SIMONE SIMONS
Vermillion

I’ve got admiration for Simone Simons. The voice of Epica for over 20 years, my relationship with the Dutch symphonic outfit has been fitful, dipping in and out of releases without ever really committing in full. When the editor suggested taking “Vermillion”, Simons’ debut solo record, for a listen, I knew I’d get a beautiful voice to listen to, for Simons is one of the top-level singers around. What I didn’t bargain on was an album that trips from style to style, with glorious results.

Simons states in the press release that accompanies “Vermillion” that “I strive to become better with each art piece that I create. “Vermillion” has broadened my musical horizon even further”. She’s not wrong, for anyone expecting an Epica record will be surprised at the variation on display. “Vermillion” is an album that pulls her influences from many spheres. Collaborating with Ayreon’s Arjen Lucassen, “Vermillion” opens with the Eastern influences of “Aeterna”, a sweeping soundscape of intoxication that allows Simons to soar vocally. Throw in the flavours of Orphaned Land, a heavier mid-section that combines electronica with vibrant metal and a choral and you have a huge introduction to the next 40-minutes of compelling music.

Simons has called on a several peers to help on this album. Arch Enemy’s Alissa White-Gluz joins on the industrial stomp of “Cradle To The Grave”, which diverts direction completely. White-Gluz’s gruff vocals provide the perfect foil to Simons ethereal voice. It’s another huge song that stands out in an album of big tracks. This one is particularly epic, a real rouser that you cannot help but nod along to as it progresses.

There’s an interesting aspect to “Vermillion”, which is the variation of vocals that Simons can apply. It’s truly moving to listen to her vocals fit the songs that long-time musical partner Lucassen and she have crafted. Take “Weight Of My World” as one example. Another electronica beast that switches from industrial to symphonic elements in an instant. It’s a track that really grabs you and pulls you closer.

Big melodies, big song structures, and big variety. “We wanted a good balance between heavy and atmospheric music”, Lucassen says, “bring in some industrial elements, as well as some progressive stuff. We wanted a big variety in the songs. But most important for me are the vocal melodies and chord progressions. And every song had to have a real cool groove!”

Calling in friends to help out across the album has also been a bonus. Alongside White-Gluz’s guest appearance, “Vermillion” features bassist Rob van der Loo on bass and Koen Herfst on drums, as well as Apocalyptica‘s Perttu Kivilaakso who adds his signature cello to closing song “Dark Night Of The Soul”. We also have Epica colleague Mark Jansen performing the growls on “The Core” and “R.E.D.”, two riff heavy industrial tinged tracks that add to the heaviness of the album.

It’s a debut to remember. At times “Vermillion” is just spectacular. It’s an album that deserves more time than I have given it, but I can remedy that over the next few weeks. I suggest you do the same, for there is so much to unpack here. Certainly an album that is going to feature in my end of year lists. SIMONE SIMONS has demonstrated a quality here that is beautifully brilliant from start to finish.

Paul Hutchings