An absolute treat for Rage and symphonic power metal fans alike.
The Lingua Mortis Orchestra, who at that time were ostensibly Symphonic Orchestra of Prague, first made an appearance with German power metal veterans Rage on the latter’s 1996 ‘Lingua Mortis’ album, which was essentially a re-working of several Rage songs re-arranged for classical orchestra. Since then the LMO have appeared both live and on record with the Teutonic titans, their last recorded appearance being on the excellent ‘Suite Lingua Mortis’ (natch!) that opened their first Nuclear Blast release, 2006’s ‘Speak Of The Dead’. Although this is the first time the LMO have been given top billing, this is for all intents and purposes a Rage album seeing that all the music was written, orchestrated and arranged by their über-talented guitarist Victor Smolski with lyrics by founding bassist/vocalist Peavy Wagner.
In many ways, the LMO provides an outlet for Rage to indulge themselves in some opulent symphonic power metal and a concept album to boot, seeing as the music and lyrics are inspired by a true story from the medieval witch burnings in the German town of Gelnhausen in 1599. Opulent is certainly the operative word given that they have collaborated with not one but two orchestras – this time from Spain and Belarus respectively – on this record, whose personnel numbers over 100! And that sumptuous attention to detail just shines through from the very first listen as the band and orchestra take you through a myriad of moods and emotions from sweeping orchestration to brutal power metal via some beautiful, piano-soaked male/female dual vocal balladry, where Jeannette Marchewka and soprano Dana Harnge more than hold their own against Peavy’s inimitable powerful, sonorous roar.
I’ve no idea what Lingua Mortis means; it ain’t anything like rigor mortis that’s for sure, as the whole thing rattles along to the tune of André Hilgers’ fierce drumming, but it’s Smolski who really steals the show. The Belarus born six-stringer, who’s also a bit of a star on four wheels as well (oh to be so talented eh?), unleashes his entire box of fretboard pyrotechnics on this record: from frenetic shredding to neo-classical soloing and beautiful, soaring lead and melody lines, its all here and played with understated brilliance.
With a first class production from Smolski (yes, him again!) and Charlie Bauerfiend, this is an absolute treat for Rage and symphonic power metal fans alike. This truly is the perfect distillation of the fire and brimstone of metal and the symphonic poise and grace of a classical orchestra and is, in a word: Brilliant!
Alister Strachan
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