I’d like to point out a few of things about Rhapsody Of Fire. Firstly I hate the fact that they added Of Fire to their name despite trying to sell it as being better than the straightforward Rhapsody. Secondly I have followed this band since their debut and even drove to Holland to see them twice in support to Stratovarius in 2000. I bought a t-shirt, obviously, as their properly named version and have always been proud to wear even if it is 3 sizes too big for me now (yes too big, not too small, some of us have shrunk in the last ten years or so). Thirdly I hate the genre description of Hollywood metal the band was tagged with initially and still are in some quarters. Its metal, yes it’s epic, yes its complex, yes its orchestral and classically influenced but it’s still just metal. There I feel much better after that.
I wasn’t too impressed with the 30 minute EP “The Cold Embrace Of Fear” which I felt lacked sufficient balance between the metal and orchestration components. Granted it was complex and followed a good story line with the music adopting various facets to bring the story alive. This meant that getting hold of this new album held me in some sort of trepidation wondering what I was about to listen to. Christopher Lee has almost become the bands sixth member such is the regularity of his voice narrations on recent albums. His voice does add an extra dimension of theatrics which I for one really enjoy as the Hammer Horror legend narrates the opening piece “Ad Infinitum” in his own inimitable tone amongst the virtuoso soloing by Luca. As you expect the main opening song after the intro is drenched in double bass and that familiar galloping riff style that adorns virtually every album by these Italian metal sages. The title track is this albums trademark harmonising riff cascade and whilst probably not as fast as say “Emerald Sword” from the 90s or “Sea Of Fate” from the last album the tune is there in all of its pompous glory.
The choral arrangements are stronger than previous efforts but that could be due to the change in mix and production style employed. The sound feels lighter and warmer than “The Frozen Tears Of Angels” which is neither a criticism or praise just an observation. The classical start to “Tempesta Di Fuoco” is huge with the lead sweeping over the top like a warrior commanding his soldiers to get ready with Luca’s guitar work as exquisite and masterful as ever and whether you admit it or not the guy is brilliant. I think “Ghosts Of Forgotten Worlds” will surprise a few ROF purists being a more 80s heavy metal styled song with a riff to match that I personally thought was great, but don’t be misled as you know this bands compositions are far more complex than straight 80s heavy metal. The song is peppered with acoustic playing and classical delivery. There is a Manowarish flavour to the vocal style as well, not quite as macho but equalling the bravado.
Instrumentation is an aspect of ROF’s music that we’ve all come to accept and this album is balanced by a myriad of instruments which I’m not even going to attempt to name though the flute and harpsichord on “Anima Perduta” are excellent creating a ballad like feel. Standout moment is “Aeons Of Raging Darkness” which is pure Rhapsody and begins with a great bass line and more leads in 2 minutes than some bands have on their entire albums. The double bass breaks add great power and surprise number two is the inclusion of very harsh vocals alternating and duelling with the clean style of Fabio and a half snare blast. The keyboard solo by Alex is as grandiose as ever towards the end of the song. I could describe each track in turn in vast amounts of detail but suffice to say “I Belong To The Stars” and “Tornado” are equally flamboyant and played with a dexterity that only ROF can do leaving me enough room to rattle on about the closing 19 minute plus extravaganza of “Heroes Of The Waterfalls’ Kingdom”. As with all this bands albums there is a lyrical concept and story which I won’t go into due plainly to time and room.
The closing song is the bands longest and could quite easily be the sound track to the whole Lord Of The Rings film trilogy a few years back. The song is split into five parts as Mr Lee appears again with an acoustic backdrop and folk like vocal melody. The taunting build up creates that aura of crescendo expectations which fail to materialise as the song drops back momentarily before a huge snare roll and double bass as the lyrics change from Italian to English. The pace fades off momentarily for the guitar lead. The song morphs gradually into harsher vocal territory as Mr Lee returns to set the scene for the mid section which manifests as an elongated lead giving Lee a chance to return at its end with a spoken narration that leads into a half blast and double bass and those harsh vocals I mentioned earlier. The song shifts into a choral style and slight change in pace. The abrupt pause for choirs and vocal acting gives Lee another chance to set the scene for the closing section of the song which is awash with keyboards and string arrangements. A brilliant closing epic from the maestros of magnificent and glorious orchestral metal.
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Martin Harris
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