Album of the Week 08-2018: Rhapsody – Symphony Of Enchanted Lands


For everyone involved in the making of the album, ‘Symphony Of Enchanted Lands’ is the pinnacle of their abilities. It was not just a compositional triumph for all the musicians involved, it also established Sascha Paeth and Miro as the go-to producers for symphonic metal. Rhapsody did not invent the genre, but ‘Symphony Of Enchanted Lands’ takes the genre to its logical extremes. An enormous orhcestra, three different choirs, narrators, medieval interludes… And surprisingly, it works. The progressive power metal songs sound full and bombastic rather than cluttered, with the metal elements and the classical elements being in perfect balance.

Two decades after its initial release, ‘Symphony Of Enchanted Lands’ is primarily known for its shorter power metal tracks, specifically ‘Emerald Sword’ and ‘Wisdom Of The Kings’. Both of these songs would end up in almost every live set once the band started touring, which they did not do until about a year and a half after the album’s release.  The popularity of these songs is understandable. ‘Emerald Sword’ is a fresh power metal song with a some memorable guitar work and an anthemic chorus, while the verses ‘Wisdom Of The Kings’ harbor one of Fabio Lione’s best vocal melodies.

‘Symphony Of Enchanted Lands’ has more to offer though. The middle section of the album has two back-to-back progressive metal tracks. The dark, threatening ‘Beyond The Gates Of Infinity’ is the better of the two by a hair. The Dream Theater-inspired riff work is offset by horror-style symphonics, an excellent use of dynamics and an unpredictability in the songwriting some of the band’s later work lacks. As its title suggests, ‘Eternal Glory’ is slightly more triumphant in approach, though also ending in darkness. The brass driven intro sets the mood for a proud, somewhat angry metal song.

Another interesting song is ‘The Dark Tower Of Abyss’. Arguably the least accessible song of the record, but it is also the most baroque chamber music oriented song on the record. There are large sections of the song reserved for strings and harpsichord, though the electric guitar driven sections have an exciting amount of tension. ‘Wings Of Destiny’ is Rhapsody’s first piano-based ballad and with a singer as passionate as Lione, it was bound to succeed. Only the closing title track misses the mark somewhat. It does contain a number of great sections, but those would have worked better if they were worked into four separate songs rather than a single long one.

Still, with all its bombast and carefully arranged production, ‘Symphony Of Enchanted Lands’ is an album that sounds as overwhelming now as it did upon release twenty years ago. Rhapsody outdid itself here, as subsequent releases proved. The more metallic approach they would adapt – undoubtedly fueled by their live shows – resulted in a couple of great songs, but never again would they release an album as consistently good as ‘Symphony Of Enchanted Lands’. As a young teenager, I was obsessed with this record and I still don’t see that as a youthful mistake. The music on this album is way too good for that.

Recommended tracks: ‘Beyond The Gates Of Infinity’, ‘Eternal Glory’, ‘The Dark Tower Of Abyss’

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