Release date: Out Now!
Label:Independent
Elle Tea is a band that bridges the imagery of hard rock and the more acid-drenched side of 1970s progressive rock with the power of the heavy metal born in the 1980s, creating a musical style that could superficially be labeled as retro-clone material, yet in reality conceals a powerful energy expressed through its lyrical, aesthetic, and musical concepts, fusing the best of the past’s avant-garde spirit with the technological advances of the present.
A band composed of a single person? Yes, and what is even more astonishing is that the mastermind behind the project, Italian musician Leonardo Trevisan, has created not only the music, but also the concepts, lyrics, and even the artwork, developing a comprehensive artistic vision that leaves no aspect unattended. Organic cohesion and total integration are the key words here, and that very approach to album-making already places the project on a remarkably high level.
We are facing a project that functions as the missing link of an era that was quickly absorbed by other movements, while also engaging in a fascinating dialogue with some of the finest representatives of this new wave of bands seeking to merge traditional elements as if they were performing in a distant past or a non-existent future. Among them we can mention Hällas, Convent Guilt, Tanith, Sanehdrin, and Tarot.
Review
The Eye of the Storm opens with deep synthesizer notes before giving way to energetic drumming and arpeggiated chords that serve as gateways into the fantastic world proposed by Elle Tea. The composition displays remarkable control over pacing, oscillating between introspective moments and sudden accelerations that explode from one measure to the next with an epic and triumphant aura, yet never overusing the device. Instead, it retreats into reflective passages and forced marches where distortion remains subtle, driven by clean and swift rhythmic attacks. Slow sections featuring a strong bass presence are also incorporated, with the instrument constantly moving and occasionally adopting a contrapuntal role. The vocals are clean and blend organically with the arrangement. An excellent opener.
Ancients Cult follows a similar compositional framework, which explains its closeness to progressive rock: calm melodic introductions erupt into fast riffs before withdrawing once again into cleaner territories, enhanced by elegant high-register guitar embellishments that weave seamlessly into the song. All of this unfolds atop a rhythm section heavily inclined toward polyrhythmic structures, while jazzy bass lines swirl between verses and choruses. The final third ventures into more rock-and-roll-oriented territory, featuring a solo that sustains notes with confidence while interchanging scales in a manner reminiscent of 1970s King Crimson or Yes. A great starting point for anyone wishing to understand the band’s musical identity.
Elle Tea (Travelling) begins with landscapes that evoke Pink Floyd, Rainbow, and Led Zeppelin alike, supported by restrained instrumentation that gradually gains rock-driven momentum with each passing measure. The main riff dominates the composition, reappearing through melodic variations between heavy chords and soaring notes. During the second half, the song undergoes a transformation through accelerated chord progressions and faster marching rhythms, strongly accentuating the verses, which are delivered with a tragic tone. The solo is relatively straightforward yet exquisitely crafted, featuring quick sweeps and a tapping-driven finale.
On The Walls Again opens with considerable energy, recalling Black Sabbath during the Dio years, while the verses continue to breathe through pauses and rhythmic interruptions. The choruses employ layered vocal lines and move toward guitar-driven developments rooted in rock-and-roll traditions without abandoning the epic atmosphere provided by the synthesizers, which lend a solemn character to the composition, occasionally even simulating string arrangements. Another strong entry point into the band’s universe.
Bad Signs is the kind of composition that explains the band’s internal logic. A solitary melodic guitar passage introduces the track before being joined by arpeggiated guitars and a dynamic bass line, eventually developing into more forceful sections. These are distortions that never fully erupt, reflecting an approach closer to progressive rock than heavy metal. Nevertheless, there are galloping sections that culminate in classic power-chord riffs before returning to the opening dynamic of arpeggios and melodic guitar embellishments.
Into the Fall once again emphasizes ethereal progressive landscapes, moving from classic blues-based scales into more emotional territory, supported by increasingly developed rhythmic structures and a prominent guitar performance that paints both slow and fast melodies with genuine feeling. It is a melancholic composition that avoids the conventions of the traditional power ballad, instead opting for jazz-infused and hard-rock-oriented elements. An outstanding piece, emotional and brilliant.
One Crazy Life offers yet another demonstration of the band’s versatility. It can incorporate elements of traditional heavy metal while naturally steering the song toward a pop-rock direction without losing coherence. The vocals remain consistently clean and precise, while the arrangements are delicate and perfectly aligned with the overall vision. The guitars occupy the center of the mix effectively, and the drums transcend mere accompaniment, displaying a broad arsenal that ranges from rapid crash attacks to swift fills as tempos shift from one section to another. There are even certain vocal phrases with a subtle rap-like flavor, further illustrating the wide range of stylistic registers explored by Elle Tea.
The closing track, Vanish, is a beautiful jewel of inspiration. Much like Into the Fall, it is a ballad, yet it avoids the typical metal-ballad formula and instead explores neo-progressive territory, incorporating touches of folk and country guitar that imbue the piece with melancholy and a sense of veiled sadness. It feels as though it could have been composed for the landscapes of a classic 1980s fantasy film such as The NeverEnding Story or Labyrinth.
Conclusion
If this publication were not specialized in traditional heavy metal, this album would be a perfect 10 out of 10. Why does it fall just short? Because despite employing many hallmarks of heavy metal—power-chord riffs, galloping rhythms, and a certain epic quality inherited from Rainbow and Dio-era Black Sabbath—its heart beats far more strongly within the territories of progressive hard rock and classic 1970s rock. The distortion rarely seeks to overwhelm the listener, the compositions favor atmospheric development over immediate impact, and the songs derive their identity from nuance, dynamics, and melodic exploration.
Yet what prevents the album from achieving full marks within the strict boundaries of traditional heavy metal is precisely what makes The Eye of the Storm such a compelling work. Leonardo Trevisan demonstrates extraordinary compositional ability, maintaining throughout the album a complex balance between accessibility and sophistication, nostalgia and individuality. There are no filler tracks, nor any moments where inspiration fades; each song contributes a new perspective to a proposal that feels coherent and fully realized from beginning to end.
TheNwothm Score: 9/10
Links
Bandcamp: https://elletea.bandcamp.com/album/travelling
Instagram: https://www.instagram.com/elle.t.ill/
Label: Independent
