Independent
Out Now
Words by Angela Croudace
Before a single note of his latest album sounds, Leonard Kopilas already brings a symphony of experience to the table. A trained composer with six independent albums under his belt and credits alongside Australian prog metal heavyweights Vanishing Point – not to mention a stint on tour in 2006 with Germany’s Gamma Ray – Kopilas is no stranger to the industry. Add to that a parallel career as a published novelist and a dedicated music educator, and you have an artist who doesn’t just perform music – he lives it.
When Leonard’s latest 8-track album, Sigma, landed on my desk, I knew I was in for a sonic journey crafted by an artist who pours every ounce of time, skill, and passion into his music.
Morning Star launches Sigma with explosive intent – what an introduction it is! Clocking in at five and a half minutes, the track erupts to life with the force of a meteor slamming into Earth. Ethereal synth textures lay the emotional groundwork, only to be obliterated moments later by a full-throttle assault of rapid-fire metal riffs and thunderous drums. It’s an opener that doesn’t just set the tone – it ignites it. The track feels like the start of a cinematic space odyssey, with anticipation swelling like the opening credits of a gloriously over-the-top sci-fi adventure straight out of the ’80s.
Barbarous Relics and Archangel carry the torch in a robust continuum of shredding guitars and thunderous drums, punctuated by pensive breaks where shimmering synths take the spotlight. Both tracks channel the most electrifying elements of classic ’80s and ’90s metal, evoking a flood of nostalgic energy.
Barbarous Relics is fast and fierce, driven by relentless guitars and pounding drums. Toward the end, it feels like the climactic moment of an ’80s adventure film – cinematic, intense, and triumphant. In contrast, Archangel takes a more reflective approach while still packing a punch. It opens with a celestial chorus – angelic voices layered with synths – before launching into full-blown metal fantasy. Lush piano and strings add emotional depth, while pulsing guitars and driving drums give it momentum. The guitars don’t just shred, they flare and bloom with expressive force.
Aftershock bursts in with thunderous immediacy, like the heat of battle erupting on screen. The rhythm section drives forward with tight, galloping drums reminiscent of Iron Maiden, while layered synths provide a dramatic backdrop, flaring like sparks behind the frontline. The lead guitar takes centre stage with virtuosic confidence – melodic, expressive, and complex. From rapid alternate picking to smooth legato runs, Leonard’s fretwork paints the image of a lone hero charging through chaos, sword in hand. The track is pure metal glory, with its intensity and layered textures.
Renaissance follows as a triumphant comedown, evoking the emotional high of victory – like the closing credits of a vintage fantasy film. It opens with a cinematic calm before launching into an energetic blend of tight drumming and harmonised guitars, backed by a choir-like synth pad that adds a celestial glow. The dual-guitar harmonies and quick melodic runs for me evoke the golden era of NWOBHM, channeling bands like Judas Priest and Def Leppard. There’s a strong sense of narrative here, as if the track celebrates hard-won triumphs with a mix of grandeur and grit.
A Stitch in Time brings a darker, more layered atmosphere. It begins with a steady chugging riff, heavy on the low end, with subtle synth textures weaving in like an eerie mist. The pacing is more deliberate, allowing tension to build. Around the midpoint, shimmering synths and chime-like tones introduce a haunting interlude before Leonard tears into a searing solo. It’s a standout moment – fluid, emotional, and technically dazzling, featuring expressive bends and arpeggiated sweeps. The song ends on a sharp, deliberate two-note cadence that closes the chapter with authority.
Myth Universe and Watchdog serve as a powerful one-two punch to close out Sigma, blending synth-driven atmosphere with intricate guitar work in distinct ways. Myth Universe opens with glittering synth arpeggios before diving into a propulsive groove driven by tight bass and double-kick drums. As it builds, the guitar lines become more aggressive, locking in with the rhythm section to create a dramatic, fast-paced metal soundscape that flirts with video game aesthetics—futuristic, high energy, and bold.
In contrast, Watchdog eases in with a more grounded bass groove, immediately locking into a slower, more deliberate tempo. The synths are still present but more subdued, allowing the final soaring guitar solo to take centre stage as a proper send-off. Both tracks highlight Leonard‘s skill at fusing cinematic synths with metal virtuosity, but where Myth Universe charges ahead with urgency, Watchdog reflects a sense of closure and resolution.
Leonard Kopilas demonstrates masterful control of composition and performance on Sigma, a self-produced album crafted entirely in his home studio. The album balances metal opera and retro-futuristic score by blending intricate guitar work with cinematic synth-scapes. While echoes of Iron Maiden, Dream Theater, and Symphony X run through the music as inspiration, Leonard’s style remains unmistakably his own—bold, expressive, and forward-thinking. Drawing from a deep well of musical knowledge, Sigma also captures his identity as a one-man band: independent, precise, and endlessly inventive.
Leonard is undoubtedly one to watch. His grasp of instrumentation, production, and composition is impressive, and his work could easily attract collaborations with established artists. While these tracks stand strong as instrumentals, it’s easy to imagine how vocal features could elevate them even further, though Leonard’s creative range is clearly bound by no limits.
