Album Review: Labyrinth – In The Vanishing Echoes Of Goodbye

Band: Labyrinth
Title: In The Vanishing Echoes Of Goodbye
Label: Frontiers Music
Release date: January 24th, 2025
Country: Italy
Format reviewed: High quality digital recording

Album Review: Labyrinth – In The Vanishing Echoes Of Goodbye via Frontiers Music by Elyna

“With “In the Vanishing Echoes of Goodbye”, Labyrinth features its darkest masterpiece. It blends deep introspection with a piercing social critique, wrapping it all in rich metaphors and shadowed tones. The album delves into the quiet moments of self-reflection, revealing a world lost in its own echoes, while maintaining a delicate balance between darkness and hope.” by Elyna Steel

My  beloved Italian maestros from Labyrinth return with their eighth studio album, “In The Vanishing Echoes Of Goodbye,” perhaps the darkest of their entire discography. This work was released on January 24th via Frontiers Records. The legendary group, led by virtuoso guitarist Olaf Thorsen, alongside Roberto Tiranti on vocals, Andrea Cantarelli on guitars, Oleg Smirnoff on keyboards, Nik Mazzucconi on bass, and Mattia Peruzzi on drums, once again proves that they are one of the essential icons in melodic progressive power metal genre.

The album is a magical and dynamic journey divided into ten chapters. The first track is “Welcome Twilight,” which runs for 5:45 minutes. Its powerful lyrics express a sense of disenchantment and criticism of society, politics, and power. It reflects the chaos wrought by those who manipulate and pull the strings, leaving people trapped in fear and war. Freedom, in this scenario, has always been an illusion, conveying an atmosphere of hopelessness and resignation. 

Faced with this; What do we do? It’s a powerful wake-up call for all of us because the only way to confront so much darkness is through love and unity.

Musically, “Welcome Twilight” is an explosion of powerful, melodic and rhythmic diversity. The orchestral arrangements, exquisitely infused with power progressive, along with its tonality, give it a dark, enchanting air. As the verses enter, the galloping speed and killer riffs open the curtain for Roberto, who unleashes all his characteristic and unmistakable voice, which has captivated me since the late ’90s! 

The melodies of the bridges and intermezzos, along with the tonal shifts and keyboard and guitar solos, create a depth and drama that shock the heart, leaving it pumping with adrenaline. Finally, the polyphonic choruses, sung in Latin, echo soundtracks like The Omen, disturbingly sinister yet enchanting. As for Thorsen… his sound of alternating picks, delay, and guitar vibrato is still there, powerful, unchanged. Without a doubt, Olaf is the master of melodic and heartfelt strings in Italy. “Welcome Twilight” is the perfect starting point and a tasty preview of what we can expect in the following tracks. I tell you, it’s amazing!

“Accept The Change” fits perfectly with “Welcome Twilight,” courtesy of its sinister and haunting rhythm and musicality at the start. The lyrics are a song of introspection, nostalgia, and resilience. It tells us about the inexorable passage of time, and the crucial decision to eternally struggle with the events of the past, or accept them and move forward to break the eternal cycle of pain and despair. It is a call to face doubts, accept loss, and look to the future and the present with hope and strength to move forward.

Clocking in at 07:23’, with a diverse fast tempo, this track is strongly reminiscent of “Take On My Legacy” and “Stardust and Ashes” from the album “Architecture Of A God” in its structure, progressions, and melody, and also hints of the legendary intro to Helloween’s “Halloween” in the first notes. However, it is a song with a hopeful and powerful energy. The impeccable riffs and the devastating rhythmic base stand out, with thunderous drum and bass pulses. The majestic orchestrations give way to the first verses, which go full throttle, while the voice nuances between brutal, soft, and melodic vocalizations. This set provoked an intense frisson in me, and the same endearing emotions as always: power, affection, security, and admiration. They are always my Labyrinth masters; they never fail to leave me  heart in mouth and filled with luminous energy and peace.

The third track is “Out of Place,” running for 5:02. It conveys an intense sense of disconnection and feeling, like a stranger in one’s world. What was once familiar ceases to be so. Places, people, and even one’s identity feel strange and distant. Stay, or flee. Or rather, continue being what we have been until now, or drop the mask and dare to be oneself. And amid all this internal struggle, there is a companion who never fails or abandons us: Her Majesty, Music, which is the refuge for all who find meaning and purpose in it. These lyrics touched me deeply because when I learned about my autistic condition, I finally understood why I always felt alienated from the world, why I always found it so strange, and how I found in music my only refuge and safe space, where I could always be free and authentic. 

