49.AQUARIASHAMBALASymphonic Power Metalreleased September 21st, 2007
via Avalon Records*
1. Hope
(instrumental) [1:28]
2. Heart of the Gods [4:07]
3. Expedition [5:51]
4. Into the Forest [9:48]
5. Lost [6:59]
6. Iara [5:15]
7. Shambala [5:08]
8. Child of the Universe [7:45]
9. Firewings [5:35]
10. Skies of Amazonia [6:50]
11. Liberty [7:37]
12. Neo
(bonus track) [2:43]
SHAMBALA is
Vitor Veiga (Vocals)
Gustavo di Pádua (Guitars)
Roberto Scripillitti (Guitars)
Fernando Giovanetti (Bass)
Alberto Kury (Keyboards / Orchestrations)
Bruno W. Agra (Drums)
FEATURINGHironobu Kageyama (Vocals on 12)
*this is the Japanese release, which I own I paid $50 for this album - wait! WAIT! DON’T LEAVE!
I have things to say!! Even I'm surprised I have this coming in at 49. On one hand, I want it higher. It's one of the most beautiful albums in my collection. On the other, I have a
lot of albums I love dearly, and this has a few moments that drag it down
just enough to land it at 49. It's still one of my most favorite albums ever.
Shambala is a concept album. It seems to draw inspiration from Spanish conquistadors invading the Amazon, but adds a bit of fantasy to the mix. So the story goes: a man named John and his crew arrive on new shores, and as they make their way through the thick of the jungle, John sees strange creatures and a woman so beautiful he is compelled to follow her through the night into the forest, losing the trail and contact with his crew. He becomes one with a forest tribe and goes through a ritual in the river to cleanse his soul and be reborn with the fairy-woman he fell in love with, the river spirit Iara. After an unspecified period of time, the crew comes to attack the tribe; John, reborn and known as the “bird-man” has become a the tribe leader, determined to defend the village from the invading crew. When the battle is over, John finally makes peace and finally feels liberated from his past life.
Aquaria’s second album is a monumental statement. It leans into the sound of Brazilian folk music, equally balanced amongst the heavy metal and symphonic elements, expertly juggled as if by some musical musician within every track on the album. The guitars consistently maintain a chunky heaviness throughout the record, while the drums rumble thunderously with every hit and lend a lot of weight to the music. Layers of strings, pads, piano, horns, bells, woodwinds, and various percussion mingle and dance above the rhythm section, yet still give the lead vocals plenty of room to soar high above it all, assisted by a generous helping of choirs.
It's a corny album, and I love it for that. I'm drawn to albums that have a distinct flavor, you know – lots of elements that when put together form a very unique musical identity for a band, and this album does that. Vitor Veiga's voice is an acquired taste, with a thick accent and the helium-esque falsettos characteristic of numerous Brazilian metal singers. When paired with the adventurous, light, melodic nature of the songs, it's a match made in heaven. At times it seems almost cloying, like at the beginning of the ballad “Iara” or when paired with tinkling bells in “Liberty.” Most metalheads aren't looking for this kind of music, indeed it's hard to recommend this to a fan of 'real metal' at all. But it is power metal nonetheless, however on the fringes of whatever the music world deems 'metal' it may be.
That adventurous nature is really what this music is all about, and there's one of my most favorite musical moments ever on this album. The song “Expedition” contains an instrumental break halfway through that makes me choke up when I hear it. It starts with a simple pan flute melody, then the jungle drums come in. The electric guitar roars in and the melody gets a bit more tantalizing, teasing a big epic swell. Another roar and the groovy beat continues, but the guitar screams into a melodic solo befitting the soundtrack of a true expedition. And as it lingers on the final note, here comes that swell that was teased so perfectly, the rhythm guitars letting a power chord ring loud beneath a striking melody from the pan pipes, invoking the imagery of one standing on a hill overlooking a sun-drenched jungle canopy. It makes the hairs on my arm stand up, it's made me choke up on occasion. That's one of the most amazing feelings music can make someone feel, in my opinion.
It's a gorgeous album full of moments like those, and it demands attention. Every song is a journey, a story in itself, and each is strong enough to stand on its own while also linking together to form a greater story. The songwriting is intelligent, the chord progressions creating the necessary nigh-cinematic drama that is requisite of all truly epic power metal albums. Each instrument is a little ingredient added to this delectable stew, every short guitar lick and keyboard melody a new flavor you taste with every spoonful. There is some LOVELY melodic guitar phrasing that dances with the string and vocal melodies, even the bass gets a couple moments in the spotlight, and the drums are doing just about all they can to keep the metallic heaviness while adding in that jungle flair when necessary.
The song “Firewings” is a tribute to Conan the Barbarian, as its melodic motif comes straight from the “Theology Civilization” track of the film's score by Basil Pouledoris. The bonus track “Neo” has vocals from a singer known for his work on anime music, Hironobu Kageyama, and the lyrics are almost entirely in Japanese. It has no bearing on the Shambala concept, though.
In Summary: The term “Disney metal” gets thrown around a lot with this band and this style of music and I vehemently push back against that pejorative. There's absolutely nothing wrong with enjoying heavy metal that embraces other forms of composition and instrumentation. I always think of this album when I think of how to properly write a symphonic metal album that stands out because it does it so damn well. Unlike other bands that boast of orchestrations in their music, these aren't just a few layers of deep horn bellows and string section accents, and it's not a Nightwish copycat, or even a Rhapsody copycat. It stands completely on its own, and in my opinion it towers over almost the entire symphonic metal genre because the band is not afraid of embracing what they're all about. “Skies of Amazonia” is the album's climax and embodies this idea, starting with a full orchestral minute before transforming itself into the one of the most heavy metal songs of the album, while bouncing between an operatic chorus and verses narrating the cruelty of the invaders and the primal defiance of the tribesmen.
There is an unbridled happiness to Aquaria's music, even when it's setting a somber mood, that I have not heard any other metal band come close to matching. The composition skills of Alberto Kury are almost unparalleled in the world of power metal, in my opinion. I recommend this group to every single power metal fan I come across who can tolerate keyboards, and even then I offer up a warning for potential audibly transmitted diabetes to any virgin ears. But it's a pleasant sickness, one that makes you feel warm and hopeful instead of blurring your eyesight. Don't knock it til you try it.
Katt's Favorites: Expedition,
Into the Forest,
Child of the Universe,
Skies of Amazonia
Topic: Katt's Top 50 Albums v. I bless the rains down in Africa [#1] (Read 67932 times)