With their self-titled debut, pop duo featuring music maker/producer/guitarist, Howard “Merlin” Wulkan and virtuosic vocalist, Amy Owens, give you Opera Rock. If you are wondering how both worlds can collide then I ask you to listen to Queen or Evanescence and have your mind blown. When the elegance of opera combines with the chaos of rock n’ roll, you get epics like Haethor.
From “Stardust” to “Gone”, Owens voice radiates with its clear precision. You can tell she has been trained to hit a note like a target, but with Wulkan’s production she assassinates her vocal aim. For their debut, Haethor truly show their potential/ capacity at bigness. In essence, they can truly amp rock anthems, which thrive on a sense of mysticism. From “Bohemian Rhapsody” to basically any Led Zeppelin song, the lead singers use a wide, soprano styled range to summon your soul over a wild, guitar soundscape. With that idea, Haethor’s debut succeeds.
While you may not find the next “Bring Me To Life” or “My Immortal”, you certainly feel the makings of such wondrous classics. “Magic, Magic”, “The Hook”, and “Centauri” feel like fairytales written by The Grimm Brothers, and Owens has no problem playing the role of a broken hero. If you ever read the Grimm fairytales, then you know that Disney had to to work hard to find the “lighter” version of their twisty, dark tales. Yet, Owens voice is the light, and she desires to pierce through Hell like Heaven on a conquest mission. From “Beautiful” to “Forget Everything”, Owens wants to revive your sense of power and resilience, which with Wulkan’s melodies, cause Haethor to ignite your inner fight.
I had the pleasure of seeing Haethor live, and their sounds soars to celestial heights in concert. While their record is good, their show doubles how powerful a combination opera and rock can be. I mention this because, nowadays, being able to magnify your recordings in concert is a major key to artistic prosperity. Add on that Owens’ voice is as clear as crystal, and Haethor can be very prosperous.