By the time Chapter II: Legacy arrived in 2021, these elements had each diminished to a degree, with a more pop-oriented current running through several songs. The sound of Chapter I: Monarchy that I find so compelling is a symphonic metal approach with power metal leanings, along with a very particular regal grandeur that really elevated it over most of the symphonic metal scene. ![]() In preparation for this album’s release, I went back to review the band’s debut last month, and voiced the appreciation I’ve had for it since discovering it in 2020. However, even without any line-up shake-ups, Ad Infinitum have also changed in less superficial ways than these in the past 3 years. Despite the relatively short window of time between these albums, Ad Infinitum have changed the plaguebearer masks have been ditched by the instrumentalists in the band, who give off a more collaborative image in the new record’s artwork compared with the Bonny-centric cover of the debut, and the lyrical focus has shifted from the Renaissance era to Ancient Egypt. Swiss symph-metallers Ad Infinitum have been rather busy since founder Melissa Bonny successfully crowdfunded the recording of their debut album, Chapter I: Monarchy just over 18 months later, Chapter II: Legacy arrived, and there’s been a similar interval between that record’s release and that of the newest entry to their discography, Chapter III: Downfall. ![]() The Monarchy has fallen, but this album won’t be the Downfall of Ad Infinitum’s nascent Legacy.
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