On February 16, 2024, Leah McHenry, aka LEAH, released her sixth studio album, “The Glory and the Fallen,” via Ex Cathedra Records. LEAH is a Symphonic Metal project hailing from Vancouver, Canada. Often described as Celtic Metal or even Celtic Fantasy Metal, fans and critics unflinchingly refer to her as the Metal Enya and compare her with the whole horde of New Age vocalists who were popular in aughts. “The Glory and the Fallen” delivers in that sweet spot of Symph—loads of synths, soaring soprano vocals, radio friendly hooks, inspiring harmonies, and guitar work polished and buffed to a high sheen. The only downside is the album fails to distinguish itself from the ever-growing volume of Symphonic Metal that is flooding the scene.   

“The Glory and the Fallen” is a well-fortified album, with 12 tracks spanning close to a full hour of runtime. LEAH is at her best when she breaks from the overly familiar tropes of the subgenre. As Symph Metal is hugely popular, originality seems to be more and more difficult for all artists in the scene to achieve. With that said, my selection of best tracks includes those which expand across more varied terrain. “Speak to Me” starts in an acoustic space with Leah delivering ethereal, whispery vocals. The track luxuriates in a soft lullaby space for some time before eventually cascading into an epic swell. The overall effect is emotive and inspiring. Next on my list is “Revive” which features a fiery solo, choral harmonies, and some exotic instruments. My final fav is “Glow,” the final and heaviest track of the lot.

LEAH’s vocals have remained consistent album after album since her first release 12 years ago. On “The Glory and the Fallen” she is in form as ever while also building additional texture and harmonies with six guest vocalists who appear on several of the tracks, including her daughter, Geneva, and guitarist Timo Somers. In addition to the vocal support, flutes and pipes are added to the mix with guest musician David Celibeerian appearing on two tracks. None of this is unusual, per se—LEAH has always been gracious in showcasing upcoming as well as established artists on her albums.

Thematically, LEAH returns to her common themes of epic fantasy and yearnful love—a bit like a musical version of a Young Adult novel. Again, right in Symph sweet spot. Production wise, the album hangs a bit too much in upper registers. Perhaps it’s all the vocal harmonies and synths, but the album feels light on the bottom end. All in all, LEAH doesn’t disappoint with “The Glory and the Fallen” but neither does she thrill. She stays in a safe space, consistently on brand. No one will accuse her of betraying her fanbase.