Battlegod Productions
13 July 2025
Words by Kris Peters
Australian symphonic metal band DARKYRA are set to drop their third album, Life Force, on June 13. Not knowing too much about the band, I decided to read through the accompanying notes and got caught up in a mystical world full of descriptive anecdotes that, to be honest, was a little too much to take in straight off the bat, so how about we just hit play and let the music do the talking?
Two things I did take on board were the sound, described as quite diverse, combining cinematic metal, epic metal, gothic rock, art rock, opera metal and progressive rock, and the fact Life Force features a long cast of musicians and collaborators from around the globe. So I have made up my mind pretty early that, aside from Gina Bafile – who it says is the main vocalist – I shall be referring to just the instruments only from this moment onwards, and not the actual person I believe is playing it. Because we all know I will likely stuff at least one of them up, and the extra scrutiny just isn’t worth the gamble.
The album opens with the title track, Life Force, and a wave of sonic ambience floats in the mist momentarily as a spoken word monologue introduces us to the song/album. This soon dissipates as guitars and drums force their way into the fray, building a tidy crescendo before an abrupt moment of silence ushers in a high-pitched guitar solo that gives way to some soaring vocals.
Bafile arrives with a smooth transition from instrumentalisation to vocals, and it becomes immediately obvious that she has had some form of classical training for her voice. It rises and falls, deepens and floats in equal moments of precision that act as a conductor of sorts to the musical tirade that is coming to life around her.
There is a hell of a lot going on already, with spacious moments of serenity punctuated by controlled chaos that have not yet outstayed their welcome. Already, you get the feeling that Darkyra are a well-rehearsed bunch of seasoned professionals who prefer the art of constructing a song over the chance to show off their obvious skills. It is a fine line, ladies and metalheads, but you get the feeling that line seems much bigger to the musicians lending themselves to this project.
Take Me Far Away is listed next, and from the title alone, sounds like a sweeping epic which is accentuated by the almost choral orchestration of the opening salvo. For some reason, I think about the Roman times and the cries of desperation in the Colosseum. Fucks me why, but I do.
As the song rolls through, I can hear a sporadic harsh cry of anguish break through the surface, and already I am wondering how much of a role it will play not just in this track, but on the album as a whole. I doubt Darkyra placed it there for that precise reason, but it has got me thinking.
So much so that I almost restarted the song after not hearing it again by halfway through, and that’s when the second component of Darkyra‘s music sinks in. I actually don’t want to disrupt the sonic journey the band is taking me on just to prove myself right or wrong. This isn’t just a collection of songs put together; it is a range of feelings and emotions given voice through verse that tells a musical journey that once sweeps you up, forms a sonic barrier that convinces you to strap in for the entire journey rather than breaking it up.
Does that make sense? I’m not sure it even does to me, but let’s press on.
Breathe starts with a nice guitar run before Bafile eases over the top, creating an almost whimsical and breezy atmosphere that is like a more controlled version of the Hawaiian beach dance. This only lasts briefly before things intensify somewhat, created by a subtle changing of depth to the music and Bafile‘s voice that only adds to the musical flow of the song.
It has an almost heavy operatic feel to it in parts, which is something I don’t generally gravitate towards, but in this instance find strangely comforting. I do have to make mention of the sporadically placed guitar intrusions that likely play a major role in that line of thinking. They arrive in waves of scope and intensity, but always tease more than dominate, which only adds to the already growing sense of mysticism that I mentioned earlier.
All In Good Time begins with a trancey dose of electronics before drums and guitar violate the nostalgia, with some keyboards delicately lingering in the background. As the electronics resurface, Bafile adds herself to the equation and transforms the song into more of a sorrowful tale of longing that is glazed over by the constant shuffling of drums and softly spoken keys.
There is a pain and anguish in Bafile‘s voice here that suggests to me there might be something of a more personal nature in the lyrics, but I could be totally off the mark. What I’m not wrong about is the continued underlying tensions created through the music of Darkyra, but before I can go further with that thought Bafile changes tact vocally into a more playful and enticing nature that forces the rest of the band to up their tempo in order to do the vocal breakdown (or is it breakup?) justice.
