Enemy Of Reality - Rejected Gods

Enemy Of Reality Rejected Gods cover
Enemy Of Reality
Rejected Gods
FYB Records
Enemy Of Reality is a new Greek band, that largely encompasses of a couple of ex-members of Meden Agan completed by several other members of local bands. Their chosen genre is symphonic metal, with their singer Iliana Tsakiraki, at other times going for an pseudo-operatic delivery and at other times for a more straight forward approach but her control fails frustratingly when she gets higher, resulting in some completely unstable wobbly unstained notes, that vibrate madly and her lower “clean”/pop vocals are at best very “difficult” to like, due to her natural singing voice not being very likable and slightly accented as well.
The songs themselves are not much better as they provide little variation in tempo or style and all of them following a rather similar pattern, with a very percussive nature, very much dominated by keyboards, (which is nothing bad by itself) but while there are some decent ideas here and there, there’s just too much homogeny and mediocrity all around for them to take root. Adding a host of guests, seems to break the monotony a bit, so there are Ailyn Gimenez (Sirenia), Mike LePond (Symphony X), Androniki Skoula (Chaostar), and Maxi Nil (Jaded Star, ex-Visions of Atlantis) also the intro was done by Christos Antoniou (of SepticFlesh – Chaostar fame).
Actually, the aforementioned “Medusa” is a pretty epic intro and “My Own Master” which it segues into and features LePond’s bass contributions, could have been a good track, if it wasn’t for the above mentioned crazy woobly vibratos and even a somewhat challenged tonality. I would not say it’s necessarily wrong, but a strained take, sounds “bad”... no matter what. The rather poor mix and overall finish provided to the project, leaves it sounding rather lifeless and “too soft” with the drums sounding distant and powerless…
“Lifeless Eyes” has a decent chorus, but really suffers a lot production wise, with both the guitars and keys sounding all over the place… everything comes in waves and it just feels like a big mess.
“Needle Bites” (feat. Ailyn Giménez) this one is more interesting, since here, the song is more like a duet of sorts, but for better or worse when Ailyn sings it sounds natural and beautiful. When Iliana tries to take the lead, it’s almost always a rather forced, pseudo/lyrical attempt, that almost always ends up in tragedy...
“One Last Try” funnily, I actually sort of liked this one, as it was, even with all the excesses in singing… I could take it all, it was all nice piano/keys and vocals until the resident wannabe Yngwie, decides to show off a bit between 2.30-3.30, without any really amazing results either... before normality resumes...
“Her Descending Ghost” has a very tiny good idea on keys, that the vocals duplicate, to keep the whole song going… and what’s next “Her Ghost in the Fog” then?! This song aparently begins a quadrilogy of songs based on the mytho of Orpheus and Eurydice.
“The Bargaining” (feat. Androniki Skoula) begins with a slightly more dark tone than usual and that makes me wonder if Antoniou’s hand had anything to do here as well... there are some vicious and dark male vocals as well, that are uncredited... the vocals are credited only to Androniki and she assumes the role of Eurydice here doing a rather spectacular job.

“Grief Divine” tries to copy the feel and to a point the vocal style of the previous song but into a rather quicker and quirkier song. It’s not entirely dismissible, but it not only feels slightly derivative but also a little “second”. This could also be the last song of a quadrilogy of songs, obviously beginning with “Her Descending Ghost” based on the Greek myth of Orpheus & Eurydice.
“Twist of Time” is full of double bass drumming and epic riffing, but must be one of the most underwhelming song on the album, feeling quite “under-sung”... for some mysterious reason, so as, as it was done in rehearsal.
Finally, “Step into the Light” (feat. Maxi Nil) begins with some not very well tracked vocals with heavy traces of accent. As soon as Maxi takes over it’s quite a different production. The most painful thing to hear in this “duet” was their attempt to finish the song in unison. Again, let’s say that Maxi is singing quite naturally and beautifully.
Over the top, under produced and mixed below international standards and bearing a lot of “sins” of making assumptions. Throwing a lot of guests into a project and making claims based on a couple of shows while making wild claims, is just showing desperation. Sure press quotes are valuable, but you need above all else to base yourself on your own worth. That’s what will decide who you are. And to me Enemy of Reality are just a band, that based on this debut, I doubt I’ll remember...