Musically, “Out of Place” presents a slower rhythm and melody at the beginning, which builds in crescendo throughout. This tempo is a characteristic of Labyrinth; songs that begin as ballads, with breaks in rhythm and changes in pattern, which always captivate me. The combination of slightly distorted guitars, the drums sounding with an almost jazzy softness, and the velvety vocals at the beginning are a balm and a respite for a weary soul, or a brain suffering from sensory overload.

The choruses increase the intensity while the drums take center stage in a mind-blowing display of energy. This dynamic is repeated throughout the track, giving projection, depth, and freshness to the whole. On the other hand, the bridge after the second chorus accelerates to the max in a spectacular display of potency, where the keyboards and guitar complement and enhance each other to the fullest. The following solo is deeply felt and polished, like everything Thorsen does. Wonderful drum rolls, smooth riffs, and a key change follow the final chorus, thus closing out this beautiful piece called “Out of Place.”

“At The Rainbow’s End” runs for 5:10. This song presents us with a raw and reflective perspective on life, with its struggles and challenges. The Rainbow’s End describes how, instead of finding gold, there is a trail of pain and sacrifice. We waste years of our lives “not living,” trapped in a contradictory world, full of prejudices —because every person who has ever met us has a different image of us. This leads us to an existential crisis, and the struggle to find meaning and significance in life, while acknowledging our mistakes, in an act of empathy and compassion for ourselves.

Musically, this track evoked strong vibes of “Thunder” in its prelude and intermezzo structure. It’s a track at an exquisite galloping speed, in 4/4 time, with several syncopated notes throughout, which enriches the listening experience and transports me back to the good times of my youth, when my beloved maestros accompanied me every day with their frenetic rhythms and boundless energy. It combines the Labyrinth sound of the early days, with modern elements that enhance the impact of the impeccable sound achieved in the production. The magical keyboard arrangements stand out, perfectly unifying the rhythmic and melodic foundations and the vocals. Meanwhile, the vocals weave an elegant and powerful tapestry, with high and very low passages, in addition to Tiranti’s signature falsetto, which delicately intertwines with the melody and is enhanced by the brutal drum beats. The charming closing riffs and solos create a sense of fresh, warm air, and a warm evening breeze after a long, tiring day. “At The Rainbow’s End” is a nostalgic and energetic piece, one of my favourites from the album, and a must-have for future setlists, thanks to its anthemic and invigorating tone.

“The Right Side of This World,” at 4:31, reflects on the right side of the world, which is divided into different groups and governed by rules imposed since the dawn of time. Despite the passage of time, despite technological advances and changes, this division into groups remains and deepens. “The Right Side of This World” speaks to the ongoing struggle of some to regain freedom, autonomy, and identity “as human beings,” beyond the groups into which we have been arbitrarily divided. It is a call to action against the status quo, and a song of hope in a world full of contradictions. 

Structured in a 4/4 tempo that remains stable throughout, this track pleasantly surprised me. It features classic power and heavy metal sounds, with hints of Iron Maiden, Gamma Ray, and Stratovarius. Roberto Tiranti maintains Labyrinth’s signature with his iconic vocal nuances, while also showcasing a much more heavy metal side, which is a delight to the ear. These characteristics make this track a point of balance. Being located right in the middle of the setlist, it balances the album while adding dynamism and diversity.

“The Healing” lasts exactly 6:41 minutes. It’s an experimental track. With a slower tempo and a stable 4/4 structure, it features semi-acoustic guitars and beautiful orchestrations at the beginning. The sharp guitars contrast magically with the sweetness of the orchestration and the stunning vocal nuances. The middle portion of the track breaks the structural scheme, with an exquisite rhapsodic bridge that increases the speed. The brutal drum rolls, the sharp voice, the powerful guitars, and the orchestration here infuse the track with a surprisingly aggressive energy, which then returns to its initial, slower, metal ballad-like structure. The chorus is charmingly catchy, thanks to the impeccable vocal performance, which is enhanced by the powerful bass and drum beats, and the guitars, which close the track with a beautiful fade-out. The final emotion is nostalgic and melancholic, almost dramatic, feelings that Labyrinth knows how to handle perfectly!

