(Translated with Google Translate and DeepL)
The word “progressive” and “avant-garde” are used in a naive way and should not be so because every time the idea of labeling a musical project with them comes up, you should ask yourself “with respect to what?” and you should realize how many times it is not appropriate to use it. This is not the case because to label Oh. and her Metallia with these terms is instead a due act. This talented Athenian girl has creativity to sell as well as being responsible and sober both from the point of view of the musical offering and from the point of view of the social and graphic, in short, the image.
This is an instrumental work unlike her previous ones, which focuses on the electric guitar but not so much, because the way in which all the background intervenes and therefore various types of percussions, strings, digital instruments, choirs is enormously present and an immense aid to the sound as a whole, thus avoiding making everything appear as the usual pile of virtuosity of the guitarist X ends up themselves.
The pieces are beautiful and give an idea of new, fresh, like a house where you understand that there lives a woman; it starts with the gritty “Red Lion” very Heavy Metal oriented, there is a video on youtube (not first and not last of a long series according to what she says), then follows “Bee” with its acoustic beginning that simulates just the flight of a small bee and then overflowing in a vast and swirling swarm of robotic wasps that really create a trippy atmosphere where the production has been done in a truly intelligent way, almost a “composition within the production” where there is a magnificent use of space, depth, panning etc…. (magnificent piece).
Androgyny is the third and is characterized by a main riff in palm muting with a wall of female choirs halfway between the sweet and the warrior; it is the one I see most combined with the cover, it gives me the idea of something mythical, a sort of song of the amazons in a modern key.
Resurrection, on the other hand, has a not-so-sweet taste of Devil May Cry, gothic and distorted, a truly successful distorted guitar combo and Requiem-inspired chorus that will bring us to the conclusion with the fiery and impressive epilogue of Dragon’s Kiss and Triumph.
Strongly a long time spent with music (I think it’s her sixth release) Olivia Hadjiioannou with this album she has made a name for herself and is taking home a high mark; it’s really nice to see how she manages to make her music and her image artistically original and is certainly more than worthy of support.