It’s now more than a decade since Edenbridge first created a stir with the launch of their debut Sunrise In Eden back in 2000. What presented itself as a young but already immensely talented band has evolved into one of the genre’s most independent acts. The Bonding sees the group from Austria underline their exceptional status in melodic metal and puts an end to their creative hiatus of almost three difficult years. “We had to come to terms with a number of personal setbacks, which is why the production of the album took longer than originally scheduled,” explains guitarist and main songwriter Lanvall, who among other things suffered the loss of his father due to suicide. In addition, Edenbridge underwent an unexpected line-up change: bassist Simon Holzknecht had to be replaced by Wolfgang Rothbauer (Disbelief, Zombie Inc.).
Yet the band’s great compositional qualities, the amazing voice of singer Sabine Edelsbacher and Edenbridge’s unconditional determination to not only validate, but to surpass the undisputable strengths of each predecessor album are omnipresent. “The initial ideas were developed as early as 2010, immediately after the release of Solitaire, but due to our private trials and tribulations it took us until autumn 2012 to conclude the recordings for our new album,” Lanvall looks back at taxing months marked by one ambitious goal: to complement the new album by a real orchestra in order to support the material’s symphonic direction. “Our style has always had an unmistakably symphonic quality,” says Lanvall, “so the only question was: how do we finance a big orchestra?”
At this point, outside help arrived, in the form of support from fans and sponsors. Thanks to a major joint effort, the band succeeded in bringing to the studio the Klangvereinigung Orchestra of Vienna under the direction of Georg Luksch to cap the atmospheric and at the same time dynamic songs on The Bonding. Lanvall: “When it had been confirmed that the Klangvereinigung Orchestra would come to the studio, I concentrated on writing scores for our songs, so we were able to integrate these additional elements more concisely than ever before. Of course it would be a mistake to drown our songs, which also feature guitar riffs, choirs and rhythmic details, in orchestra sounds. It was all about positioning the orchestra in a way that would create an additional dynamic level. I think we’ve succeeded in doing just that on The Bonding.”