REVIEW: "Symphony of Enchanted Lands II: The Dark Secret"

Rhapsody
Symphony of Enchanted Lands II: The Dark Secret
© 2004 SPV GmbH

Note: Rhapsody changed their name to Rhapsody of Fire in 2006, between the release of this album and 2006’s Triumph or Agony.

With their 2002 album Power of the Dragonflame, Italian Symphonic Power Metal band ended their first multi-album fantasy epic, “The Emerald Sword Saga.” The band took this opportunity to not only launch a new epic, “The Dark Secret Saga,” but to upgrade their sound. Symphony of Enchanted Lands II: The Dark Secret features backing by a live orchestra, full chorus, various string solos, and narration by Christopher Lee.

While Rhapsody has always incorporated symphonic elements in their music, with Symphony of Enchanted Lands II they have taken it to a new level. But is that a good thing?

The album’s basic improvements in production quality are the easiest to pass judgment upon. The comparison between the synth orchestration of their previous albums and the vibrant, live instrumentation featured here is no contest. Similarly, Christopher Lee’s rich, sonorous voice is infinitely better than the awkward, slightly lispy narration of the previous albums. Even the quality of the audio is smoother and cleaner than previously.

It is the creative changes that will prove more divisive.

Power of the Dragonflame was, as befit its role as the climax to the grand, military fantasy of “The Emerald Sword Saga,” a raucous, high energy ride. Symphony of Enchanted Lands II, on the other hand, serves as the opening to “The Dark Secret Saga” and the album reflects this. The violent energy of Dragonflame is just not there. Instead Symphony contains many symphonic interludes and slower ballads.

The album opener, “The Dark Secret – Ira Dvinia,” is a purely atmospheric/orchestral song and heavily features Lee’s narration. Its purpose in the story is clear—acting as a prologue and hinting at the conflicts that lie ahead. Musically its purpose is similar—even at over four minutes in length, it is entirely introduction, spotlighting the orchestral and choral elements that will be featured in varying capacities throughout the album. It is a competent arrangement—with the chorus being used to particularly strong effect—but wholly lacking in Metal.

“The Dark Secret – Ira Divina” (no video)


It isn’t until the second track “Unholy Warcry” that the album really starts. And what a start! “Unholy Warcry” is hands-down one of the best songs on Symphony. It has everything—from rollicking percussion, to blazing guitars, to a breakdown featuring more narration—that one could hope for. And the various elements are well integrated into what guitarist and song-writer Luca Turilli refers to as his “neoclassical” style.

“Unholy Warcry” (no video)


Other tracks, such as the epic "Sacred Power of Raging Winds" come close to emulating the balance between effective use of symphonic, narrative, and Metal elements that “Unholy Warcry” achieves, but that song is, unfortunately, never surpassed.

“Sacred Power of Raging Winds” (no video)


In large part, this is due to the unfortunately large amount of time spent on pastoral pieces or ballads. Though these may serve a purpose in the sonic tapestry of “The Dark Secret Saga” there is, nonetheless, too much time spent on the beauty of dragons in flight, and not enough on them burning shit. Simply, Rhapsody is best when they are playing fast, energetic songs; their slower songs are almost universally maudlin and bland.

One of the worst offenders is “The Magic of the Wizard’s Dream.” While not irredeemable, it is almost painfully boring. Its biggest impediment is the simple, redundant percussion that makes the song feel even slower than it is.

“The Magic of the Wizard’s Dream” (no video)


There is a single version of “The Magic of the Wizard’s Dream” that is a duet between signer Fabio Lione and Christopher Lee. While generally the same song, it actually works much better as a duet. Additionally, the percussion has been significantly scaled back and the piano strengthened. It is truly a shame that version did not make it onto the album. link (NOTE: This version was made after the release of the album. It is nice to imagine that this could have been the result of Rhapsody addressing the complaints over this original version.)

Fortunately, after “The Magic of the Wizard’s Dream” (which is track five) the album generally picks up its pace, with some genuinely enjoyable songs such as “Last Angel’s Call,” which strongly resembles sound of the Rhapsody of old, and the climax “Nightfall on the Grey Mountains” which revisits many of the musical themes that came before like any good finale.

In fact, while scanning through the rest of the album for another negative example, I had trouble finding one. Even other slower songs, such as ”Guardiani del Destino” are not without positives. (“Guardiani del Destino” is perhaps a minute longer than it has to be, but actually does build to a rather satisfying finish.) Unfortunately, while these might be at least okay when taken one by one, when played through as a whole, they utterly fail to distinguish themselves.

That is, perhaps, the greatest disappointment of Symphony of Enchanted Lands II: The Dark Secret. While individual tracks may be truly impressive and the increased production values serve their intended effect, the total result is one that falls short of it’s potential.

The band’s following album Triumph or Agony generally had greater success in balancing the symphonic and Metal elements than Symphony but was beset by it’s own problems (which I’ll save for a later review). Currently, production on the third album in “The Dark Secret Saga” is on hold due to legal complications. Hopefully, if this project ever sees completion, Rhapsody will be able to take what they have learned with these two albums and do something truly impressive.

RECCOMENDED IF… you enjoy or are interested in Symphonic Power Metal. For all its shortcomings, excesses, and other failings, it remains an extremely enjoyable album.

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