Lyrically, “The Healing” touches on themes, such as self-forgiveness, loneliness, and the search for inner peace and emotional connection. It speaks of how loneliness causes profound suffering and a sense of disconnection because human beings are gregarious beings who thrive in community. Therefore, when facing loneliness, pain is inevitable at some point. Despite this, “The Healing” also speaks of the hope of finding meaning and solace by uniting hearts, while walking the path of personal healing in search of meaning in life’s experience. It is a call to find strength through connection and love. Healing by accompanying and supporting one another. It is healing alongside another, connecting emotionally while walking one’s path in life.

The next track is “Heading For Nowhere,” running at 4:47. The lyrics reflect the current situation of millions of human beings, who live immersed in mistrust, confusion, and despair, a product of general chaos, war, and internal strife. It calls us to prepare for a new battle, even though the feeling is that there’s no point in fighting. “Heading For Nowhere” also shows the loss of faith in traditional systems, whether religious, political, or otherwise, which causes a feeling of being lost, aimless, divided, and without guidance. Even so, there is a light on the other side, offering a glimmer of hope that things can change, despite the paranoia that rules the world. In short, “Heading For Nowhere” reflects the ongoing struggle amidst despair, and the hope and search for refuge, a way out, or a change for the better.

Musically, this song surprises me because of its sound. It masterfully combines elements of power metal, thrash, and even melo death metal in its rhythmic and guitar-driven base. This tempo gave me strong echoes of Secret Sphere’s “The Brave.” At times, the keyboard orchestration, alongside the devastating drums, even reminded me of the giant Galneryus. These elements make this track one of the most dynamic and invigorating on the album. The vocals, on the other hand, delight with aggressive and sharp high notes at the end of the chorus, along with Tiranti’s classic power and mastery. A wealth of progression, aggression, melody, and diversity make “Heading For Nowhere” one of the album’s best cuts, and another sure bet for future setlists.

“Mass Distraction,” enduring 04:38, is a slap in the face for us all. It intends to wake us up, and make us aware of the collective stupidity and manipulation of public opinion, which obeys the political and economic interests of a few who hold power. This state of nihilism and insensitivity has been gradually created by the press industry, the media, and, in our era, the internet. Because, from all the “information” we are given, can we distinguish what is real? Do we know how to differentiate an opinion from a fact? Can we discern enough if what is presented as fact is true, or is it a plot to disguise and manipulate reality?

“Mass Distraction” confronts us with mass media, as a distractor from what actually matters. With so many wars like those in Ukraine and Russia, so many deaths like the babies murdered in Gaza, as well as draconian laws promoted by the current presidents in the United States and Argentina, the media diverts public attention to the World Cup, beauty pageants, and talent shows, only to keep us in a state of inertia while tragedy strikes the world. Thus, “Mass Distraction” is a wake-up call, urging us to abandon inaction, break free from the spell of mass media, and dare to look at the realities of human existence, no matter how harsh, and to actively engage in building a more just and kind world for all.

Musically, it’s a mid-tempo track with a stable time signature that maintains the 4/4 beat throughout. Its fresh and intense energy stands out. The first chords and beats of “Mass Distraction” give off subtle vibes of Megadeth and Vision Divine. The spectacular solos, vocal performance, and sound evoke, in part, the musicality and rhythm of 1980s Whitesnake and Journey, complemented and enhanced by a modern and impeccable sound. This fusion of the classic with the modern, the nostalgic with the contemporary, gives the music coherence to the lyrics, lending the song a character of both resistance and deep reflection.

The next stop on this incredible adventure is “To The Son I Never Had,” at 06:02. Its moving lyrics reflect a moment of profound connection between a father and “the son he never had.” It conveys a message of profound wisdom, reflecting on life, destiny, and the importance of self-acceptance, self-forgiveness, and forgiveness, to free ourselves from burdens and move forward. It also advises a beloved son or daughter not to allow anyone to kill their dreams with destructive opinions or judgments. It doesn’t matter if others don’t believe in your dreams or talent, never believe them. It urges us to seek the freedom to be and do, understanding that destiny isn’t written in the stars, but we design it with our actions. The path is our own, and only we know how and when to take those steps. We can create the life we desire, always respecting and honouring our dignity and that of others. Ultimately, the father asks his son to value the wisdom of those who have already walked through life, trying to take the advice given to them with love, and hoping for the best for them. Thus, “To The Son I Never Had” is a precious, heartfelt ballad, whose message of wisdom and love transcends barriers of musical style, age, nationality, or any other distinction.

