photo by Wildthorn Productions; photo courtesy of Anaria

Album Review of Anaria: Holding Cell

Anaria is a powerful, progressive metal band featuring soaring vocals, shredding guitar, and intricate song arrangements. Yes, I’ve just described any decent band of this subgenre, but it’s the details that count, so let’s dig in.

Stylistically, Anaria might share the stage with Evanescence, Edge of Paradise, or Major Moment. Their music frequently shows pop sensibility (a la Evanescence) but only to the extent that a modern metal band might occasionally appeal to a broader audience without sacrificing their street cred. The Edge of Paradise comparison is due to a combination of powerful vocals that produce many soaring tracks but also the willingness to experiment with unusual tempos and arrangements from time to time. The Major Moment comparison is the band’s ability to create a powerful wall of melodic modern metal sound that’ll blow their listeners’ minds, but this might be the least obvious comparison because when they reach musical peaks of power, the two bands’ tendencies are to take the songs in very different directions. And yes, the Evanescence comp was a lazy comparison on my part, which I included mostly because I figure the broadest set of readers will know the reference. But I’m sure modern metal fans will also know the other comps. And many of you already know Anaria – the band’s large social media following and 2024 New England Music Awards nomination in the Hard Rock/Metal Act of the Year category prove they’re garnering some well-earned attention.

image courtesy of Anaria

Holding Cell kicks of with the title track, a powerful number that pulls you in immediately with a very cinematic-feeling opening, followed by flowing verses intermingled with thumping choruses and the lyric you’ll want to sing along with: “Is this real? Because it feels like hell!” This feels like a big concert-opening number that would amp up an arena full of fans. I can even picture the light show – at times dark with lasers shooting through the fog, other times, a big wall of blinding lights flashing, pointed directly at the audience. Always cool when a song is so rockin’ that you can picture it as an arena performance. Totally love starting an album with a number like “Holding Cell.”

Next song, “Synthesis” soars vocally atop a heavy, thumping soundbed, akin to “Holding Cell.” It’s followed by “Freakshow,” an edgier number with a bit of a carnival-flavored music bed, with the harsher vocals (at times) showcasing Jessica Mercy’s vocal versatility. “The Sandman” seems a bit more straight-up heavy but includes some winding rhythms and sprinkles in a little musical uneasiness. Sprinkled like sand, I suppose.

photo by Cory Wilmer; photo courtesy of Anaria

“Circle of Love” is notable for its particularly memorable chorus, a chorus that’s heavier than the song verses, which flow a bit lighter, but a bit more flowing than the bridges. It’s a cool song design, and the chorus’ rhythm is memorably, even if there are a bit more words than I can remember to sing along. As with any good progressive-influenced new metal track, of course, there’s a solid instrumental segment near the end, somehow delivering an enjoyable, song-element-heavy heavy rockin’ tune in under 3 minutes. Actually, that’s a them on this disc – songs that are relatively short for Anaria’s genre, even though nothing’s missing.

“Worthy” is probably one of the songs most likely to reach a very broad audience. It’s a slower, melodic-yet-powerful – Anaria’s sound is always super-robust – song with emotionally soaring vocals, a new metal slow song with a sound that perfectly matches its message. It’s a song about valuing yourself despite life’s struggling, with lyrics: “See yourself like I do. Beautiful scars are part of you. See your flaws and embrace them ‘cause you are perfect how you are, and you are worthy of love.” The lyrics are something anyone who has struggled can relate to, and they’re affirming uplifting. “Worthy” is a powerful track.

“Vampire Disco,” next, is a bit more playful, sung with a vocal slyness in the opening, with sidewinding guitar work, and a really cool, brief pause before crashing into the chorus.

photo by Kendall Couture, for Wildthorn Productions; photo courtesy of Anaria

Anaria continues to mix its tone and sounds within the envelope of the band’s general style. “Ritual” is musically aggressive. “Golden Crown” is a little slower-tempoed (for the most part). And “The Red Queen” soars but still manages to fit the ominous lyrics.

Finally, the band closes with its cover of HIM’s “Wings of a Butterfly.” It’s energetic and fun to sing along with, at least until you realize you’ve just screamed “Come on and show them your love. Rip out the wings of a butterfly.” Hopefully no one heard it. Anaria’s cover sports a bigger sound, features vocals that soar a bit more, and is musically a little heavier than the original. All in all, an exceptional cover. And a song you might know right of the bat as you get familiar with the rest of the disc.

My favorites on Holding Cell are “Holding Cell,” “Vampire Disco,” and “Worthy” – one fast, one mid-tempo, and one slow. But ask me tomorrow, and I’ll probably choose others. In all, this is a strong release from an arena-caliber melodic/progressive metal band.

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Since releasing Holding Cell, Anaria has also released an EP, Sign of Life, which the band notes is a 3-song collection of unreleased material with a space theme, and three more singles: “Trigger,” “Crave,” and a cover of Lady Gaga’s “Disease.”