The Cry Of Gaïa by Equinox: A Symphonic Journey Worth Remembering
Released in 2014 under the independent label Not On Label, The Cry Of Gaïa by Equinox is an ambitious blend of Metal, Rock, Symphonic Rock, and Prog Rock that feels like a love letter to both heavy riffs and sweeping orchestration. It’s the brainchild of Inophis, who wears more hats on this project than you’d think possible—composer, lyricist, orchestrator, guitarist, producer—you name it. The album features some solid performances, particularly from Emmanuel Creis on vocals and Pascal Mulot on bass, while Steve Prestage ensures the mix and master are polished enough to let the music shine.
What makes The Cry Of Gaïa stand out isn’t just its genre-blurring sound but also how it balances bombastic symphonies with raw rock energy. And yes, there's even a Queen cover thrown into the mix because why not? But let’s dive into two tracks that stick with you long after the final note fades.
First up is “A Light In The Chaos.” This track grabs your attention right away with its cinematic intro—a mix of strings and synths that feels like stepping into an epic fantasy film. When Emmanuel Creis’ vocals kick in, they’re powerful yet emotive, perfectly complementing the layered instrumentation. The song builds steadily, never rushing, letting each section breathe before exploding into a chorus that’s as uplifting as it is heavy. You can tell Inophis put thought into every layer here; nothing feels out of place. If I had to pick one moment that defines the album, it’d be when the guitar solo soars over the orchestra—it’s goosebump-inducing stuff.
Then there’s their take on Queen’s “The Show Must Go On.” Now, covering Queen is always risky business, but Equinox pulls it off with style. They don’t try to outdo Freddie Mercury’s iconic delivery (smart move), instead opting for a darker, heavier reinterpretation. Aurélien Ouzoulias’ drumming adds weight to the rhythm, while the orchestral elements give it a grandiose touch that fits seamlessly with the rest of the album. It’s respectful without being derivative, which is no small feat.
One thing worth noting about The Cry Of Gaïa is its sheer scope. With 21 tracks clocking in at nearly two hours, it’s not exactly a casual listen. Some songs feel repetitive upon multiple listens (“Breath Of Life” shows up twice, for instance), but overall, the variety keeps things engaging. Tracks like “Wings of Fire” bring fiery guitar work, while introspective pieces like “I Had A Dream” offer quieter moments of reflection.
In terms of production, Steve Prestage does a commendable job keeping everything clear despite the complexity of the arrangements. That said, a bit more punch in the low end wouldn’t have hurt—Pascal Mulot’s basslines sometimes get lost in the mix.
All in all, The Cry Of Gaïa is a bold statement from Equinox. It’s the kind of album that demands your full attention, rewarding those willing to invest time in its intricate details. Sure, it might lean a little too ambitious at times, but isn’t that better than playing it safe?
Here’s the kicker: listening to this album feels like watching someone build a cathedral out of Legos—one piece at a time, with meticulous care. By the end, you’re left wondering if they’ve bitten off more than they could chew—or if they’ve created something truly remarkable. Either way, it sticks with you.