Like all of their ballads, Labyrinth perfectly masters lyrical and musical coherence, with heartfelt and emotional nuances that enhance the depth and significance of the message. The beauty and power of the guitar harmonies, the delicate yet intense power of the rhythmic base, along with the progressive breaks, with dynamic meter changes, bring richness and complexity to the whole. The resulting listening experience is captivating and exciting, full of diverse energy that moves through nostalgia, hope, and the deepest, most unconditional love. The chorus, on the other hand, is a sublime, catchy experience that stays like a mantra in the mind. It is sung from the soul, with eyes full of tears of emotion, like a catharsis that releases all the negative urges you hold onto until you are left light and calm. “To The Son I Never Had” is, in short, one of the most complete and beautiful ballads in Labyrinth’s discography, which moves beyond romantic themes to give us a message of parental love, so universal and necessary in a world where people and relationships are increasingly disconnected and divided.

And closing this magical journey, the final track is “Inhuman Race,” running for 07:41. Its message deepens that of “Mass Distraction,” but here the criticism is right directed at the human race; human indifference is what allows the saga of violence, war, suffering, and death of millions of human beings throughout history to continue indefinitely. The most vulnerable are the most numerous victims of war’s brutality, represented in images of mutilated children and destroyed hospitals. But instead of seeking solutions or fighting to defend them, society prefers to look away and continue entertaining itself with empty and superficial distractions.

“Inhuman Race” highlights dehumanization. That is, indifference to the suffering of others, which makes us part of and complicit in it. The most curious—and tragic—thing is that history always repeats itself like an eternal loop, unless societies learn from their mistakes, abandon apathy and indifference, and take action to prevent future conflicts and wars, and thus avoid all the suffering they cause. “Inhuman Race” confronts us with our indifference and lack of empathy, urging us to wake up and act to stop the madness of war. Because if we don’t, sooner or later, it will reach us all.

Musically, this is another of the album’s “experimental” tracks. It’s structured in a diverse mid-to-fast rhythm, with a progressive time signature from 3/4 to 4/4 in some passages. Nuanced and dynamic, the impressive rhythmic base, killer riffs, and beautiful double-part guitar harmonies stand out, where classic heavy metal bursts forth and takes center stage. Immediately after, there’s a notable change of pace, slowing down, and where the piano steals the show in an almost jazzy display. This section also includes a voiceover section simulating news reports of the war between Russia and Ukraine, reinforcing the lyrical message. Toward the end of the track—my favourite part—the song resumes its fast pace, with devastating and intense drum rolls and beats, and an exquisite, swift neoclassical solo. The vocals and orchestration intensify, leading to the track’s closing, which ends with disconnected guitars and an abrupt finale, impeccably concluding the track and the album.

“In The Vanishing Echoes Of Goodbye” is not only a well-rounded album but perfectly executed and impeccably produced. It’s also a journey through Labyrinth‘s more than 35-year career in terms of sound and personality. At the same time, it reveals a new, more experimental, and dense side. Here I find Labyrinth in all its eras, in a majestic and enriching timeless journey, where echoes of “Return To Heaven Denied” parts 1 and 2, “No Limits,” “Labyrinth,” “Sons Of Thunder,” “Architecture Of A God,” and “Welcome To The Absurd Circus” emerge like thousands of comforting flashbacks. At the same time, the enchanting and powerful melodic structures, the crushing rhythmic base, the majestic orchestral arrangements, and the incomparable guitar riffs and solos bring denser, darker overtones than what my ear was used to hearing from Labyrinth. And I adore them, for they are a balm for my soul. On the other hand, maestro Roberto Tiranti’s voice remains intact despite the years, as if it holds the secret to eternal youth. It retains the beautiful nuances, the wide range, the perfectly executed falsettos, and the depth and elegance that have made him one of the best singers of the genre since late 1990s. 

“In The Vanishing Echoes Of Goodbyes” is, in short, one of the best releases of 2025, and one of Labyrinth‘s best, and most daring albums in their long musical career. 

So I am glad to say: there will still be Labyrinth for a long ride! 10/10

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10/10  Immortal Classic
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