I like many others were stunned when Luca Turilli and Alex Staropoli decided to call it a day with their joint venture under the banner of Rhapsody, which subsequently became Rhapsody Of Fire due to so called copyrights of the name Rhapsody by another non-metal project, though I had read other stories about this name change which I won’t go into. After the bands storming performance at Bloodstock Open Air in 2011 it was quickly announced that Luca would continue as Luca Turilli’s Rhapsody and Alex would continue as Rhapsody Of Fire. A few raised eyebrows ensued with conversations revolving around whether this could actually work. At the time of writing Alex and Rhapsody Of Fire are touring South America very successfully it appears as well. It was hinted that Luca would continue his idea of Rhapsody as purely a studio outfit, but thankfully this has been contradicted, stating that Luca will take Rhapsody on the road and incorporate Rhapsody tunes of old and add some of his solo songs, something I really am looking forward to if it hits the UK.

So onto this version of Rhapsody and into Luca’s fold is Dominique Leurquin on lead and rhythm guitar, Patrice Guers on bass both from the original Rhapsody Of Fire line up and new blood comes in the shape of Alex Landenburg on drums and the astonishing vocal talents of Alessandro Conti who is classically trained and learned his proficiency at the Corale Lirica Rossini, same place that Pavarotti attended apparently. Reading the promotional background from Luca is just as epic as the music he composes, and lets face it Luca is a musical composer not just a song writer. Added to this he has made it very clear that his solo material and project has now ended, which is a shame but understandable given the context.

I admit to having a great many nerves and apprehension about this album, though Luca’s version was always going to be a grandiose and ornate aural bombardment. Luca’s fascination for film scores and sound tracks is realised here in full saturated sonic splendour. Having lived and breathed with this album for over a month now I can honestly say it will blow your ears with its affluent song writing, all done by Luca, who has painstakingly scored every single note including all the orchestral arrangements. Arguably some may cynically state that this is really Luca’s solo fourth full length and though similarities exist this is Luca’s 11th Rhapsody album based on how he sees it, and Alex will at some point record his 11th album of what Rhapsody should sound like. Both are incredible composers and the prospect of two versions of Rhapsody fills me with absolute delight.

The album itself has spectacular art work and kicks off with “Quantum X” and a Middle East flavour that has some similarities to the Dreamquest project Luca put out in 2006. There is narration, choirs and as the intro progresses you could be listening to an advert for an epic series like Lord Of The Rings or Game Of Thrones. Nothing to surprise you here at all, prime Rhapsody and perfect for setting up the title track which gallops in with scintillating lead work and keyboard soloing. The leads on this release are tremendous with each positioned for maximum effect and flow. There is a “Holy Thunderforce” like cymbal and kick drum smash something the band has done so well over the years. The production seems a tad softer than previous albums, almost a cushion like feel on the ears but with a depth of clarity that is resoundingly majestic as a decision was made to move away from the skills of Sascha Paeth, instead favouring an injection of new blood with Sebastian Roeder behind the desk. The moment Alessandro Conti opens his mouth you are listening to someone very special here indeed as his vocal range and styles are enormous, which isn’t to say Fabio Lione isn’t brilliant himself, that would be very silly indeed.

“Dante’s Inferno” starts with classical arrangements and a melody that is slightly off the beaten track for power metal but catchy as always. The tune like all the songs are inundated with leads and sumptuously rich harmonies made even more so by the choral arrangements. “Excalibur” has a medieval, folk like atmosphere that has keyboards layered over the top that is very similar to Therion. A quick switch and for comparisons sake Nightwish springs to mind on the keyboard structuring though remember this is Luca Turilli we’re talking about here. The theatrical vocalizing is in full force as the tune duels guitar and keyboard solos as your head shifts left and right as though you’re watching them play it out live in some improvised performance. Some narration is added for more drama as the song builds to a rousing finale with double kick. Piano welcomes you on “Tormento E Passione” with lyrics in Italian, obviously, and a female vocal soloist joining the eloquent proceedings. Again classical instrumentation lays the foundation for the band to weave their magical and enchanting melodies. This tune also demonstrates Alessandro Conti’s opera tones in full. If you’ve not realised by now, I love this album, every single aspect of it is mesmerizing as more Middle Eastern musical dialect is aired on “Dark Fate Of Atlantis”. As I mentioned earlier the leads have been thought out to millisecond perfection as parts of “Ascending To Infinity” are slightly different to previous albums, most especially the leads but also the classical arrangements which are breathtaking.

If you’re still reading by this point next up is “Luna” a tune that is very different to Rhapsody of afore and more like “Princess Aurora” from his debut solo album. The song is beautifully arranged and plainly not a metal song, it comes across as a love song, ballad belittles it as it is far more complex than a ballad. The tune will bring a tear to your bloodshot hungover eyes. “Clash Of The Titans” is a more upbeat song boasting plenty of double bass and high velocity instrumental dueling before the album closes with the gigantic and most ambitious tune you’ll have ever heard Luca compose. This sixteen minute gargantuan song called “Of Michael The Archangel And Lucifer’s Fall” needs a review all of its own, such is the intricacy split over three parts. Beginning with a piano and gentle bass pulse with drums, the narrated vocals return and take on a rock opera feel. The pace increases steadily as the opera vocals come through, and then signal the arrival of the guitar riff that is accompanied by string arrangements. As the song develops the drums morph to a double kick with straight heavy metal vocals and both male and female choirs covering like a vast blanket. There is a slight repetition to the arrangements as the guitar riff returns only to be seized by the vocalisations and classical instruments. The chorus is tremendously uplifting as an old church like keyboard filters through and a guitar duel that eventually transforms into choral vocals taking on something similar to Karl Orff’s “Carmina Burana” during the “O Fortuna” piece. Even after ten minutes there is little in the way of the song petering out as more exquisite guitar riffing comes through. Luca’s version of Rhapsody is in good health and shows that his passion for epic film score and cinematic like metal shows no abating as this release is truly wondrous enabling Rhapsody fans like me to breathe a sigh of relief.   

9.5/10 (Martin Harris) 

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