By Leandro Abrantes and Luis Fernando Ribeiro
Between the late 1960s and early 1970s, the ominous riffs, resonant bass, thunderous drums, and shrill vocals of four lads from Birmingham fueled the imagination of thousands of young people who came after them. These four lads, in creating the first songs of what would become heavy metal, could never have imagined that their legacy would take so many distinct forms and fuel the dreams of so many others more than 50 years later.
Since then, heavy metal has evolved into power, thrash, symphonic, and among its many denominations, it has spoken of caves and dragons, angels and demons, fear and courage, but its objective remains the same: to record the truth of those who continue to create and reinvent it in songs that will carry its words into posterity.
One of the main virtues of a composer is the ability to convey honesty in their music, as each song carries within it a fragment of the soul of its creator. Regardless of the theme, sound, or message conveyed, music is an absolutely spiritual artifact and carries with it reflections of the personality, character, and beliefs of those who dare to transform all of that into compositions.
Without pretending to reinvent a genre whose possibilities have already been exhaustively explored, Seventh Sign From Heaven , formed in Picos, Piauí, in 2016, drew from its main influences, seeking elements in different bands and genres to arrive at an honest and well-executed sound, compatible and coherent with the truth it wished to convey in its songs. They then went to the studio to record them on their debut album, * The Woman and the Dragon* , recorded by the experienced musician and producer Thiago Bianchi at Estúdio Fusão . The cover and liner notes were designed by the equally experienced Marcus Lorenzet and Carlos Fides .
The album features ten songs spread over just over 40 minutes and introduces us to a band with a lot of drive, seriousness and honesty, in a recording of absolute good taste, highlighting the qualities and particularities of Mark Neiva (Vocals and Guitar), Emanuel Lima (Guitar), Zinha Soares (Bass) and Filim Nascimento (Drums).
The deep pulse of the drums, the striking riffs and melodies, and the powerful rhythm section of the direct and intense "Stayed in the Dark" serve as an excellent calling card for the album, with its strong and robust compositions reflecting the band's vigorous spirit in a sound that, in this track, recalls Blind Guardian – especially the track "Lost in the Twilight Hall". Vocalist Mark Neiva knows the limits of his vocal range and doesn't try to exceed them at any point, maintaining a sober and...
The song gains momentum as it nears its end, the chorus repeats itself, becoming increasingly intense, Mark and Emanuel become more robust, and Filim's double bass drum delivers the song at a breathtaking pace leading into the sequence in "Rise".
The second track, the last single released before the full album launch, begins with another spot-on riff, a powerful groove from Zinha Soares and Filim Nascimento on bass and drums, and very well-executed guitar duets and solos, keeping the album's energy high, culminating in an impetuous chorus with perfectly placed backing vocals, typical of songs in this genre. Thiago Bianchi's experience as a producer clearly contributes to the confidence and maturity conveyed by the musicians in their debut.
“The Devil Fears Your Name” continues the parade of exciting riffs, with Mark making clear in every note his passion for traditional metal and his reverence for the great names of the genre who influenced his development as a musician. Although all the musicians remain absolutely competent, this is a song that reflects the band's frontman, who showcases his entire repertoire as a composer and presents a part of his personality like an open book in lyrics with a very clear and well-crafted message.
The title track, inspired by chapter 12 of the Book of Revelation and the eternal battle between good and evil, defines the album's lyrical context and serves as a division between the more direct and traditional songs of the first part and the more elaborate songs of the second half. The guitars, reminiscent of Manowar in the riffs and Iron Maiden in the melodies and duets, along with the vocals and lyrics, once again deliver a masterclass in pure heavy metal, without leaving out any of the elements that made it famous, making this one of the album's most complete songs. Despite this, the highlight of this song is the diverse and cohesive rhythm section of Zinha Soares and Filim Nascimento, who dare to take even more risks, creating various distinct moods with their constant rhythmic shifts, bringing greater complexity and structural richness to the composition.
From this point on, the album takes a notable turn, featuring more elaborate and complex songs. “Judgement of Egypt,” which deals with the plagues of Egypt and was the title track of the EP released by the band in 2017, mixes elements of thrash and power metal with the band's more traditional sound, reminiscent of Iced Earth at times, even in the vocal line, with strummed riffs and good melodies, especially in the duels between Emanuel Lima and Mark Neiva. Mark's solos are always very tasteful and full of feeling, and in this track, enhanced by a fiery timbre, they create a tense and captivating atmosphere.
The ballad “Pain In Your Eyes,” with its feel reminiscent of Lynyrd Skynyrd and Dream Theater ,” addresses suicide in a very subtle and sentimental way and is full of good intentions, with a beautiful interpretation by the vocalist and backing vocals, creating a very beautiful melodic line, but overshadowed by the guitar timbre that “overdoes it,” making it slightly slow and somewhat unnoticed during listening, especially since it precedes the powerful “The Fall of Babylon (Revelations 19),” which possesses some of the best melodies and riffs on the album and an excellent operatic arrangement, which, combined with more measured instrumental sections, creates the somber and epic atmosphere of the first part of the song. The break in the middle of the song completely alters its tempo, which, with shouts of “Hallelujah,” gains speed and weight, overflowing into a vibrant energy.
The album's longest song, "Paid on the Cross," also features two quite distinct moments, both very tasteful, that alternate and converse in a very intelligent composition with clear Megadeth . The first part draws from "A Tout Le Monde" with beautiful fingerpicking, a mournful guitar solo, and a beautiful and introspective interpretation by Mark Neiva. The second part takes inspiration from "Blood of the Heroes," with full-bodied, well-paced riffs and another excellent guitar solo.
“The Return”, also present on the band's debut EP, has been given a more modern makeover, and with its catchy melodies and chorus, it immediately sticks in your memory. Even after the first repetition of the chorus, the listener finds themselves humming the positive message “However, However, I Will Win”, but this becomes a bit repetitive as the song progresses.
The album closes with the dramatic and epic “Holy,” with its grandiose arrangements divided into three major acts: an acoustic one, a completely metallic one, and an operatic one. The first part, driven by voice and guitar, conveys all the desolation of life's uncertainties about who we are, where we are, and what our true purpose is. The transition to the heavier part is thunderous and metallic, with a “Creeping Death” feel, driven by galloping riffs and melodies of overwhelming depth. Gradually, the choruses are introduced, imbued with a majestic atmosphere, slowly leading the song towards the heavens, delivering the music to a lofty infinity, ending the album in a hopeful and victorious way.
“The Woman and the Dragon” is now available on all major streaming platforms and will surely please fans of the more traditional branches of heavy metal, but it deserves the attention of any heavy music lover and supporter of national metal.
Luis Fernando Ribeiro's grade: 7.4
Leandro Abrantes' grade: 7.8
