This young German group, as participants say, plays melodic-metal. At the same time their technique was achieved playing songs of Iced Earth, Blind Guardian, Sentenced and Nightwish. The similar beginning causes undoubted interest (and imposes the certain obligations upon the group), especially taking into account adherence of musicians to images of Nordic Mythology.
The following fact is remarkable: the place at the microphone stand is given to a nice female singer, who is a co-author of lyrics together with the drummer.
Demo-CD "Zwischen Licht Und Schatten" - "Between Light and the Shadow" presents to listeners four songs of 22 minutes in total. So, we shall begin analysis step by step.

The first composition “Die Wiege Des Sturmes” opens with a powerful guitar reef, very German, so to speak, in my opinion, rather characteristic, with advantageous bass passage. Drums support guitars, so it is the high time for meat growling, but instead of growling the vocal parts are irrevocably given to a soft and gentle female voice. At first, I admit that such a manner of singing, which is not exactly combined with music, confused me, but I’ll say about the remarks in this occasion later. The composition continues to develop, being based in initial rhythmic figure, the guitar tremolo starts, probably, its aim to provoke some analogues with black-metal. Such “analogues”, I should admit, have turned to be rather and rather distant. Music dies down approximately in the last third part of the song and vocal sounds in silence, and then the storm proceeds.

The following track "In Den Nebeln Des Nordens" is opened with noise of the sea, wind howling, and the singing reaching through roaring of waves. Drum-roll with dense guitar rhythms gives to the sound a feeling of massiveness and solemnity. And again, a tremolo creates atmosphere of the cold sea open spaces, mighty waves and salty splashes on your face.

The third song of the same name as the album’s title is distinguished by shamanic rhythm of drums and quite various composition structure.
The final song begins with singing to accompaniment of an acoustic guitar. I even have prepared to listen to a ballad, but nothing of the sort! Heavy artillery of overkill-type went unexpectedly into action sweeping off all my hopes for a peaceful conclusion of the album. In actual fact "Des Menschenkindes Traum" has turned out to be the most dynamical composition with rather energetic melody and drums in the manner of old gothic rock groups of the 80’s. To tell the truth, violence ceases closer to the end, but resumes again finishing last seconds of the CD.

So, the demo makes rather pleasant impression, and it amplifies in case of long listening to. It is necessary to note interesting work of the drummer obviously well knowing from what end to hold drum sticks. I think, there is a lack of good drummers even in Germany too, so one may congratulate the group on availability of such a valuable participant.

Guitar parts are not too complex, but they also create appropriate mood for a listener. In my opinion, the specific guitar technique adds a little bit of national colour to ELENSIS’ music. But lack of a solo-guitar is felt, it would provide appropriate filling of a sound canvas. Lyrics, probably, is quite good, songs are perceived very well, at least verbally, harmony is felt. Though it is a pity, that the meaning of lyrics has remained for me concealed, especially if it is filled with promised Nordic images, you see – there are not any bright authentic elements in music.

Here is a couple of promised words about vocal parts. Julia’s voice to some extent is similar to a voice of Blackmore’s Night, and for music of ELENSIS it would be desirable something more dynamical and expressive with an exit beyond the bounds of one tonality. More various vocal techniques are required, of course it demands regular exercises to be achieved. Use of a classical duet a la “the Beauty and the Beast”, or experiments with soft acoustic sounding would be pertinent, for example, in the vein of dark folk/neo folk where, frankly speaking, insufficiently strong voice of the female singer would be appropriate. Home studio recording is noticeably, but it is quite good, though the female vocal, owe to its features, would be necessary to emphasize with some acoustic effects, make a sound of cymbals not so sharp, and a little bit equalize the level of guitars in respect to drums in some fragments. Though, anyhow, ELENSIS “passes a test” in their first attempt, and, for the future, it would be desirable to see German musical traditions more clearly.