I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

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