New Music Review: SIMONE SIMONS ‘Vermillion (feat. Ayreon)’

SIMONE SIMONS 'Vermillion (feat. Ayreon)' - COVER PHOTO

Rating: 9 / 10 Stars

SIMONE SIMONS is: Simone Simons (vocals, songwriting), Arjen Lucassen (guitars, keys, composition, production), Lori Linstruth (songwriting, lyrical development), Rob van der Loo (bass), Koen Herfst (drums),

GUEST MUSICIANS: Alissa White-Gluz of ARCH ENEMY (guest vocals on “Cradle To The Grave”), Mark Jansen of EPICA (guest vocals on “The Core” & “R.E.D.”), Perttu Kivilaakso of APOCALYPTICA (cello on “Dark Night of the Soul”)

REVIEW – After two decades standing at the vanguard of symphonic metal, Simone Simons has stepped into the spotlight alone—finally, and triumphantly. Vermillion, her long-awaited solo debut, is not a side project or vanity exercise. It’s a cinematic, genre-spanning statement crafted with care, intention, and an unapologetic emotional pulse.

Known worldwide as the iconic frontwoman of Epica, Simone’s voice has carried countless fans through towering choruses, operatic grandeur, and progressive fire. But Vermillion finds her navigating a different realm—one less defined by band dynamics and more focused on intimate storytelling, creative freedom, and dynamic self-expression.

This is not Epica 2.0. And it’s not Ayreon rebranded. It’s something all its own—though it is worth noting that Arjen Lucassen, her longtime collaborator and creative kindred, co-wrote and co-produced the album alongside Simone, shaping the sound into something both expansive and deeply personal.

Opening track “Aeterna” sets the bar high—a progressive, cinematic piece that feels part overture, part declaration. This is Simone untethered, wrapped in crimson atmospheres and guided by melodies that feel both futuristic and primal.

Tracks like “In Love We Rust” pull from the shadows of Floydian introspection, while “Cradle to the Grave”, featuring Alissa White-Gluz, erupts into an industrial-tinged firestorm, balancing ethereal vocal work with earth-shaking growls. There’s undeniable weight here—lyrically, vocally, sonically—and it’s matched only by the surgical clarity of the production.

There’s also a sense of scale throughout Vermillion that never overwhelms. “Fight or Flight” swings between tension and release with elegance. “The Weight of My World” feels like a soul laid bare, carried on a string of vocal lines that ache and soar in equal measure.

Then there’s “The Core” and “R.E.D.”, two of the album’s most aggressive offerings. Both feature Mark Jansen of Epica, whose abyssal growls clash beautifully with Simone’s melodic command, while a choir of friends and collaborators gives “R.E.D.” its undeniable war-cry feel.

“Dystopia” and “Vermillion Dreams” strike a dreamlike balance—electronic, airy, and dark—but full of pulse. “Dark Night of the Soul”, featuring Perttu Kivilaakso (Apocalyptica), closes the record with cello-driven sorrow and operatic catharsis. It’s a bold, reflective ending that doesn’t look for resolution—it simply exists in the aftermath.

This isn’t just a collection of songs—it’s a journey through red, the color of passion, fire, loss, creation, and blood. It’s a universe Simone has painted with her voice, her vision, and a lifetime’s worth of creative growth.

Vermillion is an album about connection. About resilience. About channeling decades of musical evolution into one body of work that speaks for the artist Simone has become. It’s not a goodbye to anything. It’s a vibrant, blood-red “hello” to what’s next.