14.
AQUARIA
LUXAETERNASymphonic Power Metalreleased November 3rd, 2005
via Scarecrow Records
1. Aeternalux [2:30]
2. …And Let The Show Begin [7:30]
3. Here Comes The Life [9:24]
4. Spirits of Light [5:38]
5. Humanity [8:08]
6. Whispers and Pain of Mother Nature [6:30]
7. Choice Time [6:45]
8. Judgement Day [10:31]
9. Your Majesty Gaia [7:03]
10. Luxaeterna [4:06]
11. Sons of the Sky, Brothers of the Earth* [5:48]
*Japanese bonus trackLUXAETERNA is
Vitor Veiga (Lead vocals)
Fernando Giovanetti (Bass)
Bruno W. Agra (Drums / Choir vocals)
Alberto Kury (Keyboards / Choir vocals)
Leandro Gomes R.I.P. 2010 (Guitars / Choir vocals)
Rick Mour (Guitars)
WITHEly Werneck (Percussion)
Igor Veiga (Additional bass)
Vitor Veiga (Choir vocals)
Favia Dotto (Choir vocals)
Luiza Borges (Choir vocals)
Deborah Braga (Choir vocals)
Djane Rodrigues (Choir vocals)
Ana Maria Rigotto (Choir vocals)
Leandro Vasques (Choir vocals)
Forgive me for all the rambling I am about to do. I cannot be short when I talk about this incredibly niche album.
On one end of the symphonic metal spectrum you have bands like Epica, which barely seem to use their orchestral arrangements beyond having the boring choir and a small string section in every song. On the other end, you have Luca Turilli, who for the last 8 years has shoved 20 pounds of shit into 5 pound bags without ever knowing when enough is enough. I find Aquaria comfortably in the middle, still ahead of Nightwish but not quite batshit crazy as Luca Turilli.
I’ve always had a vague idea of what this record is about – I haven’t looked at the booklet in years – but it’s essentially about the creation of the Universe and Earth by gods and goddesses, the rise of Man, and a fight between the gods as they decide which fate is best for humanity – to live, or to die. In the end, humanity prevails, living forever more under the watchful eye of Mother Gaia. It’s corny, it’s fun, and it’s epic as f&*%.
The intro track “Aeternalux” kind of sums up what the tone of the album is like. It opens with an ominous choir, then goes through a cinematic transition through its motifs and themes and allows a bunch of instruments in the fake orchestra to mingle with each other – horns and bells and flutes and strings and choirs all playing and teasing each other, creating this vibrant atmosphere and rich sonic texture. The brief, happy part with the horns playing a rapid melody is my favorite part.
And then we seamlessly transition into one of my very favorite power metal anthems, the perfectly titled, “…And Let The Show Begin.” The play of Life begins – “A big flame crossed the sky / Creation’s now divine / The astral law’s conducting a dance of stars” – Halfway through the piece the song breaks apart and you can actually hear applause. If this record is thought of like a play on some cosmic stage, this is the point where the camera pulls back away from the stage and focuses on the audience, the Gods and Goddesses watching from the shadows. And then it cuts back to the stage abruptly as the show carries on, leading into an early string climax that is incredibly reminiscent of Angra’s “Angels Cry.” Vitor Veiga hits every high note just right to sell the theatrics of this song, and he does it throughout the whole record.
And so the album carries on in that way, telling the story of Man and how the deities increasingly get tired of Man’s missteps and perceived failures, and eventually they have to decide whether or not Man gets to live or die. In the end, Mother Gaia has the last word and watches protectively over Man for the rest of their days. It's a symphonic adventure with plenty of tension and release and incredible playing from every member in the band (even the bassist gets a moment or two in the spotlight, just like on their follow-up Shambala) and when the story ends, there's always this feeling that washes over me, not unlike that feeling when you finish the last page of a good book that you just got lost in until you ran out of story to read.
In Summary: There just isn’t much I love more than some of the sounds on this record. The warm horns blaring behind a shreddy power metal solo which soars over rapid double bass drumming, coated in a thick sugary layer of strings and flutes (“…And Let The Show Begin”). An entire brass section roaring with celestial choirs (“Judgement Day”). Clean guitars, bells, and flutes to sing a song of pain (“Whispers and Pain of Mother Nature”). Everything from slow rockers (“Humanity”) to bonafied classic power metal (“Spirits of Light”). There’s even prog madness in “Choice Time” with an instrumental section I have never been able to properly transcribe. Sampling one song does not do this record justice. Every song is a special snowflake to me on Luxaeterna. The album closes with the title track, which is 100% orchestral, and the story ends with a rhythmic looping of the phrase, “Let the show begin again, let the luxaeterna exist forever” – and then the record ends with a lone piano playing a gentle melody. This record has meant everything to me for the last 12 years!
Katt’s Favorites: …And Let The Show Begin,
Here Comes The Life,
Humanity,
Choice Time,
Judgement DayListen to “Luxaeterna” by Aquaria on Spotify
Topic: Katt's Top 50 Albums v. I bless the rains down in Africa [#1] (Read 67877 times)