Aryem – Agnes
Aryem – Agnes
Self-Released
Release: 10/04/26
Words: Jon Deaux (who has listened to this record approximately eleven times and is still not sure if they need a lie down or a margarita)
Score: 7/10
I will confess: I came in expecting to see ARYEM filed under competent Symphonic Metal, probably with dragons on the artwork somewhere, destined to age like a Nightwish B-side. To an extent, I got exactly that. But to an equal extent, this record proved that to be a spectacularly misguided prediction, and that is precisely why it succeeds.
ARYEM are from Mexico. And that matters more than anything else about their music. It takes them about six songs to convince me of this, but that’s really all that holds up to criticism.
‘Agnes (Intro) / Event Horizon’ — Karen Mendozza and Javier Díaz trade vocals with an elegance and theatrical restraint reminiscent of Agnes. Tastefully done. Setting a mood. Great stuff. Then, Event Horizon arrives: full Symphonic Metal orchestra, soaring vowels, Luis Arturo Echegollen’s drums performing as per expectation. Carlos Avilés’s guitar playing is fine; Diego Heero Maaginen’s bass does the expected. Everything is perfectly put together and sounds like Nightwish, once upon a time. Symphonic metal. Competently done. Nothing wrong with that.
‘Do You Feel Worthless Yet?’ — Oh, there it is. There it is. Here we find ARYEM going completely crazy with big band swinging brass arrangements and lyrics that could never possibly sound this happy. It’s a biting, theatrical delight. Sitting comfortably in between two fairly conventional Symphonic Metal tracks, like a rude guest at a dinner party that is undoubtedly the most interesting individual around.
‘In Love With You / Sellout’ — The record returns to something of its normal self here, although Sellout’s modern, futuristic vocal effects and general rhythm are a refreshing change of pace. Good tracks, certainly not bad, but not tracks you’ll recall immediately after the first listen. Not every song can be a swinging brass provocation.
‘Holding On’ — Here is the point when the ’80s Synth Rock influence shines through, and it’s executed well. The breakdown with choirs behind it and the piano interlude constitute one of the album’s most beautifully crafted emotional peaks. If you have sobbed over a John Hughes movie, then this is for you — not ironically. And it earns its time.
‘Into Gravity’ — More typical Symphonic Metal material. The addition of a male lead vocalist here does something subtle but cool. It introduces a bit of Power Metal influence, hinting at vocal dueling in the process and reminding us that the band has more range than previously demonstrated.
‘Son del Alma’ — Yes. Right. Here. Now. This is it. This is the track. It opens with what sounds like a jarocho harp, and then commits entirely to its musical identity, which the other tracks have been teasing all along. And suddenly, ARYEM cease being a “good Symphonic Metal band with a few nice touches” and become something truly unique and irreplaceable. The Latin music influences, which have been hinted at so far, are here given their rightful power, making this an experience like no other in Symphonic Metal. It sounds different. Sounds like where the band comes from. It is the thesis statement of the entire record, coming halfway through, and everything before it is prologue, everything after it is consequence. It’s fantastic and a little unfair to everything that precedes it and follows.
‘Battleground’ — The long shadow of Son del Alma falls over this track. Nothing bad, certainly. Structured and built competently, with choirs doing their usual work and excellent drumming. But following the sheer glory that came just minutes ago, “competent everything” sounds like tap water following mezcal. This track holds together, but doesn’t distinguish itself.
‘All That’s Left Of Me (Nightflowers) / You Won’t Miss Me’ — The gothier portion of the album. Nightflowers goes for atmospheric, post-Evanescence-style Gothic Rock and succeeds admirably. ‘You Won’t Miss Me’ is a ballad that allows Mendoza to show her vocal range, particularly in transitioning from quieter to more forceful sections. If you’ve ever created a playlist to listen to at 2am while sobbing because someone totally deserves it, this belongs in that playlist.
‘Nefilim’ — Velocity, power, and opera come together here at the end of the record in an appropriate surge of energy. This track invites the comparison to Epica and is a fair one to make. The choral arrangement and overall sense of momentum provide a proper late-album intensity spike before the band choose an unusual way to end.
‘Not Enough for You’ — Straightforward, but does everything needed here and nothing more. No complaints.
‘Lapsi Kuoleman Maailman (Outro)’ — Another great track, but one performed entirely in Finnish with accordion instrumentation. It’s a strange choice. And a human one. Pressed a button and went for it. And it’s wonderful. Like something out of the Nightwish album “Imaginaerum”. Exactly the kind of left-field punctuation that makes you want to talk about this record with another person.
Agnes finds the band struggling between the safe, well-trodden paths of competent Symphonic Metal and the daring use of their uniquely Mexican influences. In the end, the latter wins hands-down. What this record proves, more than anything, is that ARYEM can do this. The question now is whether they’ll try it again.
TRACKLISTING
01. Agnes
02. Event Horizon
03. Do You Feel Worthless Yet?
04. In Love with You (04:28)
05. Sellout
06. Holding On
07. Into Gravity
08. Son del Alma
09. Battleground (04:28)
10. All That’s Left of Me – Nightflowers
11. You Won’t Miss Me
12. Nefilim
13. Not Enough for You
14. Lapsi Kuoleman Maailman
LINKS
Disclaimer: This review is solely the property of Jon Deaux and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
