Va Figer“), sometimes conceding to engage clearly in the symphony for our greatest pleasure on securities as ”L’Heure que le Temps Va Figer“ or ”Emmurés“.
Thus, the parallel with “Lueurs”is often required in a natural way, but ironically, it doubles with details that involuntary reference to “Imaginaerum”, released a month before. For example, the music box intro of ”Bleu“, or the sound of clock in ”L’Heure que le Temps Va Figer“, but the comparison stops there because we’ll think more to Lacuna Coil, sometimes “Comalies” (interlude on ”L’Asphalte“), sometimes“Karmacode” (the oriental style of ”Illusion d’une Aire“), and this, as much for the guitar as for the singing. The violin of ”L’Autre Rive“, meanwhile, bring us back almost to the first Sirenia, while curiously, ”Cristal“ evoke the Cocteau Twins in a metal style, giving this piece a curious and attractive singularity, that of a goldsmith chiseling at the guitar and engraving at the battery a jewel sparkling in the voice of Virginie.

As on “Lueurs”, each piece develops an atmosphere in accordance with its title, unfortunately not always very noticeable under the saturation (and we willingly leave their dose to drug addicts of ”Addictions“). What a pity that many of the titles embroider on the same recipe of a neo frontal technique but not always original, cyclic making it repetitive, this neo who made the success of the previous album as its monotony! But here, although sometimes we seem to hear the same chords, no weariness. ”Le Manège Déchanté“, its voices of children, the intriguing invitations of Virginie and its unpredictable piano; as the short and curious ”Nuances“, that bears his name well, with his male singing… and rapping that will surprise more than one. These daring don’t stop Kells to finish with ”L’Écho“, which, far from being a conclusion’s ballad, do not deny some more rock chords to close the album smoothly.
Some could regret the reluctance of Kells to use the orchestrations, but we can praise their artistic integrity and their desire to create music that does not actually belong to symphonic metal without completely abandoning it. As such,“Anachromie”  like“Lueurs”deserve our attention; they are examples of what we might call the para-Symphony.

In conclusion, Kells keep the good and tried to make it better, did they succeed? I would likely say yes, and not only because I’m French. The voice of Virginie is still not the most understandable one, but she is sure really great. This third album is solid and personal. They’ve got a label of choice to supports them. With a good public to follow and some coverage from the media, the band could enjoy a well-deserved success. Wishing them to become even better for their next album!

Highlight: Cristal, L’Autre Rive, L’écho