Solarus – Of Sin and Ruin

​While symphonic metal often leans heavily on operatic vocals to carry the weight of the music, London, Ontario’s Solarus approach the genre with the mind-bending precision of a world-class progressive metal act. Their latest offering, Of Sin and Ruin, is an absolute masterclass in compositional scale, standing as a towering achievement for the Canadian metal underground.

Formed in 2016 by guitarist Lucas McArthur and vocalist Sarah Dee, Solarus began as a two-person project before gradually developing into a complete band. Their debut album, Reunion, was released in 2017, followed by Darkest Days in 2019 and A Dance with Tragedy in 2021. That third album included a guest appearance from Vicky Psarakis of Sicksense and formerly The Agonist, helping the band gain greater exposure outside of Canada.

Following that release, Solarus entered a quieter period as members married, started families and focused on their personal lives. The writing continued behind the scenes, however, eventually leading to Of Sin and Ruin, the band’s fourth studio album and their most ambitious collection of music so far.

The current lineup features Lucas McArthur and Troy Longe on guitars, Sarah Dee on vocals, Daniel Gebczynski on bass and Christopher Demelo on drums. Together, they have created an album that feels like the natural result of everything Solarus have been building toward since their formation.

On “OF SIN AND RUIN”, Rather than relying on predictable verse-chorus structures wrapped in orchestral synth pads, Solarus constructs an intricate labyrinth of shifting time signatures, blazing fretboard wizardry, and cinematic storytelling. It is an album that demands to be listened to as a singular, cohesive experience, rewarding listeners who miss the golden era of conceptual, long-form metal.

The undisputed centerpiece of the entire record is the massive, fifteen-minute closing title track, “Of Sin and Ruin.” For any fan of progressive epics, this song is a revelation. Much like Dream Theater at the absolute height of their powers on tracks like “A Change of Seasons” or “Octavarium,” Solarus uses this extended canvas not for self-indulgent soloing, but to let every single member of the band push their musical limits.

It is the ultimate showcase of their collective chemistry. The track seamlessly weaves through movements of crushing thrash-adjacent riffing, delicate acoustic breathers, and sweeping symphonic crescendos. The rhythm section anchors dizzying syncopated patterns, the keyboards and guitars engage in thrilling, jaw-dropping duels, and Sarah Dee delivers a commanding, career-defining vocal performance that ties the entire conceptual narrative together. It doesn’t feel like a fifteen-minute song; it feels like an odyssey where no note is wasted.

Songs like “The Heavenly Burden” and “The Isolate” lay the groundwork beautifully, proving that the band can inject infectious melodic hooks into complex progressive frameworks. The musicianship across the board is jaw-dropping, yet it never loses its emotional soul. The production allows the heavy guitar tones to bite through the mix without suffocating the lush orchestral arrangements, creating a balanced sonic landscape that feels both massive and intimate.

Of Sin and Ruin is a monument to what modern progressive symphonic metal can achieve when a band refuses to play it safe. By the time the final notes of the title track fade out, it’s undeniable: Solarus has delivered a album that firmly places them on the global map.