Playing out a more aggressive version of Symphonic Metal, with elements of Power Metal,
Seven Seraphim brings forth a more dramatic approach in the performance realm, especially for a U.S Metal band. Being more of a symphonic aesthetic than most American prog or power Metal bands, it is good to see that the European influence is sinking in here in the states.
For one, the production is more or less over the top when it comes to the whole operatic vibe carried along in Believe in Angels, complete with orchestrated strings, harpsichords, neo-classical guitar arpeggios, jazz improvised solos, and all the rest of the connotations of the standard for all things progressive.
Seven Seraphim does however, tread the thin line between the overproduced and the substandard of sonic endeavors, but at times when it sounds as if it were to be overproduced, these guys tend to bring it back down to a more audible vibe, capturing the essence of a rather moody atmosphere that tends to scatter throughout Believe in Angels.
Dissecting the album song for song, obviously most are filled with a keyboard/guitar balance of 50/50, showing that the keyboard endurance is brought by the fact that most of the guitar work is brought forth with soloing. All cuts represented here are brighter than dark sounding; with a
Stratovarius meets Rhapsody feel to it, combining that structure along with cascaded riff styling. Most songs open up with the arpeggiated intros, given the obvious headroom left for that.
"Anastasia" and
"Lady Jade" keep Believe in Angels on its upbeat note among other cuts, but yet the moody but yet driving cuts include
"Dance in the Red," "The Rain Keeps Falling," being a ballad for the second half, and
"The Hand that Feeds."
There are also instrumental toyings throughout the record,
"Cyanide by Moonlight" an avant-garde piano piece, and the dark
"A Prayer for the Innocents," which ends the record. On a more scarier not of this record the main riff of
"Song Blaque" sounds too much like
"Eye of the Tiger," but other than that, it all makes for a good record.
It's a very different record in many ways, the vocals, provided by Greg Hupp; don't really fit the stereotypical high falsetto, singing in a high tenor, with a more gravelly falsetto. All comparisons aside, Believe in Angels is an album worth checking out, provided that you are a fan of the long sprawled out jamming, key changes, and so forth.
Written by
Hashman Monday, December 1, 2003
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