The Internet has its share of shenanigans, but can we agree that it’s also a great place for discovering decent metal?
I stumbled upon Nautiluz by watching Metal Topics‘ interview clip with the band. I was so amazed by the Peruvians’ power metal presentation that I decided to review their full-length, Leaving All Behind (2013). Brace yourself for an onslaught of dazzling instrumentation, doused with excellent chops.
“Somniac Lifeline” quickly introduces the mood of the record, which gives off a cinematic approach. Besides letting the record’s stellar production be known, “Under the Moonlight” lets drums pop and lets the singer’s dynamic range take control. The tones of “Burning Hearts” are more serious here and there, but its chorus is like a beacon of hope. As it drowns in harmonies, “The Mirror”‘s guitar shredding plows through most of the track.
“Unwritten Serenade” is a bit drowsy in tempo while remaining remarkable, as you may have guessed by its title. With the tribal drumming in the beginning, “The Bard (Antarabhava)” is the oddball of the album; on the other hand, it does something unexpected by skimming off layers to reveal a symphonic and progressive direction. Bringing the album to a standstill, “Chasing the Light” and “Leaving All Behind” are refreshing whirlwinds of intensity and color.
Leaving All Behind honors what most folks appreciate about power metal: That fantastical glow of hope surrounding lively shredding and triumphant vocals. That’s not to say this record is not without its surprises, though; “The Bard” heads for an edgy, festive landscape, and the duet featured on “Eden’s Lair” is a nice touch. The latter also proves Nautiluz has a knack for building impressive song structures. Key tracks to look out for are “Chasing the Light,” “Leaving All Behind” and “Under the Moonlight,” grabbing attention from the start. Plenty of trimmings sprout from Leaving All Behind, but they gel with Nautiluz’s talent. This is power metal that doesn’t feel forced; it’s simply empowering.