I have a feeling my being an American fan of Rhapsody of Fire attaches to me the sort of stigma that fellow Statesider’s associate with the kind of person who spends Friday nights slumped over a keyboard conjuring spells in WoW or Everquest realms. And while I’d say there’s absolutely nothing wrong with free time spent in such a manner, you’d probably have a better chance of running into Jeff Foxworthy wearing an Unleashed shirt than you would bumping into me on some digital quest for mana points in 2010.
Still, I’ll admit that I’m at least in touch with my inner LARP’er, despite his being rather tiny and not having the last say on matters such as whether or not I need a chainmail coif in my wardrobe. You probably need that level of comfort with “fantastical realms” in order to count yourself a fan of über grandiose symphonic power metal such as this, which is a point people need to understand before jumping in any further.
Rhapsody of Fire have returned following their longest break between albums, and the nearly 4-year wait has benefited the band’s cause. 2006’s Triumph or Agony tipped heavier on the “triumph” side of scale, but it took a long while to get there. It was an album that found Rhapsody losing a good bit of its bite, despite the newly added “of Fire” to the moniker, and it relied too heavily on pushing the story-line through lengthy passages of spoken word from actors, bogging down otherwise epic cuts such as “The Mystic Prophecy of the Demonknight.” All is forgiven with the arrival of The Frozen Tears of Angels: the third chapter in the continuing “Dark Secrets”/Emerald Sword saga. Christopher Lee’s dramatically deep pontifications are still afoot, although less prevalent, and the band still goes for Baroque like it’s the bloody law, but holy hell does it ever sound as if these guys are having two-tons of fun again. Everyone gets AMPLE opportunity to shine in playful break-outs throughout the album’s near hour length (and I mean everyone: drums, keys, bass, vocals and of course Luca’s ridiculously shimmery guitar-work), and the band even manages to outright whoop some serious ass from time-to-time as well.
Highlights are abundant, but I’d say the apex hits with the amazing “Reign of Terror,” possibly the most epically charged tune Luca Turilli’s ever managed to forge. All the signature elements of instrumental and vocal wizardry are there, but the song’s aggressive approach (including blackened rasps), coupled with it’s sinister and repeatedly crescendoing Latin chorus, give it one hell of a surprisingly charged, galloping and combative atmosphere. Definitely the sort of cut capable of enlivening glass-cutter-nipples and motivating one towards victory at all costs. (In fact, had Rhapsody of Fire‘s countrymen piped this tune into their ears during their recent match against Slovakia, they’d probably be moving forward in the World Cup. *ducks and runs*).
Apart from that hefty canticle, the album strikes yet another triumphantly epic chord late in the game with the stirring “On the Way to Ainor” — nearly impossible not to sing along with this song’s galvanizing finish. “Danza di Fuoco E Ghiaccio” stands as the record’s sole drift into pure minstrel mayhem, and, despite it’s title, appears to have nothing to do with Tony Danza at all. It does, however, flit-n-flute about like a bard on 10 hits of ecstasy, and it also showcases some of Mr. Turilli’s most masterful command of the classical guitar.
The entire batch piled into The Frozen Tears of Angels is cleanly packaged into one of the more enjoyable power metal records I’ve heard in some time, but a special tip of the hat goes to the three members who’ve stuck it out since (nearly) day one. Fabio Lione’s voice is as velvety and inspired as I’ve heard, Alex Staropoli gets liberal spotlight to show just how well keyboards can gallop alongside great power metal (love that break-out 3:15 into “Sea of Fate”), and Luca! My Lord, Luca. The man can somehow manage to make a lead sound like eagles fucking and fighting in mid air (2:30 into “Raging Starfire”), and with every soaring note and fiery arpeggio he continues to cast, Yngwie’s belt continues to expand while his hair flattens just a little more.
So, to HELL with you dogs who still have issues with melodramatic power metal meant to embolden and fuel your inner cavalier toward victory. The Frozen Tears of Angels is heavy metal exultation to the tenth degree, and I, for one, am obviously quite happy with results of this stretched 4-year wait.
