From their record label’s website, “A Fortress Called Home,” SEVEN SPIRES' fourth studio album is the highly-anticipated follow-up to “Gods of Debauchery” and takes their signature blend of symphonic power and extreme metal to new heights, dragging the listener to the deepest abysses in the process. Adrienne Cowan comments:   “I visited the void twice while writing this album. I don’t know which begat the other. It’s ugly. I love it and I hate it, and I think it’s our best work yet.” It’s a 12 track album, so let’s get to some of the best moments.

The title track is the first cut, and it’s a short introduction leading to “Songs Upon Wine Stained Tongues.” This song has symphonic elements mixed in with the riffs. The vocals are harsh at first and done with a snarl and are followed by really nice clean vocal work. That familiar power metal gallop is very present as well. “Impossible Tower” is slower as well as a bit darker. It’s akin to watching a thunderstorm roll in. First, the skies darken and the wind picks up. Following the destruction and deluge, the skies that pass are clean once again. “Love Souvenir” is almost jazzy in its delivery. Piano and bass combine with soft drumming, and the vocals have a sultry edge. A crashing crescendo comes close to mid-way through, and Adrienne’s vocals are impossibly high in the register.

“Portrait of Us” swings with a groove that varies from heavy rhythmic qualities to a more wide open sound, especially when it comes to the chorus. So far, the use of symphonic elements don’t take over the album, they support the sound smartly. “Emerald Necklace” is soft and sweet, with what sounds like traditional Celtic instruments. “Never cared much for religion, you’re the one I believed in,” she sings quietly. “Where Sorrow Bears my Name” is a full on, ominous song, with an emotional sound that varies from sadness to anger at times. The mixture of the two vocal styles in the chorus helps to thicken up the presentation as well. “No Place for Us” is one of the best songs on the album for me. The melodic entrance is supported by a rich, catchy chorus and the band really shows their fantastic musicianship here as well.

“The Old Hurt of Being Left Behind” closes the album, and it’s a glorious closer. All of the various elements of the album come together in this final push. The best part of the album is the incredible vocal performance of Adrienne Cowan, and the band’s musicianship in general. The production is also stellar, and everything is in its proper place. 12 songs was just a bit too many for me, and a couple of them weren’t as memorable as some of the others, but bravo, this is a very well put together album that speaks of triumph.