Scorpions
In Trance

I would begin by saying that it would truly be an understatement to define “quality leap” 'In Trance'. The band was coming off two good works like "Lonesome Crow" and "Fly To The Rainbow", albums of excellent quality that had initiated the rise of the Teutonic group in the German musical Olympus, however, they were nothing extraordinary or sensational given the historical period.

With the third work, the course changed radically, and finally, members like Uli Roth, Meine, and Schenker themselves demonstrated their full potential, which would be reaffirmed at great levels in 'Virgin Killer'. The result is a record that alternates between fast tracks and others where the rhythms slow down but almost never stop; the common point from the first to the tenth track is the virtuosities of Uli Roth, immeasurable, shaping, transforming, and leading the tracks towards sound horizons with epochal appearances. “Dark Lady” synthesizes all of this in three and a half minutes of high voltage. A few seconds of silence, disturbed, menacing, and then, like thunder, the track explodes and one is buried by the hammering rhythm of the drums, the powerful riffs, and the guitar scales, but above all by the chorus shouted by Roth accompanied by the particular falsetto chorus that precedes it. Barely enough time to recover and one is swept up in a series of distortions and rapid infernal outbursts that tear, gut the sound, which, in turn, make way again for the Refrain, and finally a progressive, bewitching yet rapid spiral of sounds. A track that is hard to explain in words, in these minutes you find everything, thanks to Roth, a superb and unusual vocal part executed by the same guitar hero, engaging rhythm, clean and decidedly steadfast instrumental execution.

Thus, we arrive at the Title track. Permeated by a decadent romanticism determined by Meine's hoarse voice capable of scratching the heart and imagination, the entire structure of the composition finds its zenith in the chorus, which, although at decibel level, is superior to the rest of the song is still thoroughly suffused with atmospheres both sad and epic. Mid-song and in the final part arrive the inevitable solos signed by Roth, thanks to their perfection and clean execution, they infuse with the collaboration of a not extremely fast rhythm pathos, magic, if you want to be more sentimental. A song for the ages. Three-” Life's Like a River". It does not change, rather it slows down further. We are faced with a striking example of a ballad. The blows marked by Lenners are slow and cadenced, Meine's voice, rough, enchanting, calm, and rambling is followed by Roth's guitar solos which, as in the previous track, imprint warmth and poetry to the composition. Towards the final part, the sound's progress increases, the voice becomes sharper, like Schenker's guitar more incisive, and the track concludes in this manner. Inspired and unforgettable, it cannot be considered just a ballad.

After this first pause, we steer again towards a heavier sound, represented precisely by the fourth piece “Top Of The Bill”. An engaging track, Meine, to say the least angry, delivers a stunning performance built on extremely high-pitched screams, but, needless to say, the most astounding section is that of Uli's hysterical, distorted and blazing rides, which will lead the track to the end. Again, on this track, nothing negative to say, rough and incisive atmospheres and as hard a singing as necessary. “Living and Dying” is musically aligned with “In Trance” and “Life's Like a River”, ballad, refrain performed in a higher tone than the other sections of the piece, Uli's virtuoso guitar segment, closure entrusted (as in Life's Like a River) to the insistence of the refrain. In my opinion, it was a mistake to place this type of song at this point in the record because it breaks the rhythm that had been achieved with “Top Of The Bill” but it is nothing serious, still being a pleasant piece. It's remedied with the next track “Robot Man”, astonishing. The riffing is fast and snappy, the drums tracing the rhythm with its tolls no less, but what amazes is the speed in the succession of words in full communion with the sound performed by the instruments, which imprints an incredible impact on the entire framework of the track, Roth always present with his solos but in a lower tone. A melodically different work, unique within the album for its execution speed.

In the final part of the work, to be noted is the Blues of "Sun in my Hand", the Hard Rock at full throttle and the unimaginable numbers of Roth in "Longing For Fire", and finally the sweetness and hypnotism of "Night Lights" an exclusively instrumental piece. In Trance is a peculiar album, there are numerous ballads or pseudo-ballads that at times break, shatter the idyll, but regardless of this, the album remains a masterpiece, especially in the technical sections.

Rating 4.5.