5. The Edge of Paradise (from Epica)
Ok, finally to the top 5. Sorry for being a little sluggish on the updates recently, but it’s midterm season where I am. Anyways, up now is another absolute gem of a song: “The Edge of Paradise.” Similar to “Rule the World,” it’s got a very laid-back feel, and peppered with Arabic-flavoured melodies. The song is supposed to evoke a feeling of a hallucinogenic daze, and it accomplishes this quite well. Most of the effects are very subtle, but they work together to deliver a unified feel. There’s Khan’s drifting, almost lazy singing (with whispering in the background), cool keyboard effects, female backing vocals that are just barely in the mix, and snazzy little bits like at 1:47 (listen in the left headphone for the extremely faint wood instrument; not quite sure what it is. Oboe?). Anyways, the verses are great. I especially love the snare lead-in to the second chorus; it’s so simple, but so well-placed. In fact, Grillo puts in a solid performance on this song; I really like the china splashes that occur off-beat on the second part of the main riff. The instrumental section is good as well, and the reprise of the chanting from “Interlude I” really allows the song to build up towards its final chorus. Fantastic song, and should definitely be played live more often, as it is fantastic on One Cold Winter’s Night.
4. Serenade from (The Black Halo)
Earlier, I begrudgingly allowed “Epilogue” its place as a bonus track rather than the counterpart to Epica’s “Prologue,” because The Black Halo already had the perfect ending. And here it is. Although the story is more or less wrapped up, “Serenade” caps off two albums dominated by despair and melancholy with a couple of moments of happiness and hope. Even though the main tale of the two albums is finished, the brilliance in “Serenade” lies in its reflections of the main themes of the concept. The title itself is a nod to a line in “III Ways to Epica,” and it touches on, in four and a half minutes, virtually every thought raised in the course of the concept. Every metaphor, every query, every philosophical musing, is briefly mentioned; but the song doesn’t deliver verdicts except for the absolute: “No one ever denies/If once given life we must die.” The song itself is joyous and upbeat, for the first time since “A Feast for the Vain,” is incredibly catchy, and features wonderful riffing and a great solo to finish. And it also has, arguably, the greatest moment in all of Kamelot’s discography. At 2:56, the song pauses; the distortion comes off, and the female choir enters:
What does the winter bring
And Khan, almost tentatively, replies:
If not yet another spring?
I don’t think I have to point out the brilliance in this line; but I will anyways. Lyrically, it’s an achievement that I have never seen matched: Khan sums up the entire message of the two concept albums in two lines. The entire concept - all the characters, the story, the lyrics - lead up to this point. And boy oh boy is there payoff. Not only does it utilize one of the long-running metaphors of the concept, but it perfectly caps off not only song’s feeling of hope, but the entirety of Ariel’s search for happiness, knowledge, and ultimately, redemption. Utterly fantastic; probably my favourite lyrics in any music, and most certainly my favourite for the best lyrics to close an album.
Topic: Kamelot Top 50 ***Updated for new album (Read 25321 times)
