Frontwoman of The Harps and runner-up on The Voice of Greece, Andry (Andry Lagiou) may only just be rising to prominence in the UK, but she is rightly revered on the international metal scene. A more-than-capable singer, songwriter, and guitarist, Andry describes herself as “the missing link between Ronnie James Dio and Christina Aguilera”, to which we could add Geoff Tate and Floor Jansen and on this, her debut album, she sets about proving this claim with no small amount of skill.
The Package
Andry was clearly never going to let the release of her debut album go unmarked, and the record has earned a coloured vinyl release via Baby Mistress Records. Pressed on impressively crackle-free silver vinyl, it comes in a single sleeve, with a printed liner providing lyrics and liner notes. The quality of the pressing, not always a given with independent releases, is impressive, neatly showcasing Jay Ruston’s (Anthrax, Winery Dogs) solid production work on the album.
The Album
How far you embrace Skies really comes down to how far you’re willing to embrace the glorious absurdity of power metal but, if you are willing to go down the rabbit hole, a wonderful world awaits. With a conceptual framework informing the lyrics and a progressive edge to the arrangements, Skies is as good an example of the genre as you’re likely to hear in 2024, with sonic nods to the likes of Judas Priest, Queensryche, W.A.S.P., and Black Sabbath demonstrating a firm grasp of (and love for) classic heavy metal in all its leather-clad glory.
Side one opens with the title track, and it gets things off to a flying start. Andry’s top-flight band (comprising Stephen Platt (guitar), Mike LePond (Bass), Russell Gilbrook (drums), and Corvin Bahn (keys)), know what they’re about, and they embrace the track’s ferocious riffing with evident glee. Andry, meanwhile, makes one hell of an entrance, proving herself to be no mean talent behind the microphone. Delivering the lead vocal with style and skill, she makes a lasting impression, and her layered backing vocals are hardly less impressive. Keeping things heavy, Mistress Of The Night recalls the majesty of Queensryche circa Operation Mindcrime, with Andry demonstrating a similar gift for bringing might and melody together in equal measure. Clearly enjoying the theatrical nature of it all, she tears into the chorus as the band run rampant around her. With a riff straight out of the W.A.S.P. playbook and a soaring vocal that nods to Rob Halford, Do Or Do Not is wonderfully heavy, Stephen Platt’s razor sharp guitars delivered with a speed that scarcely feels human. Stephen, whose credits include Devin Townsend, is something of a secret weapon here, and his chemistry with Symphony X / Silent Assassins bass legend Mike LePond is a thing to behold. The absurdity levels are ramped up on the histrionic power ballad My Love. A very good example of its kind, there’s no denying the strength of the performances – especially from Andry, who puts every ounce of herself into it – but it’s just not to my tastes. Fortunately, for fans of the heavier side of things, Black Hole is waiting to round out the first side. A brilliantly arranged rocker that takes in a range of styles and sounds, its nearest antecedent is arguably Therion, and Andry delivers a truly unhinged performance that damn near takes the roof off.
Opening side two, Church Bells opens to the sound of the titular instrument, before morphing into a mid-paced rocker with a Judas Priest vibe. However, things aren’t quite so straightforward and, just as you’ve settled into the chugging rhythm, Stephen unleashes a harder edged riff that ups the ante considerably. Next up, Olive Tree sees Mike exploring his fretboard, delivering a more sensitive performance for the album’s second ballad. Adopting a more restrained musical approach than My Love, it’s enjoyable enough, although the calm delivery does shine an unforgiving light on the lyrics, which rely a little too much on contrived rhyming couplets to hit with the force the music demands. Russell’s explosive drums pave the way for the eastern-tinged riffing of the excellent Good Trip To Hell, Stephen’s stair-stepping riffs and Corvin’s airy keys providing the perfect backing for Andry’s increasingly theatrical delivery. A strong candidate for album highlight, Good Trip To Hell is simply an awesome track and, if you check out one track from the record, let this be it, because it’ll knock you sideways. The disc spins to a close with White Sunday, one last blast of white-hot power metal, with the band clearly still having one hell of a time in the studio. Showing no sign of slowing down, Andry delivers one last bravura performance, leaving you with the distinct impression that this is just the beginning of a potentially exceptional solo career.
Conclusion
With its fantasy-themed artwork and power metal stylings, Skies could so easily fall into the trap of being little more than pastiche. Andry, however, is not only a deeply impressive songwriter, but also an exceptional vocalist and, by recruiting a world-class band, the material is elevated substantially. There’s a freshness to tracks like Do Or Do Not, Good Trip To Hell, Skies, and Mistress Of The Night that is undeniable and, while not everything hits home with equal power, the album as a whole is hugely enjoyable. With excellent production, brilliant performances from all involved, and memorable songs, Skies is something of a triumph for Andry. 8.5/10
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