Myrath have been at it for a long time now. I heard their debut back in 2007 and was instantly hooked. They’ve evolved and finetuned through the years, ever remaining consistent to themselves. They are back with their seventh studio album, this one called Wilderness of Mirrors. It releases on March 27th through earMUSIC.
The band originally hails from Tunisia, though I think they are mainly living in Paris, France and the US right now. The lineup here includes: Anis Jouini on bass, Malek Ben Arbia on guitars, Zaher Zorgati on vocals, Morgan Berthet on drums, and Kevin Codfert on keys. You will also hear Elise Ryd of Amaranthe on one track, Charly Sahona on guitars, Radhi Chaouali on violins and qraqeb, Fehmi Mbarki on saz, plus an array of performers on choir vocals and orchestrations.
Look, I get it. Whenever a band releases a new album, there’s bound to be hype-driven promises and statements, like this is the band’s new era or that they’ve reinvented themselves or that they are going in a proggier direction. I see it every day. The music here is very much in Myrath’s wheelhouse. It isn’t any heavier than their other albums, nor proggier. It features their signature swooning, Middle Eastern motifs, emotional vocals, and cinematic metal. They’ve left behind some of the prog metal trappings, like most of the solos and technical fireworks, but they still make music that is thrilling, complex, and beautiful.
I think Myrath fans fall into two crowds. Some wish for the Symphony X-isms of their first two albums. Some like their identity-driven albums. My personal favorites are 2011’s Tales of the Sands, one which the progheads didn’t particularly like, and 2019’s Shehili. I also really liked 2024’s Karma. So, yes, I prefer the albums where their character shines through most.
Wilderness of Mirrors has plenty of character, too. On one hand, they are leaning more into the Middle Eastern sound, which I love. On the other, I don’t particularly think this has their best writing. Most of the songs, especially the singles, are pretty average for them. They are fine. However, I think the real treasures appear in the deeper cuts.
In the first half, I really enjoy the opener “The Funeral”; it has a great intro and lots of harmony. That’s one thing about this album that I love: they lean heavily into vocal harmonies and choirs. I also like “Breathing Near the Roar”, my favorite of the singles. I think it has some great choir vocals and such a hypnotic Middle Eastern sound. My favorite on the album comes next, “Les Enfants du Soleil” (Children of the Sun). This piece is, ironically, one of the least ethnic in tone, but it has children’s choirs, undeniable energy, and boatloads of passion. I loved it instantly.
In the second half, I really like “The Clown”, featuring brass orchestrations and cinema, but also a musing interlude in the middle that I love. “Edge of Night” is another favorite, feeling like some of their older albums. I like how mighty the chorus feels. Probably my second favorite overall is the closer, “Through the Seasons”. This piece isn’t immediate, but over subsequent listens, I’ve come to love its blend of subtlety, gritty verse vocals, and a fleeting chorus. The spacious ending is pure magic.
Myrath are still doing their thing and it’s still great. I would probably put this album towards the middle of their discography, but that still means it’s great, and fans will adore it. While I’m not a fan of the AI cover and plastic production images, the music has proven to be organic and authentic, and I appreciate that.
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