HistoryOhio’s Eternal Legacy was formed in 2003 and issued two demos. A pianist was added in 2005. Josh Gatka was Shaun’s student and guitar technician. The band, lead and produced by Wretch guitarist Jason Vanek, signed to Auburn Records (Wretch’s label) and issued its debut in 2007. The band has played at ProgPower USA and Headbanger’s Open Air festival.
Cleveland’s Eternal Legacy would release a new album, called Lifeless Alive, on December 8th, 2009 through Auburn Records. The album was recorded at the band's own Mercenary Studios in Cleveland and produced by singer and guitarist Jason Vanek.
ETERNAL LEGACY - THE COMING OF THE TEMPEST - AUBURN
The release of The Coming Of The Tempest on Auburn Records is a disappointment on several levels. The band is one of a couple of new ones on the veteran Auburn of Ohio and hence more than just a new act amidst the sea of releases.
Eternal Legacy is a keyboard-soaked act that mimics the American bands than clone European so-called power metal. This itself is a disappointment. This kind of wimpy sound is already overflowing on the scene. What’s worse, judging by the vocals and guitars, Eternal Legacy features a couple of accomplished musicians who could have done far better. Making matters worse, the band is a project of a Wretch member (also on Auburn Records), a band that amazed and amused last year. How could someone who knows metal come out with something like this?
However, what is really out of the blue and disappointingly so is the signing and release of this record through Auburn Records. A label that has been at it for over twenty years, understands metal and has worked with acts like the aforementioned Wretch, as well as Breaker and Shok Paris surely has no excuse for wimping out like this and appealing to the basest bases of the metal scene.
The record itself is a heap of confusion. The band cannot decide whether it wishes to practice metal (Shadow Of Revolution with its Queensrÿche-like lyrics and Metal Anvil come to mind), goth rock, pop rock, progressive metal or techno music. It is all here. Keyboards, effects, solos, songs and all. Realm Of Wind And Ice begins with a strum a la Skid Row’s 18 And Life, while Shadow of Revolution clearly follows Iron Maiden. The rest is a jumbled mess of commercial vocations of which metal fans need not bother. A generous mark of ”˜forty’ out of respect for the bearable songs, Wretch and Auburn Records’ legacy. - Ali “The Metallian”