Reviews list for Kamelot - Epica (2003)

Released in 2003, ‘Epica’ is the sixth studio album by symphonic power metal band Kamelot. It follows very closely to its predecessor, 2001’s ‘Karma’, with more focus on symphonic elements and orchestrations, as well as a stronger sense of melody and more polished song-writing, stepping away more and more from the traditional power metal style of their early albums, and into something a lot more epic and grandiose.

With a similar sound and production as before, ‘Epica’ sounds as rich and lavish as ‘Karma’. The musicianship is tight, with everyone performing to a high standard, and in particular, praise goes to vocalist Roy Khan for his powerful and emotional performances.

With highlights including ‘The Edge of Paradise’, ‘Center of the Universe’, ‘Lost and Damned’, ‘A Feast For the Vain’ and the beautiful ‘Wander’, there’s an abundance of great tracks here, and if you liked ‘Karma’, there’s no reason you won’t like this. And ultimately, this will lead to the next album, because if you like the direction Kamelot are heading in here, then you’ll certainly love what’s to come…

It was their 6th album, and Kamelot was still a barely recognizable underground power metal band. Nonetheless, their 2003 album Epica would reach the ultimate pinnacle of their sound and lead them to a more prominent record label that would release their next album The Black Halo in 2005 and propel the band to global prominence. What do those two albums have in common? Well they both tell a tale based on an old play, Goethe's Faust. However, while they're both two of the best Kamelot albums, Epica is darker in atmosphere and smoother when flowing through songs and interludes, in the same kind of ratio as Blind Guardian's Nightfall in Middle-Earth. With heavy power metal tunes, amazing ballads (yes, they're awesome), and deep lyrics, Epica is the most underrated work. Vocalist Roy Khan sounds like HIM's Ville Valo trying to sing as high and operatic as Tarja from Nightwish, and that's good because it adds a unique edge to the singing. Perfect vocal talent to fit well with the atmosphere! Guitarist Thomas Youngblood has more talent in heavy riffing, beautiful solos, soft acoustics. His awesome skills help keep Kamelot and its music alive. Bassist Glenn Barry also has talent, and often while drowned out in the guitar waves, still shines in some tracks. Drummer Casey Grillo is also talented pummels in a well-flowing fashion through the beauty of the riffs and melodies. The album is filled with guest members, but two of them definitely need to be mentioned. Miro provides the keyboards, piano, and orchestration that have the most effect in the ballads, while enhancing the heavier songs. Mari Youngblood (Thomas' wife) sings beautifully in a few tracks, in great sync with Khan's vocals.

After all this talk about the team who made the music, it's time to explore the world create for the tale, the world of Epica. Love and loss spreads throughout the saga. A man named Ariel has a great amount of wealth and power but often gets cocky and overconfident. His fate is in the hands of the dark demonized angel Mephisto, intending to lead Ariel into trouble. Helena is a beautiful Maiden whom Ariel is in love with, though Mephisto's sinister mind-games would ultimately cost her life. There's much more depth in the detail in Epica than in The Black Halo, and there's much more interaction between the characters. Some minor characters each appearing in only one song include the Master of Ceremonies and a River Spirit (both voiced by John Wilton). There's also a choir to go along with the orchestration.

The adventure begins with a one-minute "Prologue" filled with static and samples from later tracks that almost causes a Disney-like feeling. Then "Center of the Universe" begins the fast heavy action, but then it slows and quiets down for a melodic piano bridge with Khan singing alongside Mari. Then the heaviness comes back for the soloing and final chorus. What an epic banger to introduce us to the world of Epica. "Farewell" also starts fast with crushing riffs and drums, but when Khan's beautiful vocals come in for the verses, it goes slow before speeding up again. "Opiate Soul" is the first of 4 interludes, and adds some haunting orchestra and choir with the one-minute length.

"Edge of Paradise" isn't as fast as the first two full songs, but it's worth heavy headbanging. The haunting orchestra and choir from the first interlude returns before the solo, all surrounding by mid-tempo riffing and drumming. Following this is "Wander", the first semi-acoustic ballad here. Simply just soft guitar, smooth bass, and beautiful singing. Soon, the chorus adds back some of the metal along with vocal harmony. One of the best tracks here and a rare ballad that I truly enjoy! Second interlude "Omen" is where the beauty dies out for the sound of thunder and soft piano. Afterwards is "Descent of the Archangel", starting with fairy-like synth twinkles before a riff onslaught. Then enters the devious Mephisto, who makes a deal to help Ariel on his quest and claim his soul after death. Rhapsody of Fire's Luca Turilli plays a killer neo-classical solo.

The 3rd interlude "At the Banquet" is where Ariel enters a grand feast as crowded as the Last Supper, with the Master of Ceremonies introducing him. However, Mephisto enters as the "13th guest". "A Feast for the Vain" adds melody to the heavy riffing, as Mephisto makes his introduction. Oh I should note that Roy Khan voices Mephisto here, unlike Dimmu Borgir's Shagrath in The Black Halo. Anyway, that song has some of the best lyrics and heaviness in that song. Then "On the Coldest Winter Night" breaks the heavy tie with another ballad, starting with church bells and soft acoustics. The song is slow in a ballad-like pace, and Khan sings mostly in the Ville Valo-like lower octave as opposed to the Tarja-level falsettos in other songs. It's a good song, but not as much as the other semi-acoustic ballad from earlier. "Lost and Damned" is light on the piano, but a war drum march adds some dark suspense that is leveled up by guitar heaviness after a minute of building up, probably the heaviest here. Another notable track!

"Helena's Theme" includes a pivotal event that would gets us all set for The Black Halo. Helena is pregnant after sleeping with Ariel, but he is still determined to continue his search, and leaves despite her not wanting him to. Heartbroken and wanting to love Ariel after death, Helena commits suicide by drowning in a river, taking the unborn child with her. The River Spirit helps guide her soul to Heaven. Though the town crier in the 4th and last interlude "Dawn" announces otherwise. "The Mourning After (Carry On)" is the first of the great final pair of songs in this album that would define what will happen in the next, with riffs balancing catchy and heavy, and an awesome chorus. Ariel is devastated and angry at himself for what he has done to cause this predicament. "III Ways To Epica" is the last part of the first half of this enchanting tale, where Mephisto convinces Ariel to continue his journey. So that's what he does, as Helena watches over him. The structure in this song is a bit odd, but it's still a perfect way to go out in a bang before continuing in the next album.

All in all, Epica should really be checked out for fans of Kamelot and especially their album The Black Halo, if they wanna hear the band's sound at the best and what leads to the part of the story they know more of. The more global part of Kamelot's journey may have begun after being signed to a greater record deal for their next album, but Ariel's journey is only halfway through. Can he continue his quest with a guardian angel and guardian devil by his side? Stay tuned, and hope you enjoyed this epic album of Epica!

Favorites: "Center of the Universe", "Farewell", "Wander", "Descent of the Archangel", "A Feast for the Vain", "Lost and Damned", "Mourning After (Carry On)", "III Ways To Epica"