I honestly never thought these words would come out of my mouth, but there’s an impressive as fuck keyboard solo here that adds a completely new element to the track, before it eases to a close. WTF is wrong with me? Next, I will be crying out for a harmonica solo…
One Foot In The Grave sounds more like a welcome mat to me, and from the initial strains of almost chanting, I’m guessing this is going to be more a promise of what might come than something that has already happened. The operatic element is strong here, but also restrained enough to ensure such comparisons are mentioned out of respect, not disdain. Bafile showcases a more measured and toxic side to her vocals, like calm through chaos, and paints a sonic tapestry of flight and conflict that is given added texture by a rhythmic and stoic undercarriage that acts as a support beam while the world slowly burns around us.
Tomorrow Without You floats to life with the sounds of wind chimes and a tempered guitar run that creates an air of serenity, which continues as Bafile glides into range, relegating the music to the background as the powerfulness of her voice engulfs its surroundings and assumes control. This track is, so far, the most straightforward yet. And I mean that as a compliment.
It stays basically on the same trajectory, without the schizophrenic timing and tempo changes that have prevailed to this point. Don’t get me wrong, there’s still a lot going on here, and as the song progresses, these elements come more and more into their own before the song suddenly trails into the distance, forcing me to check on the actual running time.
Which turns out to be a lazy 3 minutes 25 seconds.
Quiet The Mind starts with more intent, then pulls back to welcome Bafile, who dutifully obliges. I don’t mean to harp on, but her voice is equivalent to an extra instrument at Darkyra‘s disposal. Whereas many bands would rely on breakdowns or guitar solos to highlight parts of songs or signify a change of direction, Darkyra simply turn to Bafile, who effortlessly enables the sonic transition without affecting the overall flow of the song.
This has more of a power metal feel to it and a repetitive but catchy as fuck chorus. From nowhere, things change tack with another bout of vocal prowess, except this time I am thinking it comes from one of the assembled cast of musicians mentioned earlier due to the harsh raspiness that acts as a counterpart to the angelic nature flirted with previously.
Leap Before You Die sounds like it could be a bit backwards. Wouldn’t you die AFTER the leap? But it’s not my story to tell, but tell it does as a stuttering and impactful opening salvo is stifled by a brief, but awesome, bass interlude that summons yet another side of Bafile‘s vocal psyche into the picture.
This is a meatier, funkier track and already my favourite on the album. It has an almost shuffling feel, compounded by a pounding drum pattern that gives no quarter and asks even less. This is far heavier than anything else on the album, but somehow manages to maintain the musical empowerment created via a succession of delicately intertwining singular adventures that have come together to create a musical universe all of its own.
Then things switch again as an electronic solo of sorts (I have no idea what is creating it) muddles the waters temporarily, forcing Bafile back into battle, from which she immediately emerges victorious. What initially felt like an out-of-place intrusion, I find myself winding back to that part of the song (2.32) for another listen and find my initial reaction was more borne from surprise than anything and find it is actually a tasty and welcome addition to an already wicked slab of music.
Tested The Water is something I probably should have done more of in my life, but I doubt Darkyra wrote this one for me.
A short bout of reverb gets things going before Bafile restores order and launches into another more personal sounding number awash with an almost fuzzy guitar accompaniment. If Leap Before You Die was the album’s aggressor, then Tested The Water is the calming influence.
It eases along until around the two-minute mark, before a vocal breakdown adds a touch of urgency and when the actual song returns, it does so with more intent. Nothing too different or extravagant, but it’s a noticeable change that gives the tune more of a rock feel than a just-been-dumped one. In short, it’s not as mellow as it started. The song alternates between these two entities before a guitar solo assumes control and takes things back towards Rock City in a soaring crescendo that gently backs off to play a smaller, but no less significant role as the song fades into being.
Celebrity Smile closes out Life Force, a faint sound of swirling wind providing an ominous beginning that is soothed somewhat by the calming introduction of piano and strings that even more accentuates the operatic side of Darkyra‘s music.
This feels like an actual closing chapter of a sonic book, completing the story which we have now listened to be told over ten individual musical chapters that combine to create an encompassing tale of majestic grandeur that transcends the growing throwaway nature of modern bodies of work.
There seems to be a battle of sorts going on here between a multitude of adversaries in what could be seen as a climactic closing passage that sees Darkyra front and defeat the adversaries that have attempted to thwart their adventures over the course of Life Force. And what a musical journey it has been.
In all honesty, symphonic metal isn’t high on my list of chosen passtimes, and I would have usually passed on any offer to review such an album – more due to the fact that my personal feelings could impact what to others would be a great listen – but Darkyra have produced an album so well crafted and engaging that even existing musical prejudices have failed to reduce it’s impact.
A thoroughly enjoyable listen!
