Bandas preferidas : Avenged Sevenfold, Callejon, Trivium, Bullet From My Valentine, Wintersun, Coroner, Disturbed, Morbid Angel, Sepultura, Children Of Bodom, Chimaira, Lost Horizon, Mercyful Fate, Judas Priest, Hellöise, Heaven’s Gate, Chroming Rose, White Lion, Nocturnal Bloodlust, Loudness, Soilwork, Slayer, Exodus, Nuclear Assault, Heathen, Solitude Aeturnus, Vow Wow, King Diamond, Gamma Ray, Caliban, System Of A Dawn, Rage Against The Machine, Nocturnal Rites, Scanner, Tankard, Destruction, Metallica, Slipknot, Blaze Out, Bonded By Blood, Gama Bomb, Kaleikr, Demonoid, Sabbat, Bal Sagoth, Fifth Angel, Nevermore, Sanctuary, Black Sabbath, Motörhead, Sinergy, Alcatrazz, Skid Row, Volbeat, Primal Fear, Iced Earth, Blind Guardian, Racer X, Tesla, Evergrey, Lost Society, Six Feet Under, Obituary, Blessed Death, Atheist, Demolition Hammer, Death, Manowar, Death Angel, Illdisposed, Marshall Law, Pink Floyd, Sinner, Masterplan, Edguy, Avantasia, Jorn Lande, Helloween, Pretty Maids, Brainstorm, Stratovarius, Rising Force, Pestilence, Maintain, Onslaugth, Overkill, Rob Halford, Artillery, Crystal Lake, Avatar, Risk, God Dethroned, Cradle Of Filth, Heaven Shall Burn, Sick Of It All, Nofx, Criminal, Riot, Dream Theater, Yngwie Malmsteen, Tony Macalpine, Paul Gilbert, Steve Vai, Agathodaimon, 3 Inches Of Blood, Poltergeist, Vader, Black Fate, Impelliteri, Axxis, Bloodbath, Deicide, Behemoth, Manticora, Equilibrium, Guillotine, Quiet Room, Wicked Maraya, Crimson Glory, Rush, War Of Ages, Rage, Running Wild, Metal Church, Reverend, Anthrax, Flotsam And Jetsam, Chinchilla, Covenant, Testament, Iron Maiden, Satan, Dokken, Lynch Mob, Exciter, Sadus, Black Dahlia Murder, All That Remains, As I Lie Dying, Channel Zero, The Haunted, Angel Dust, Morgana Lefay, Morbid Jester, Seven Witches, Wrath, Burning Inside, Athena, Wardance, Wild Dogs, Septagon, Them, Q 5, Old Man’s Child, Carnivore, Crystal Eyes, Kreator, Legion Of The Damned, Machine Head, Linkin Park, Hell, Kamelot, Cataract, Led Zeppelin, Hyperion, Hittman, Hypocrisy, Hades, Liege Lord, Mania, Forbidden, Holy Mother, Rawhead Rexx, Throne Of Chaos, Apocalypse, Ancient Rites... Depuis 1983, j'ai participé en tant que fondateur de la station de radio gratuite Radio Cucaracha, située à Oviedo, dans les Asturies, en Espagne, tout en dirigeant et en présentant le programme de Hard Rock Cábala Rock. En 1988 j'ai amené au programme des collègues plus spécialisés dans des styles spécifiques de métal (thrash, death, classique ...) et avec eux nous avons donné vie au nouveau programme que nous avons appelé Hydra 105 sur 105 sur la fréquence modulée de Radio Cucaracha. En 1991, en raison d'un déménagement à Madrid pour des raisons professionnelles, j'ai arrêté de le faire. Jusqu'en 2014 et depuis 1996 j'étais en charge des départements Rock et Metal ainsi que de la vente de disques dans le grand magasin du Corte Inglés de Preciados-Callao à Madrid, l'année de ma retraite. De même, de 1991 à 2000 j'ai collaboré à divers festivals de rock à Madrid et en tant que disc-jockey dans un pub appelé Hebe, dans le quartier Vallecas de Madrid, berceau de grands groupes espagnols tels que Ska-P, Reincidentes, Mama Ladilla et autres. En ce moment, je vis dans ma ville natale de Xixón (Gijón) View all posts by batsibatsival
hells_unicorn, November 29th, 2021
Written based on this version: 2021, CD, AFM Records (Digipak)
Heroes tend to be measured by their latest exploits, whereas veterans are judged by their consistency and staying power, and rare is the case of a band that can be equally qualified as both. But this is the exact disposition that the Rhapsody Of Fire name has accrued for itself over more than 25 years of bringing a symphonic niche to the power metal style developed by the likes of Helloween in the late 80s. Though many important contributors have come and gone over the years, not the least being the virtuoso Neo-classical shredder and songwriting mastermind Luca Turilli, the same spirit that brought the game-changing late 90s masterworks that were Legendary Tales and Symphony Of Enchanted Lands still endures under the continued efforts of keyboardist Alex Staropoli and his current fold of virtuoso players. In this respect, the name Glory For Salvation seems a fitting title for this quintet’s 13th studio LP, as every aspect of what has made their signature sound work is given a glorious reprise.
