After giving their first two singles praise, I figured I should finally catch up and listen to the latest Rhapsody of Fire has to offer. Known for their bombast and storytelling, the band seems set to start a new story they’re calling “The Nephilim's Empire Saga.” Likely, this is where their next handful of albums will focus on, given their history of writing and pacing.
To be honest, I admit I have a hard time with Rhapsody of Fire. Their music is epic and full of melodic leads and great solos, and the vocals are always performed with drama and power (though Giacomo Voli does have some big shoes to fill, he does admirably here). The Eighth Mountain proves to be more of the same, so you would think this is right up my alley.
I think my issue is with the delivery of the lyrics. Some of the grammar is a little rough, and the vocal melodies just sort of lay there on top of the song, without really resolving in a satisfying way. It’s like they have too many words, so they just tack a note on them and put them anywhere, resulting in melodies that don’t really stick. (I remember having the same problem with Dragonland earlier in the year.) Don’t get me wrong, the lyrics aren’t a deal-breaker, but it does bring things down a little for me.
Still, there are some highlights to be found. “Rain of Fury” is probably the best song on the album, and I can’t help but wonder if “White Wizard” isn’t an homage to the late Christopher Lee, who gets a posthumous cameo at the end of the album. Other tracks that stand out are “The Courage To Forgive” and “The Legend Goes On.” Overall, just bombastic, symphonic power metal from beginning to end, proving that Rhapsody of Fire has no plans of slowing down or changing course.
Sabaton is back to do what they do best: epic power metal about military history. Naturally, given the title, this one is about World War I, going over some of its most famous battles and individuals, as well as some of the themes that come from studying this particular conflict.
Still, that doesn’t really get in the way of all the huge, pompous, fist-pumping chords and choruses. This is still very much Sabaton to the max. Songs like “Seven Pillars of Wisdom,” “82nd All The Way,” and “Fields of Verdun” show that there is no slowing this metal machine down.
There are a few pieces that stand out, though. “The Red Baron” has more of a bouncy rhythm, and does some interesting things with a hammond organ, while “The End of the War to End All Wars” has a full-on choir handling the chorus, giving it more of a Rhapsody of Fire vibe.
For what it’s worth, it’s not all glory and victory this time around, as they do touch on the tragedies of the war and lives lost, in their own way. Sabaton also wants to honor and respect those who have served and lost their lives in these conflicts. “Great War,” “Fields of Verdun,” “The Attack of the Dead Men,” and especially “The End of the War to End All Wars” all address the various themes of destructive tactics, shell-shock, chemical weapons, and the sheer totals of lost lives, including civilians. Adding a very church-like arrangement of “In Flanders Fields” at the end is a nice touch.
That being, the music stays very much in Sabaton’s wheelhouse, providing a massive metal sound without getting too moody or doomy in nature. Sabaton want to have fun with the material as much as they wish to respect it. It’s an odd balance, but one that’s served them well throughout their career. If you’re on the same wavelength, this is a very good album, full of all the epicness only Sabaton can provide!
Man, talk about a throwback! While there are a handful of bands taking on styles of rock from the past, this album really does sound like it comes from 1975! Between all the folklore references and fantasy story-telling (to say nothing of the album art looking like it was pulled from an early D&D manual), this band really do sound like they are “In Another Time.” Jokes aside, though, there is a lot more than just nostalgia going here with their eclectic mix of old-school metal and prog.
To start off, I do hear bits and pieces of bands like Black Sabbath, Jethro Tull, Deep Purple, and early Rush, but with the male/female vocal harmonies, a comparison to Fleetwood Mac feels appropriate as well (though Cindy Maynard is very different from Stevie Nicks). Still, between all of this, they have a sound that is unique, full of melodic passages and groovy caveats.
The first thing that stands out are those vocals. While the harmonies do happen, there is also a lot of trading off, where Cindy will sing one line and Russ Tippins the other, making for some interesting back-and-forth. They also have an interesting tendency to really mix up their song-writing. They’ll set a tone, but half-way through, they’ll change the tempo or the time signature, shaking things up in a rather proggy way. And in between, there are all kinds of noodly guitar leads and solos, all of which happen in songs that are still only 4 or 5 minutes long!
Of course, it’s not all mysticism and magic, as some of the songs are more philosophical and nature (and they even have one based on a NASA project!). Still, it makes for a rather delightful experience to hear rock songs that really do sound like they come from not just a different era, but even a different ethos entirely! Definitely more than a novelty, I’ll be excited to hear if they do anything more in the future!
I was actually planning on having one more new album on this article, but then I learned that Yes’s The Ladder just passed its 20 year mark, and I had to stop everything and listen to it again. This album came out when I was in high school, and as a budding Yes fanatic, it was amazing!
The album really is a unique piece of work, seemingly interested in pushing forward while still retaining much of the sound that has made Yes such a great band all these years. I really do feel that they brought together all of their experience to make something that sounded fresh and yet timeless at the same time. Listening to it again only served to reinforce that feeling.
What was new was, first of all, how well I knew the album. I was humming along with every melody, thumbing every beat, singing every lyric. I also noticed the sheer positivity the album provided, with songs like “It Will Be A Good Day” and “I’m Alive” sounding like motivational speeches, and “Face to Face,” “Finally,” and “New Language,” just bursting with energy and joy. Even the ballad “If Only You Knew” and finale “Nine Voices” come across as very sincere while still sounding huge. I was smiling the whole time.
I love this album, and I said as much when I talked about Yes on my Big Three article last year. While it may not be the most celebrated or popular of their albums, I really do think this is the best thing they’ve done in a long time, before or since. A gem of an album that, unlike me, hasn’t aged one bit.
I'm still trucking along, it seems. Not posting as often as I would like, of course, but at this point, I'm not too disappointed. I think I will have one more video list before the month ends. Until then, rock on! \m/
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