Released: Octo, Bakerteam Records
Reviewer: Metal-Rules.com UK Team
Sailing to Nowhere is a band coming from Italy that plays melodic power metal. What is also interesting to note is that this is the band’s debut album, coming out on Bakerteam Records.
The band itself is one that tends to stick within a mid-paced range (which most Melodic Metal bands tend to do) while employing two vocalists; one male and one female. Before you ask, no, this is not a “Beauty and the Beast” setup, with the male growling vocals and female soprano vocals. Instead, both vocalists keep it within the mid-range for the majority of the album. Even then, it is safe to say that the male vocals are more in the lead position than the female vocals, but it’s never dominated by one or the other.
The music itself is good. My one gripe right off the get go was the sound of the drumming. It just didn’t fit in with the rest of the band’s sound. It is something that you get used to as the album goes on, but the first song or two does feel a bit odd for the drumming.
The other thing to be aware of is the use of piano/keys on the album. It’s more or less to set the mood for the songs and fill in gaps when needed, as I found it to be refreshing for the overall sound of the band. In fact, many of the songs tend to open up with a keyboard intro (No Dreams in My Night, Big Fire, Strange Dimension, and Sweet Rain in particular).
While the overall presentation is well done, I found that slower songs were the band’s downfall. The male vocalist tends to do the singing for these songs and I’m not sure if it’s the lyrical content or the delivery of the lyrics but I found it to be a rough go for those portions of the songs. Luckily, it’s not for the entire song as its only parts of them, so they are easy to get through without much trouble. Although, it did drum of a similarity to earlier Visions of Atlantis songs with their slower pace.
When Sailing to Nowhere goes into a mid-paced or a faster pace is when the band excels. Although it does allow for solos, I found them to be appropriate but not jaw dropping. They fit the style of music without being too over the top, which is a good thing. A good example is the title track where it starts fast and stays like it for the whole song.
One thing I found odd was the addition of live elements in some of the songs. Normally at a live event, bands try to get the crowd to chant with lines such as “Hey! Hey! Hey!” and “Whoa-oh-oh-oh!” but these are actually done within the studio release. It’s an odd choice to make, but it’s few and far between and doesn’t take up too much time on any song.
Overall, this is a solid first outing by the band. It also helps that had a few people come in to give them a hand on the album, such as Terence Holler (of Eldritch), Leonardo Porcheddu (of Kuprij and Macaluso), David Folchitto (of Prophilax and StormLord) as well as Valentina De Iuliis (Ex-Belladonna). They look to be going in the right direction and should only improve on the foundation of what they have here.
Reviewed by Josh Moores