So the Italian cinematic power metal maestros are back with their 11th album, some three years after the awesome “Into The Legend” release. I am discounting the “Legendary Years” album as a full length because it is a re-recorded compilation, though notably it marked the appearance of the new vocalist Giacomo Voli who may have cut his teeth on that compilation but on the new opus his talents are monumental to say the least. This album marks a new beginning for the band and the start of a new saga, titled ’Nephlins Empire Saga’, which all Rhapsody fans will recall had been central to the bands lyrical concept when they started some 20 plus years ago when they had the ‘Emerald Sword’ and Dark Secret’ sagas each spanning four albums apiece. What fans will also welcome is a return to the spirit of the halcyon days back within the first four albums where there metal components live and breathe alongside the opulent orchestral arrangements and lavish choir backing which are truly incredible on all levels.
Conceptually the saga, according to Alex Staropoli (founder and main song writer), follows decisions about life’s choices, which is all he had to say on the subject but I shall assume it encompasses the difficulties this entails including its treasures and darkness, which for the first album in the saga is summed up superbly in the cover art, created by Alex Charleux who also did the incredibly detailed and very dark cover art to the “Legendary Years” album. Showing a windswept traveller looking to the horizon along which is a rickety path leading towards a glowing doorway and that I assume is a sort of door to the unknown as life’s tricky path assails us.
Well with the background over onto the music and Rhapsody Of Fire, or Rhapsody fans for those still retaining that single word moniker like I do, will adore this release, seeing a return to the fire and fury of the first four albums yet counterbalanced by the romantic ideals the song writing has always had, and embellished by stratospheric orchestral arrangements courtesy of the magnificent Bulgarian National Symphony Orchestra, plus the luscious choir vocals which we come to expect. Opener “Abyss Of Pain” is a relatively short intro, quite sinister with a fade in of choir and symphonics that leads into the galloping “Seven Heroic Deeds” and we are pedal to the metal in true power metal prowess. The bands sumptuous arrangements are vast as the classical instrumentation is embedded supremely and as the choir threatens to send the song down a slower avenue, no, the song channels down into a full double kick charge. Like all Rhapsody compositions the chorus arrangements are rousing, anthemically driven sections and here we get the first indication as to the power of vocalist Giacomo Voli who completely stamps his identity on this album.
“Master Of Peace” has already been released as a single so will be familiar with its speed metal like riff and accompanying double bass salvo as the momentum of the opener is maintained harnessing the metallic sheen superbly as yet another cruising track “Rain Of Fury” follows, also released as a single. The symphonic structuring on previous recent releases is possibly a criticism felt by the band, often far too focussed and prominent in the mix, superseding the metal but here “Rain Of Fury” rockets from the speakers and as the impetus threatens to veer uncontrollably it is quickly reined in for the vocals as the guys range is colossal. The symphonics are played at the speed of the song which is what I love about this album, they are ingrained seamlessly to marry perfectly as the album breathes a sigh for “White Wizard”.
“White Wizard” sees a tranquil and dreamy orchestral opening sequence, cinematic and passionate it leads into a toned down riff, a more mellow approach backed by the effusive lead vocals linking with the backing vocals. The guitar work on here is, as you’d expect, virtuoso but it possesses passion and a voice within the songs as each hook blends effortlessly. “The Courage To Forgive” returns the album to a grandiose platform with choral vocal backing and a fabulous opening riff. The pace is purposefully slower, with a pounding beat and even though it has a slight morose feel it is actually uplifting with its inspiring choir vocals, backed by a lone vocalist in the background. The song links nicely into “March Against The Tyrant” a textbook epic with ambient atmospherics, folk like wind instrumentation and a sorrowful vocal line. Here Giacomo showcases his range again, with lone vocal showcasing and a soft soothing persona as the layering of the track builds towards an escalation in speed. The momentary shifts in speed are well executed with the drumming leading the way and allowing the fret scorching gymnastics to come to the fore.
“The Legend Goes On”, the final single from the album so far, has a grandiose start before nestling the song into mid-tempo fluidity as the vocals soar skywards and the drumming pummels into the chorus. This is symphonic power metal ecstasy as the track leads into the balladry of “The Wind The Rain The Moon” which you either love about this band or loathe, personally I am indifferent towards them, they have their place in punctuating the album with dynamics but on here the emotive power of the lead singer is staggeringly effective, backed by the classical music backing. This leaves only the final epic to close the release, titled “Tales Of A Hero’s Fate”, the expected phasing in of layers does not materialise a bombastic choir and symphonic section is heard first along with a dazzling lead break that drops into a denser and thundering double kick piece laced by a cracking opening riff. A harsh vocal is heard to start with, that eventually yields for the cleaner voice and the theatrical orchestration. The song has a sinister ethos, due to the darker riffing and bass heavy feel, yet underneath it all is the extravagant symphonics and those choir vocals which really create an ominous feel as the song drives into the opaque orchestration backdrop. The song also features a narrated segment from the late great Sir Christopher Lee, there is no mistaking that voice as the track is channelled towards its finale with massive choirs and church like orchestration.
As I have already mentioned this album is a return to how the band sounded in the early years and I am sure old and new fans will revel in this fantastic new album from the Italian cinematic metal warriors.
(9.5/10 Martin Harris)
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