Italian progressive power metal veterans Labyrinth believe their third album for Frontiers Records is their best yet. “In the Vanishing Echoes of Goodbye is our latest work. As the years go by, we feel increasingly free from formulas and stylistic boundaries that sometimes trap a band within a specific musical genre. With this album, we set out to achieve total freedom, allowing each of us to fully express ourselves,” they say—and it’s hard to disagree.
“Welcome Twilight” exemplifies this freedom, delivering a mature brand of progressive metal that thunders like Dream Theater jamming with Symphony X. There’s also a strong power metal influence throughout, with “Accept the Changes” embracing the band’s departure from strict genre conventions.
The ballad “Out of Place” slows things down, but Labyrinth truly shine in the bombastic “At the Rainbow’s End”. They also master the art of sounding epic while keeping their songs concise, as heard in “Right Side of This World”. The musicianship is on full display in “The Healing”, where Roberto Tiranti’s soaring vocals take centre stage.
The promised surprises are plentiful. “Heading for Nowhere” shifts from dystopian keyboards to DragonForce-style theatrics, while the opening groove of “Mass Distraction” channels vintage Bon Jovi circa 1985. The album’s ambition peaks in “The Son I Never Had”, a track bursting with rich harmonies and arena-sized grandeur. Meanwhile, “Inhuman Race” provides a cinematic conclusion, its weighty themes rooted in Putin’s war in Ukraine.
As the final notes fade, it’s clear that Labyrinth has not only met but likely exceeded every goal they set for The Vanishing Echoes of Goodbye. This is an album that thrives on ambition, musicianship, and the fearless pursuit of artistic freedom.
Rating 8/10
