The first VISIONS OF ATLANTIS recording saw the light of the day in the end of 2000 that was the demo entitled Morning in Atlantis being greatly inspired by the myth of the secret and homonymous secret land. This demo was enough, to get the band a record deal with Black Arrow/TTS one year later. The debut album Eternal Endless Infinity was released in 2002 receiving some overwhelming reactions leading the band on tour besides bands like KATATONIA, FINNTROLL, EDENBRIDGE and NIGHTWISH.

Some line-up changes took place just before the signing of a new record deal with Napalm Records and the recording of Cast Away that solidified the name VISIONS OF ATLANTIS in the Symphonic Metal scene. The year of 2007 found VISIONS OF ATLANTIS with some more line-up changes where the soprano Melissa Ferlaak (ex-AESMA DAEVA) took over the female vocals, Wolf K. the guitars and Martin Harb the keyboards.

The performing style of VISIONS OF ATLANTIS becomes clear after the very first musical notes of the opening track At The Back Of Beyond come through the speakers; Symphonic Metal with the classic vocal duet featuring female operatic versus male metallish vocals. The band's influences, as you've probably guessed, start from the pioneers
NIGHTWISH and finish to the aggression of EPICA. The tracks are groovy with catchy melodies and pompous orchestrations. Mrs Ferlaak follows the classical vocal pattern that Mrs Tarja Turunen had been using during the first NIGHTWISH albums.

There is a very good balance between the male and female vocals giving the band some credit towards some kind of originality. Most of the tracks, like Passing Dead End or Through My Eyes are pretty heavy with nice guitar hooks and melodies. Surprisingly enough the album was flawlessly self-produced in Dreamscape Studio under the supervision of sound engineer Jan Vacik and mastered at the famous Finnvox Studios for the finishing touches. Some of the album highlights are the mid tempo song The Poem where Mario Plank proves his vocal potentials, the uplifting Nothing Left with the sing-along chorus or the keyboard driven Winged-Shaped Heart. Of course, there are some cliches like the piano based track Return To You with the solo female performance and the Eastern melodies in Flow This Desert.

Overall, this is a very good album though it hasnt an original sound meaning that some of the tracks can be characterized as predictable mainly due to the profound NIGHTWISH influences.  If you are a fan of the operatic female vocals then this is a must-buy album and you can add one more point to the overall rating of Trinity; for the rest of you, you should move on to the next Metal-Temple review if you haven't already done it.