For those privy to this outfit’s brand of virtuosic power metal blended with swords and sorcery, the general trend following the brief stint into slower, Manowar-like territory on 2013’s Dark Wings Of Steel has been back towards the faster, flashier approach that typified their early classics under the banner of Limb Music. The production quality has naturally taken on a smoother and crisper quality, and the operatic flamboyance of former vocalist Fabio Lione has been replaced by a slightly grittier but still soaring helmsman in Giacomo Voli following 2016’s Into The Legend, but it’s difficult to miss the blend of triumphant choral hooks, lightning fast riffs and solos, thunderous speed drumming and dense orchestral layers that hearken back to the turn of the millennium era. This time around the approach is a bit less kinetic than the riveting 2019 sonic extravaganza The Eight Mountain, but the greater collection of mid-paced anthems accumulated here want for little in the power department.
Forging another path towards the world of the impossible, Staropoli and company waste little time in establishing this chapter in their ongoing career on a bombastic note. The opening anthem “Son Of Vengeance” hits things off with a cinematically-flavored orchestral theme that gradually progresses into a fist-pounding mid-tempo banger, a somewhat unusual approach to beginning things for this outfit. This tendency towards a less frenzied metallic backdrop was possibly influenced by Sinestesia drummer and latest addition to the Rhapsody fold Paolo Marchesich, whose more progressive work with the former band along with bassist Alessandro Sala parallels the rhythmically nuanced approach taken here, and mirrored on the slightly swifter but generally groovy “Maid Of The Secret Sand” and the folksy semi-ballad turned hum-along romp “Terial The Hawk”. But the biggest standout moment of abandoning the rumbling double kick drum thunder for jazzier material is the extended epic punch and darkness of “Abyss Of Pain II”, which also sees Staropoli and guitarist Roberto De Micheli rivaling Rudess and Petrucci during the solo section.
That being said, these expounders of the fantastical haven’t strayed too far from the beaten path of high octane power metal bluster when all is said and done. It’s difficult not to hear the lingering ghost of the glory days when Turilli was still manning the guitar when the fast paced bombast of “The Kingdom Of Ice” takes center stage, and things go full on machine gun drumming mayhem after the spirit of Power Of The Dragonflame when the frenetic title song “Glory For Salvation” hits the speakers, with De Micheli demonstrating once again that he is Luca Turilli’s technical equal in lighting the fret board on fire. The latter half of the album cycle sees even more high flying majesty following a more restrained middle point, with the cruising stride and riff happy goodness of “Infinitae Gloriae” hearkening pretty close to the auditory fire of “Rain Of A Thousand Flames”. Pile on to the triumphant flight a veritable sequel to “Riding The Winds Of Eternity” in “I’ll Be Your Hero” and a mercilessly catchy banger “Chains Of Destiny” to close things out.
If there is any flaw to be found in this album, other than the fact that it’s almost too much majestic splendor to handle, it’s that the appeal outside of Rhapsody Of Fire’s admittedly sizable fan base may prove fairly limited. Then again, bands that put too much emphasis on mass appeal are usually the first ones to lose their identity and come up short in the credibility department. There is definitely something to be said for the value of balancing out innovation with fan service, and this provides a fair bit of each, but ultimately leans harder into the latter. Those with a greater affinity for progressive metal may find some interesting twists on some of the less frenetic numbers, and even the obligatory ballad “Magic Signs” manages to throw in a few surprises here and there, but the target audience continues to be those who braved the pubs and concert halls back in the late 90s and early 2000s with their swords and bows drawn. With former band mates Luca Turilli and Fabio Lione delving further into new territory with various projects, Rhapsody Of Fire is poised to continue being the mighty rock of old guard symphonic power metal in the 2020s.
Originally written for Sonic Perspectives (www.sonicperspectives.com)
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