Epica
The Score - An Epic Journey

Presumption corrupts the soul, but not only…

The Netherlands is the ultimate homeland of Female-Fronted Metal bands: if more than 10 years ago the seminal The Gathering and the semi-unknown Orphanage represented the genesis of the genre, the second generation has its leading exponents in After Forever and Within Temptation. Epica, born out of Mark Jansen's will after his departure from After Forever, boast exponentially growing critical and public success and a soaring rise in sales, especially considering the young age of the band.

Initially, the combo recorded a demo under the name “Sahara Dust”, but success came quickly with the release of “The Phantom Agony”, an excellent example of Symphonic Metal, adorned with a dark allure and a majestic style. Following the excellent sales response and after the Cd/DVD “We Will Take You With Us”, which clearly showed their label, Transmission Records', intent to exploit the golden goose. A somewhat immature choice, considering the band had only released one album before then. Subsequently, the second album of originals was released, which unfortunately does not live up to the quality standards of the debut album. Perhaps Epica, due to their enormous popularity, fell into the trap of pride, or perhaps they were dazzled by Hollywood-style soundtracks. The fact is, “Consign To Oblivion” is too pompous, incomplete, and not very stirring, although it does contain some decent compositions. If “Consign To Oblivion” is the beginning of the downward spiral, “The Score” is undoubtedly the lowest point ever reached by the Dutch band: Mark Jansen and Yves Huts offer us (though we could have done without it) the soundtrack for the film "Joyride”. Their alter ego has infinite proportions and their status is too high to compose a classic Metal album (what music for roughnecks!) and so they seek to impress with the most powerful and heroic compositions possible, aiming to astonish with complex and sumptuous gallops, emphasizing the more pompous and epic aspect of music, hoping to captivate with a disc crafted to perfection.

Mission Failed: “The Score” presents itself as an unbelievably pretentious work, full of songs of little interest, lacking the slightest creative spark. They simply succumbed to arrogance, creating a mammoth project in its intentions but inconsistent in songwriting, as the two main mentors miserably failed in their attempt to become the new Hans Zimmer. In the metal scene, there is only one Tuomas Holopainen, it should be remembered.

“Vengeance is mine” is a grandiose opening that makes clear from the start the type of music that will be present in the album. The melodies created by the strings make for a canonical introduction, all things considered. Synthetic strings dominate the interlude of “Unholy Trinity”, which is meant to elicit ever-growing emotions, owing to its sought-after sound tension, but which actually appears as a piece without head or tail, flowing without arousing any stir. “The Valley” solidifies the group's style, being one of the most Wonderful pieces, strongly reminiscent of Gandalf's magic, indeed, it could easily compare with soundtracks of fantasy films like “The Lord Of The Rings”. A terribly sterile track in every aspect. Angelic choirs introduce “Caught In A Web”. The sound frescoes they create aim to convey melancholy and desolation but only succeed in evoking disgust. Naturally, there is the viola of the moment, producing pseudo-emotional litanies. However, the anguish gives way to the presentation of the main theme of the work, which is a ridiculous attempt at plagiarizing the “Last of the Mohicans” soundtrack.

“Insomnia”: rarely has a title been so representative of its content. It's such catastrophic trash that it prevents sleep for fear of listening to it again. The choirs are pathetic, especially when they give in to a very banal crescendo. But Epica is a 360-degree reality, they don't just stop at epic compositions. In fact, “Under The Aegis”, with its modern sound, could be the soundtrack of a typical American psychological TV series, although it then takes a decidedly more classical direction. The ending is not even wicked, but it is glued in a context in which it has absolutely no place. In the review of “Consign To Oblivion,” I had accused “Trois Vierges” of excessive mawkishness and sonic stasis. Paradoxically, on this occasion, it seems like a decent song, certainly due to the abyss in which the other compositions find themselves. Here, however, we do not find the album version but another version in which Simmons sings without the aid of Kamelot's vocalist. “Mystica” is an excellent piece that rises completely from the creative impasse of the album seeking more dreamlike and magical sounds, leading us into the world of fairy tales, so longed for and sighed over during distant childhood. The second part is made up of a more solemn pace, where the brass stand out for spectacle. If the other tracks, although mediocre, presented a minimum of rationale, “Valley Of The Sins” simply makes no sense: an aberration of considerable length that leaves one stunned by its ugliness. A useless collage of pieces stuck together with adhesive tape: from those reflective moments to the more honorific ones that aim to echo the most symphonic deeds of Cradle Of Filth. “Empty Gaze” arouses more than a few perplexities, taking up the stylistic elements so dear to “Caught in A Web” while displaying the same enormous limitations. It is not enough to have an orchestra of hundreds of elements (— or even less a synthesizer —) to produce emotion. “The Alleged Paradigm” is merely a reprise of the theme. An undefined medley of cellos, double basses, percussion, and anything else one could think of.

While listening to “Supremacy”, I am seized by the irresistible temptation to press the STOP button, never so enticing as now: brass so heavy and oppressive they couldn't be more, although then the viola appears again, andits strumming so odious. A change of scenery with the subsequent “Beyond The Depth”, introduced by an acoustic guitar very reminiscent of the Nightwish folk era (See Angels Fall First). The violin is finally utilized decently creating a nostalgic mood. In “Epitome”, the mighty Emperor are even called into question, presenting a typical introduction of the Norwegian band, but then everything shifts to terrains more fitting for Epica, especially with the insertion of the harpsichord. One of the most ridiculous pieces is certainly “Inevitabile Embrace”, a poor attempt at an Angra clone, complete with incursions of typical instruments like flutes and percussion. Grotesque. “Angel Of Death” is characterized by an interesting introduction that has nothing to envy to bands like Therion, but then gets lost in the meanders of mediocrity. The Epic Journey closes with “The Ultimate Return”, a finale worthy of the exquisite quality contained in the other tracks, being some kind of best of the most unforgettable moments.

However, there are still 3 other tracks, which are not part of the Soundtrack. “Trois Vierges” (reprise) is the instrumental version of a song we already know in all its versions. This is certainly the most successful one, showcasing a marked preference for baroque atmospheres. “Solitary Ground” included in the single is not much different from the original, except in duration. A simple and straightforward ballad that convinces in its entirety. The conclusion is entrusted to the Score Version of “Quietus”, which like the previous piece is not much different from the Album version, except for the fuller intro. It features a captivating introduction and an excellent chorus where Simone's voice takes the lead. The whole has a distinct ethnic imprint.

A real setback for the Dutch Combo, which I hope will find its true inspiration in the forthcoming album, due out in 2007. Surely though, after the unexpected and brilliant comeback of Within Temptation, nothing is impossible.