I found another great progressive symphonic metal, female-fronted band from France. The band is Hartlight, and they are about to release their second full album, The Triumph of Metal, on February 28, of this year, on the Kvlt Und Kaos Productions label.
The band combines members from Switzerland and France, and currently reside in Avignon, Provence, France. Hartlight started back in 2019, and released their first album, As Above, So Below in 2024.
The band is very much into alchemy, and considers their music the Alchemical Sanctuary of Hartlight! The band members include: Adrien Djouadou, on guitars, backing vocals, bass, drums, duduk, and programming; Noémie Allet, the lead vocalist and also a bass player; Guillaume Remih, the drummer; and Adrien Guingal, on guitars. They consider themselves: “This female-fronted symphonic progressive metal band from Switzerland and France, and they invite you to embark on an emotional and spiritual journey through alchemical and esoteric wisdom with their powerful, heartfelt sound!”
The Triumph of Metal, wastes no time getting to the point. In fact, the title song is the opening track to this ambitious symphonic-progressive metal album. Noémie Allet’s voice is quiet, sophisticated and delivers both power and emotion simultaneously. The music sounds like a great mix between the guitar improvisations you remember from Rush and the symphonies created by Dream Theater. Imagine that blend of music set together with a dynamic female voice, often backed up by a male growl from Adrien Djouadou. Noémie sings, “The voice of ancient stones echoes. In the burning flame of the present. Thousands of stars are dancing in the crucible. They are born and die in a second”. Later she sings, “You are the grail. The Triumph of Metal. Obey your ideal of great love. Choose the struggle over stagnant rest. Be the soldier the soldier of your desires”.
She completes the epic opener with, “Take the staff of wisdom. Wear the heavy crown. Man is a bridge to be crossed over. Become the one who offers roses!” Profound lyrics sung with passion and emotion. Not sure I can compare her vocals to anyone in metal right now. Very distinct.
“Polymorphia”, has a piano opening which reminds me a little of “Tubular Bells”. Then, the Rush/Deam Theater- like guitar riffs begin, as Noémie Allet sings, “I beheld the world. Through a narrow slit. From a dusty floor. That overlooks the scene. Polymorphia! Borrows from the almighty nature. Its original enigma. Its magical structure”. So, no, this is not based on the composition for 48 string instruments, composed by the Polish composer Krzysztof Penderecki back in 1961. It is very much its own metal symphonic chamber of music. Instead, Noémie Allet sings of, “Polymorphia! In the laboratory. Feel the magma. That brings forth the majesty!”
“The Scales of Rebis”, are found in alchemy. They are described as “scales of rebis” or “rebis” (from the Latin “res bina,” meaning “double matter”) represents the final, unified state of the alchemical magnum opus, a symbol of the union of opposites and the attainment of wholeness and balance”. Who would reject balance, after all? A very Rush-like song that Neil Peart might have found interesting to write about. Noémie Allet sings, “The rays of the sun. Translucent and vibrant. Are filling your grail. Now a new gushing well. ‘Cause the scales of Rebis. Order the balance. Of the force of the King. Guided by the Queen’s Hand”. Powerful lead electric guitars, bass, and thundering drums, along with the vocal choir help make this one complete.
“Midnight”, opens with powerful electric guitar riffs, heavy orchestration, bells, and drums that would have made Neal Peart smile. Noémie Allet sings, “Midnight is ringing. My insight is blind. Tomorrow’s afraid. To unveil its light. Dragons are growling above the warm lamp. I grab my blade, floating in my brain. My breath is fleeting at the seeker’s shrine. The scythe of death threatening my spine!” A powerful rocker full of mythical lyrics and mediaeval descriptives. Later some more great lyrics, as Noémie sings, “I seek to lift the veil of mysteries. For my mind deeper than the old sea”. Then, an almost mediaeval festival melody, played on electric guitar. Nice surprise, near the middle of the song.
“The City of Tears”, opens with soft piano and rain. An opening instrumental extraordinaire. Perfectly placed in this spectacular symphony. Symphonic orchestration and a background soundscape that dazzles. Then, Noémie sings soft and quietly, for the first time on the album. The sounds of pipe organs make this one of my favorite songs on the album.
“Mind’s Arboretum”, is a great title. And so is the song. Imagine what a mind arboretum would look like. Now imagine a song, set to that image. Well, this one is full of the similar drum pounding which has existed throughout this album. Noémie’s voice is not as loud as throughout the album. The orchestration towards the middle of the song and the syncopated rhythm of the drums and guitars is a wonderful change of pace. The sound also takes on a little of a Middle Eastern vibe for a short while.
“As My Will to Power is Seen”, is one of the best songs on the album. The pace slows and we can finally hear a different side of Noémie’s voice. Adrien Djouadou, joins her for a duet. So far the best song on the album. Classical instrument sounds fill the soundscape as the metal grinding electric guitars cease, for a moment, to allow all of the wonderful music that had been hiding underneath. Noémie’s voice and the music this band was capable of playing can finally be heard! Thank you!
“A Song of Blood and Steel”, opens with bold percussion, strings, and orchestration. This epic closer opens with glowing strings and an Asian feel to it. A powerful opening that shatters the earlier grinding guitar sounds which were being over-used. Wide open drums and orchestral power, glowing everywhere. Why didn’t they do this throughout the album? But they cannot resist the temptation to return to the galloping guitar grind. Until… finally, all sound stops and Noémie’s voice sings of a Samurai – like woman, capable of “Cutting off the head of the strongest man”. Then, the drum and guitar rampage starts again. Only, this time, Noémie is determined to rise above. And so she does. The orchestration and musicianship that continues is just what the doctor ordered. An over 11-minute Japanese Samurai masterpiece.
Well, Hartlight’s The Triumph of Metal, is a good album. The final two songs put this band right in contention with Belle Morte for metal band of the year. “As My Will to Power is Seen” and “A Song of Blood and Steel”, almost don’t sound like they were written by the same band that wrote the rest of the riveting drum and electric guitar grinder sound. Noémie Allet’s voice, which is good throughout the album, rises to a new level on the final two tracks. If only they had made more dynamic music like these finales; this album would be in contention for metal album of the year. However, throughout the middle of the album, the hammering drill press drums and sheet metal grinding pattern of the guitars, lowers the overall value and effectiveness of the album’s music and majesty. They do sound like Rush and Dream Theater, but those bands add melody and changed rhythms which break up the pounding.
I still recommend Hartlight’s The Triumph of Metal. However, I recommend they study the power of the last two songs and try to capture that spirit on their next album.
Track List
- The Triumph of Metal – 6:20
- Polymorphia – 6:10
- The Scales of Rebis – 5:42
- Midnight – 6:20
- The City of Tears – 8:28
- Mind’s Arboretum – 6:11
- As My Will to Power is Seen – 4:20
- A Song of Blood and Steel – 11:33
Band Website and Social Media Links:
https://hartlight.fr/
https://www.facebook.com/hartlightband
https://hartlight.bandcamp.com/music
https://www.instagram.com/hartlight_music/
https://open.spotify.com/artist/3EIS5WbylBdE1WU9t39mL8
https://x.com/hartlightband
Hartlight Taplink