Angra
Temple Of Shadows

THE REVIEW

I’m writing yet another review, partly disappointed by the analyses I’ve just read, considering that it’s been a while since I’ve seen an Angra review on DeBaser’s homepage. I’ll make up for it with two reviews of unknown bands that nobody will notice J

A UNIQUE BAND

Angra???
"Ah, those Brazilians who did progressive/ethnic power metal in the mid-'90s?" This is the faded memory of some friends of mine that might also match yours as you read. I am writing to describe one of their albums from 2004. After processing the departure of their leader and singer André Matos, the carioca, four years ago, returned to the market with a work titled "Temple of Shadows".
Attributable to the more progressive, reflective, orchestral metal vein (and only partly dedicated to power), they have a sound easily recognizable in the melting pot of the melodic heavy genre as they often stray from the usual 4-minute songs with obsessive chorus repetitions and so on to have instrumental breaks and tempo changes. Allow me to say that if the banal power with dragons and muscular heroes on the cover, photographed with gruesome lyrics and the usual guitar riffs and shrill voices, is a McChicken or BigMac at the fast-food, Angra are a dish at a restaurant to be savored with due calmness.

THE ALBUM

The warm and intriguing classic-style cover leaves an indelible mark just like the committed lyrics. This time the Brazilians attempt a concept album centered on the figure of an 11th-century crusader who, while fighting, repents for his actions and redeems himself by beginning a process of ethical evaluation of his deeds. The process is easily recognizable in the tracklist of the work without flashbacks which, in fact, begins with the stormy and battle-hardened opener "Spread Of Fire" and concludes with the reflective notes of "Late Redemption". (Gate XIII is a separate piece: a beautiful and entertaining instrumental moment that in an elegant collage makes us relive the key pieces of the album).
With "Temple Of Shadows" Kiko Loureiro takes André Matos' place concerning the songwriting phase and the singer Edu Falaschi shows more personality, avoiding, as partially happened in Rebirth, to emulate or imitate his cumbersome predecessor.

REALLY SPECIAL GUESTS

The overall result is truly remarkable also thanks to the integration of top-notch special guests who tackle tracks crafted specifically to highlight their diverse peculiarities.
Kai Hansen. The king of modern power with Helloween and Gamma Ray, comes to contribute to the most explosive and openly power and easy-listening track of the entire album called "Temple Of Hate". A memorable gallop, strategically placed between two completely different songs, in which the voice plays second fiddle to the refrain and instrumental phases designed to ignite the crowd live.
Hansi Kursch. The historic frontman of Blind Guardian lends his services in "Wings Of Destination" and instead of the usual rough singing, he also offers us an emotional and unusual vibrato. A complex and long song with many counter-tempos by Priester and endowed with a splendid interlude that very slowly leads us towards the orchestral ending to close the circle.
Sabine Edelsbacher. The charming singer of Edenbridge enriches the classic and explosive opener "Spread Your Fire" and duets with Edu in the sweet ballad "No Pain For The Dead".
Milton Nascimento. This carioca legend with its strong Brazilian tint rewards us, sailing into his seventies, by expressing in a soulful singing the redemption of our crusader in the grand finale of the album ("Late Redemption").

MUY BUENO

To all this, we add noteworthy tracks like the changeable "Angels And Demons" which bares its teeth in the break only to give in to a pompous finale; the reflective "Waiting Silence" with heavy symphonic inserts and great bass work which has a hypnotic effect and is capable of capturing us from the first careless listen; while "Morning Star" leaves one in awe for its unexpected and delightful hardening of the sound. Everything is muy bueno, but the true masterpiece of Temple of Shadows in my opinion is "The Shadow Hunter" and it is no coincidence. When the lyrics and the story have meaning and are genuinely heartfelt, it is fitting that the peak is reached in the crucial moment of the story: that of repentance in this case.
The acoustic guitar with an ethnic arpeggio opens in the best possible way to progressively give way to a majestic riff. The paced timing frames Eduardo's sweet entrance. In a flash, we stand before a long chorus with delightful backing vocal insertions. When in the lyrics, redemption crashes against his old ideals, the break begins with two questions launching into a long and pleasant moment of reflection which explodes, with a deliberately contested solo, the crusader’s turning point. The finale is a triumph to be savored by simply cranking up the volume.

CONCLUSIONS

From a technical standpoint, drummer Priester’s use of double pedal, counter-rhythms, and absolute precision impressed me just as much as Kiko Loureiro did. This guitarist (without taking anything away from Rafael Bittencourt) is not only irritatingly clean in the tapping phase, but he is impeccable even with the acoustic guitar and writes solos different from the usual scales and does not seek speed at all costs.
In conclusion, the outstanding sound production, the comprehensive technical skill of the lineup, the excellently planned contributions from the "guests", the goodness of the highly varied tracklist, the depth of the lyrics, and the intriguing cover make "Temple of Shadows" one of my best purchases from 2004 to today.