Well so far we've looked at two of the bands at the heavier end of the scale, but today I want to focus perhaps more on the technical ability and songwriting that often gets overlooked. That's right: progressive metal. And if there's one band that sits at the top of the heap in Brazilian Progressive Metal it's these guys.
Rebirth --- Angra --- 2001 (Steamhammer)
By the time this, their fourth album was released Angra had not only been together ten years already, but had changed their lineup so dramatically that many expected that the band had split up. Retaining only original founder member Raphael Bittencourt and guitarist Kiko Loureiro, the band was completely revamped in 2001 and this was the first release from the “new” Angra. It proved a commercial success, and the lineup remained pretty stable for the next six or so years.
A typical prog/symphonic metal instrumental opens the album, heavy synth, choral vocals, slow booming drums and sound effects as “In excelsis” pulls us directly into “Nova era” with a big galloping drumbeat and those fast, leaping guitars so beloved of power metal. Edu Falaschi has a great voice perfectly suited to this sort of music, and there's very little if any trace of his native accent. Some fine keyboard work by Gunter Werno, guesting on this album and it really shows in the piano intro to “Millennium sun”, which appears to be --- rather early in the album I would have thought --- a sumptuous ballad. Really nice cello touches too from Roman Mekinulov before, yeah, I thought it was too soon, the song kicks up in tempo and takes off on wings of fire.
A big choral intro then to “Acid rain” which then rides along the guitar riffs of Kiko and Rafael, but the song seems a little overlong for what's in it. Powerful and effective though, plenty of passion and raw energy combined with a hell of a lot of musical talent. Can't fault that. “Heroes of sand” has a nice acoustic vibe and a waltzy feel to it, great vocal harmonies, then it breaks into a real power anthem with hard guitar and rumbling percussion. Great hook in the chorus, and I do love songs with hooks. Odd start to “Unholy war”, something of a tribal chant, then it's a kind of cross between Peter Gabriel and Orphaned Land until it breaks into a run with a fast guitar being backed up by Werno's jumping keyboards. Very power metal this. Really cool bass solo from Felipe Andreoli before the song slows down for a time, then the guitarists take it again and it races off once more.
The title track opens on soft acoustic guitar and synthesised flute with a really nice gentle vocal from Edu, Gunter Werno painting a lush backdrop with his keyboards, then, like it seems most Angra tracks, it gets harder and heavier, the drums punching through, the guitars winding up and the vocal increasing in passion and intensity. There's a really scorching solo then later on in the song before it slows down again as it moves towards its conclusion, ending on the acoustic guitar on which it began. “Judgement Day” just kicks out the stays, rocking all the way with some fine uptempo piano from Werno and wild guitar from Raphael and Kiko. Reminds me of Yes with elements of Asia, definite overtones of AOR creeping in. Then it slows down on the back of Werno's thick synth line, a graceful, majestic tone taking it before another fine bass solo leads us into the fourth minute, where Kiko racks off a solo of his own, pretty breathtaking. Sounding even more like Yes now as the song approaches its end, and we head into “Running alone”, another fast-paced, power metalesque track that runs for just over seven minutes. Superb neoclassical passage on the piano from Werno about halfway through. Powerful choral ending and then there's a chance to catch our breath as the album closes.
“Visions prelude” is based on Chopin's Op 28 No. 2 in C Minor, and will be familiar to anyone who's heard the full version of Barry Manilow's “Could it be magic?” A great piano piece that gives a showcase moment both to Gunter Werno and Edu Falaschi, the latter of whom sings his heart out and really transforms the piece. Clever, innovative, unexpected and paying their dues to the classical masters: I guess that's Angra for you!
TRACKLISTING
In excelsis
Nova era
Millennium sun
Acid rain
Heroes of sand
Unholy wars
Rebirth
Judgement Day
Running alone
Visions prelude
I love to see a band stretch themselves doing something ambitious like the closer here. It's similar to Dark Moor's treatment of Beethoven's “Moonlight sonata” on the “Tarot” album. Not only does it show they have an appreciation for classical music, it potentially opens the genre up to a younger generation who otherwise may not have known of it. The other thing I note about Angra is that at times I had to remind myself they were from Brazil, as they sound like an American prog metal band (and that's not a criticism, at least it's not meant as one).
If this is or was the rebirth of Angra, it seems to have been a very successful one, and would carry them on through another four albums, and probably more. The future of prog metal in Brazil would appear to be in very safe hands indeed.