Tunisian progressive/power metal pioneers Myrath return with their seventh studio album, “Wilderness of Mirrors”. Having won over the metal community years ago with the heavy, eastern-infused grooves of “Legacy”, the band has since leaned into a more overtly melodic direction. Following the footsteps of its predecessor “Karma”, this new ten-track effort features pristine production by Jacob Hansen and finds the band experimenting wildly with a variety of styles and influences.
The album opens with “The Funeral”, a highly cinematic piece featuring prominent African elements in the intro. While it checks every box of the traditional Myrath blueprint, the track ultimately sounds a bit too cheerful for its somber title. Facing death as a rebirth might explain the mood, but the distinct “Carolina IV” (Angra) vibe feels unexpected, though not inherently bad.
“Until the End” (feat. Elize Ryd) serves up a more familiar Myrath melody. It cleans up the sonic palette to make room for Ryd’s lovely vocals. Her duet with Zaher Zorgati works beautifully, driven by an energetic vocal pairing during the double-tracked chorus that easily justifies its selection as a single.
Next, “Breathing Near the Roar” sees the band digging deeper into their progressive identity. The main track flows great, though the choral arrangements framing the song feel a bit odd as initial bookends.
The reliance on choirs’ peaks during “Les Enfants du Soleil”, where a youth choir joins Zorgati during a soft intro and returns for the outro. While the thematic inclusion makes sense, the actual performance leaves something to be desired. Once the track picks up steam, however, it settles into solid, standard Myrath territory.
The album hits its stride in the second half. “Still the Dawn Will Come” stands out as one of the purest Myrath songs on display. Their unique power metal style gets bolstered by massive brass and orchestral swells during the chorus, creating a grand soundscape complemented by excellent lead guitar work.
“The Clown” delivers business as usual but wraps the track in an 80s pop/rock keyboard shell that works surprisingly well. The chorus is perfectly placed, and a traditional vocal solo (amanes) offers a nice throwback to older eras before transitioning into a smooth guitar solo.
The mandatory ballad, “Soul of My Soul”, opens with melancholic piano chords before building into a powerful, emotional chorus. It’s dynamic shifts beautifully, culminating in a massive wall of voices.
“Edge of the Night” benefits from a highly infectious guitar riff and build. It effectively blends the band’s core blueprint with the epic, symphonic style of Kamelot, featuring sparse choir hits that feel genuinely meaningful.
“Echoes of the Fallen” looks to the past while embracing modern production, merging symphonic, Arabic, and pop-goth elements into a combination that shouldn’t work on paper but succeeds in practice.
The album closes on a high note with “Through the Seasons”, which masterfully bridges the band’s different eras. It is guitar-heavy and complex, yet entirely accessible. Here, the symphonic and oriental elements feel fully embodied in the main melody rather than just ornamental—evoking “Legacy”-era material with a heavier edge. Chef’s kiss!
At this stage of their career, Myrath faces a creative conundrum. They clearly want to avoid sounding stale, yet they are somewhat entrenched in a stylistic prison of their own making. Fortunately, “Wilderness of Mirrors” proves that they can escape those self-imposed bonds more often than not, delivering a diverse and rewarding listening experience.
