Singer Elisa Tomaselli co-founded SENSE OF CREATION in 2009 while living in London. It was during the band's London days that "Forsaken Era," which conceptually represents a journey through Tomaselli's life, was originally record (though never released). After a time, Tomaselli returned to her native Italy and a Turin-based version of the band was recreated in 2018 with Stefano Capista. It was during the European lockdown earlier this year that the "new" SENSE OF CREATION revisited "Forsaken Era," working remotely with London-based producer Richard Campbell on the current iteration of the album.

SENSE OF CREATION does not restrict themselves to a single genre, although they consider themselves a symphonic rock/metal band. "Forsaken Era" is all that, but in a somewhat muted form. That is, the assorted instruments have been seemingly recorded at roughly the same intensity level, lacking the loud grandiose peaks and the deep plunges into softness that traditionally typify the genre. Though this might cause hardcore symphonic metal fans to shrug off the album, for me, a casual consumer of the genre, "Forsaken Era's" tonal evenness made it more palatable than the bombastic releases that all too often populate this metal subcategory. Tracks like "Doesn't Matter" (whose major musical theme evokes DEEP PURPLE's "Perfect Strangers"), "Hidden by Light," and "Althea," while stylistically grand (particular during their intros), settle into aurally comfortably instrumental grooves that allow the listener to predict what is ahead based upon what has come before.

Like most examples of symphonic metal, the atmosphere of "Forsaken Era's" tracks is established by employing orchestral-type arrangements that make abundant use of percussive and synthesized elements. Tympani, strings, piano keyboards, and organs are all variously heard setting the tone on tracks such as "Memoriae," "Open Up Your Mind," "Sorrow," and "Fear." Each member of the band is given the opportunity to demonstrate his talents, with Capista's guitar playing being particularly strong throughout (even when playing more of an accessory role, like on "Fear"). The instrument showcased the most on "Forsaken Era," however, is Tomaselli's voice.

Excepting the instrumental closer ("Deliverance"), all tracks serve as a platform for Tomaselli to demonstrate her vocal prowess. Seemingly delicate, Tomaselli's voice has a power to it such that she can use the upper end of her register without any overt strain. At times, particularly when the other instrumentation is tuned lower, Tomaselli's singing at the upper reaches, despite its beauty, can be a bit jarring auditorally. That being noted, Tomaselli's steadfastness in using a higher pitch makes her use of lower timbres not only refreshing, but also lends those tracks, "Hidden By The Light" being a prime example, a certain gravitas.

In addition to the previously mentioned "Doesn't Matter," "Hidden By The Light," and "Alethea," other tracks that made favorable impressions on me include "Misery" and "Iustitia." More rockish than some, "Misery" is a driving number with a hook shortly after the start that made me sit up and pay attention (an aural "aha" moment if you will). The guitar solo has a classic metal feel and fits right into the melody of the song. "Iustitia," sung in Latin, had the feel of STYX's "Mr. Roboto" during its intro. Mystical at times, including panpipe-type interludes, the song closes with a militaristic style of drumming. It segued so nicely into "Deliverance" that I was left with the impression the two were one composition as opposed to representing distinct entities.

SENSE OF CREATION plays symphonic metal in a manner that welcomes the listener, making him or her feel comfortable as opposed to trying to dazzle with histrionics. Smoother than a classic symphonic metal album, "Forsaken Era" could be considered an introduction for somebody looking to begin exploring the genre.