Lunatica
The Edge Of Infinity

For a heavy metal band, it is often difficult to combine a feeling like sweetness with rhythmic sections accustomed to flying at the speed of light on beats marked by wild double bass drums and explosive riffs. As always happens, fortunately, there are some exceptions that confirm the rule; Lunatica is one of these.

Breaking away from the somewhat impersonal formula they adopted with their previous "Fables & dreams" in 2004, the Swiss six-piece returned in 2006 with "The edge of infinity," an album on which the Sascha Paet-Miro duo, sometimes skilled in producing symphonic works, and other times authoring rather irritating stylistic missteps (shall we recall Luca Turilli's latest ambitious and failed projects?), took the reins in production. The result, although at first listen may be bewildering, is once again quite pleasant and original compared to the standards of the symphonic scene. The formula of orchestral power metal, so celebrated and plundered in recent years, has indeed been lightened in favor of airy melodies, almost always exaggerated and on the verge of the most romantic and refined pop.

The beauty of this album lies precisely in its ability to transcend the usual clichés of long episodes narrating epic sagas (we really can't take any more of brave warriors, fire-breathing dragons, and frightened damsels), through a sound from which every attempt at excess has been dissipated, thanks to the spirit of these musicians completely devoted to the most cultured melody, but not for this reason esoteric like their colleagues dedicated to gothic metal (there is not the slightest semblance of this style's influence). What fills the air within "The edge of infinity" is a fragrant atmosphere, imbued with a sweetness unmatched and never lapsing into the melodramatic or saccharine. The true crowning jewel of this gentle and calm modus operandi are the enchanted and crystalline notes of keyboardist Alex Seibert and the arrangements (sometimes symphonic, sometimes pop) that give each song the right cinematic edge (but not as intrusive as in the albums of Rhapsody Of Fire and similar bands), complemented by a very delicate and superb vocalist named Andrea Dätwyler, whose vocal cords exude the most rosy and innocent purity. Sometimes, I think Lunatica would be the most suitable people to write a concept album about Neverland or The NeverEnding Story; the atmospheres of these distant worlds, of these fairy tales seem to perfectly match the magical and emotional caliber of the Swiss band's offer.

However, do not think you are facing a crass pop offering disguised as heavy metal. The two music worlds cited manage to coexist perfectly in the best episodes, while in others they separate to create songs that are appreciable in the general context but not as exciting as the others. Among these, it is worth mentioning the title track, similar to a somewhat lifeless and lackluster version of the American band Kamelot, placed at the beginning perhaps to not scare the most diehard defenders (who, I will say right away, cannot love this LP). The same can be said for the fourth track "Who you are", practically a song in full Britney Spears style from her early days (the one with the pigtails and schoolgirl outfit) to which electric guitars have been added in the chorus. Behind this unusual operation, we see the names of two well-known pop producers, Carl Falk and Sebastian Thott (who, coincidentally, launched stars of the caliber of Britney Spears and Westlife). A pinch of catchiness doesn't hurt, it can also be appreciated, but this is a bit too much for my tastes... In the end, what need was there for such a banal moment among so many emotional highlights?

Things go decidedly better when the band plunges headlong into the patterns most suitable for them, the semi-ballads, using (this time) also highly respected collaborations. To duet with Andrea's crystalline voice we find John Payne (former singer of Asia) who adds incredible pathos to "Song for you". In the long and ultra-melodic " Emocean", the most beautiful track on the platter (its dramatic and orchestral final is thrilling), we instead find Oliver Hartmann, another excellent guest capable of giving that something extra to Lunatica's music (it would be nice if, in the future, duets became a constant in the group's sound).

 
"The edge of infinity" can only make those close-minded metalheads frown, spokespersons of a hardness of spirit sometimes purely for show, more necessary to appear alternative than to be true fans of the most emotional music. For the rest, regardless of some evident mainstream ideas, the possibility to dream has been guaranteed with simplicity and honesty. Why miss such an opportunity?