If nothing else, Mystfall have two significant advantages: a (relatively) full guitar tone and the most convincing death growls and grunts in the genre right now. Thanks to a mix and master modestly better than industry standards, you can clearly hear the bass thundering beneath rich strings and prominent choirs. These are elements that countless bands in this space neglect or undervalue, but not Mystfall.
Fortunately, these elements don’t diminish the usual suspects. Operatic mezzo-soprano vocals, with strong enunciation. melodic verses and choruses that soar. galloping drums and fast pacing. rich orchestrations. the whole crew is here, and in excellent form for the most part. And, in another unexpected breath of fresh air, Embers of a Dying World runs 38 minutes, with the longest track exceeding five minutes. It seems that on paper, Mystfall fully understood their mission and gave me everything the world needs in a modern symphocheese album.
In practice, Embers of a Dying World pulls it off quite well. The choice of studio bassist and singer Stelios Varotsakis was inspired, as his counterpoint on both instruments elevates anything he touches («Embers of a Dying World», «Fading Memories»). I’d argue Mystfall make him an immediate full member of the band. However, his contributions aren’t so amazing as to distract from Marialena Trikoglou’s siren song, Aris Baris’s chuggy riffs or Dimitris Miglis’s expressive percussion. Hints of old Epica melodies («Crimson Dawn», «Echoes of Arcadia»), the adventurous character of Leaves’ Eyes / Xandria («Whispers of the Tempest», «Guardians of the Earth», «Cosmic Legends») and Nightwish’s double bass («Sleeper in the Abyss») merge into an entertaining variety of moods and patterns, all cleverly woven to allow each performer their own spotlight. With such strangely limited runtime, Embers of a Dying World is also incredibly easy to play several times in one session, greatly helping long-term memorability.
Unfortunately, Mystfall still struggle to find a distinct identity in the homogenous scourge perpetuated by the symphonic power metal scene. While they create a pleasant album that is undeniably fun and thoroughly engaging, its similarity to those bands that originally created the style is undeniable and obvious. Partly due to the strict and restrictive nature of opera singing technique – and the physiological difficulties that dedication to that style poses for exploring any other kind of singing – Marialena’s technically flawless performance here lacks impact and power when compared to singers who can and do work across multiple disciplines (Simone Simons, Floor Jansen, Veronica Bordacchini). On the instrumental front, Aris Baris’s riffs rarely stray from the conventions long maintained in this field, often allowing the orchestrations to make sense when leading melodies or initiating patterns. Even the dramatic orchestrations don’t have the striking quality they could have if recorded either with a full orchestra or more unique in composition or arrangement.
As a result, Embers of a Dying World feels out of place in time. Had it been released in 1996 or thereabouts, it would have been an instant hit, an instant rival to the top albums of that era. In 2026, it’s one in a million, albeit better made and flawlessly crafted. However often symphonic power metal is maligned for its songwriting issues and stylistic triteness, the competition for recognition and attention in this crowded world requires a striking, impressive appearance. Mystfall have everything they need to make that appearance, but Embers of a Dying World fails to reach that elusive threshold. That said, I’m impressed enough by this to look forward to what Mystfall might present next!
Rating: Good
DR: 7 | Format reviewed: 320 kb/s mp3
Label: Scarlet Records
Websites: mystfallofficial.com | facebook.com/mystfallofficial
Releases worldwide: March 20, 2026
