Reviews list for Myrath - Wilderness of Mirrors (2026)

Unexpected and completely unannounced, Myrath have landed in my world and made an almighty impact by way of this month’s Infinite feature release. On paper, there was a lot to alarm me with the tags of symphonic metal and progressive metal throwing up two of some of my least favoured sub-genres. However, the reality of the actual listening experience has proven far more empowering than I ever could have expected. Wilderness of Mirrors is catchy, hooky and as result incredibly memorable. The spontaneity that presented upon my first listen was just the catalyst to a consistently rewarding album that repeated listens through seem to only improve on that initial positive reception.

The symphonic elements are thankfully not huge orchestral movements, and nor are they washy keys that flood everything either. The Middle Eastern influences on show here are incorporated skilfully into varying tempos and rhythms. Accented vocals are not always done well (Orphaned Land come to mind here) but in the main the vocals here only add to the authenticity of the music. There is some clunkiness to them sometimes, like on the track ‘Until the End’ featuring Amaranthe’s Elize Ryd where there is the annoying extension of words to make them fit the music, or on the opening to ‘Les Enfants Du Soliel’ when the choral vocals get sung over by the band’s vocalist. Whilst they are isolated moments, they do linger on the mind for a while after.

Production wise, Wilderness of Mirrors is immaculately produced. It is to be expected though. Within a few minutes of album opener ‘The Funeral’ it becomes clear that anything less production values wise would be a travesty. This is an album that is wanting to soar from the off, taking little time to awaken that massive wingspan. I would have more stars for it if perhaps the record did not dip in quality towards the end. After my personal favourite track, ‘The Clown’ things do get a little samey for me. Even though the musicianship remains strong and exuberantly showy, there is a sense of the ideas tank starting to run on empty over the final four tracks. This has still been a revelation for my usually more extreme ear however and I must have played this album for around two weeks on a daily basis.

I'm pleasantly surprised by the amount of metal albums coming out in March. We already got hard-hitting new releases from more modern heavier bands like ERRA, Lost Society, Neurosis, and Poison the Well. And on the last Friday of that month, Iron Savior released a cover album, and another new album has arrived from... Myrath, with Wilderness of Mirrors! They have pleased me with their talented strength once again.

March just so happened to be the month that I've actually started listening to Myrath full-time after about 10 years of hearing about them but brushing them aside. With their 7th album, they continue to step up their game, with slight improvement in the production. I also loved how audible the bass is now. As always, the amount of worldwide influences makes Myrath one of the most diverse and versatile bands around. Middle Eastern symphonic progressive metal is a style that Myrath can perform at ease, and that's something worth praising a lot.

"The Funeral" is a complex opening track, and the one that encouraged me to listen to Myrath, via one of the monthly Infinite playlists. I honestly wasn't expecting oriental progressive metal to hit me so hard, but I'm glad it did. One of the greatest tracks here is the catchy "Until the End", in which vocalist Zaher Zorgati duets with Amaranthe female vocalist Elize Ryd. "Breathing Near the Roar" has left me breathless with its Middle Eastern take on the neoclassical progressiveness of The Human Abstract.

"Les Enfants du Soleil" (Children of the Sun) has touched my heart. The French lyrics are quite well-done, considering the fact that keyboardist Kevin Codfert is from France, and the band now reside there. "Still the Dawn Will Come" has catchy rhythms worth dancing and headbanging to. From the start of "The Clown", that song has a sound closer to heavy/power metal, and it's the somewhat generic kind. Well it's not bad, though it could've been improved for the album rating to be raised up to perfection. "Soul of My Soul" is another excellent single with different layers.

"Edge of the Night" has the catchy melody of Amaranthe, but replace the electronics with Middle Eastern vibes. I can say the same about "Echoes of the Fallen" which is an odd yet brilliant standout. Although it sounds more alt-ish, the progressiveness and the climatic chorus help the track stay good. All that's missing is for Ryd to guest appear in that track as well. "Through the Seasons" ends the album on a refined note.

All in all, Wilderness of Mirrors may be tied with Karma as my favorite Myrath album that isn't the glorious Tales of the Sands. It's too spectacular to ignore. Myrath needs to be appreciated more, and they shall!

Favorites: "The Funeral", "Until the End", "Les Enfants du Soleil", "Soul of My Soul", "Echoes of the Fallen"