Review Summary: Angra fuses its distinct Progressive Power Metal sound with Brazilian Folk influences and unsurprisingly, creates a juggernaut of a Metal record.
The year was 1996 and São-Paulo-based
Angra, although having released a single full-length album, had already achieved significant popularity in the underworld of Power Metal, even counting with a growing fan base in Japan. Their debut album,
Angels Cry, consisted of relentless, unique Power Metal with Progressive and Classical influences. Kiko Loureiro and Rafael Bittencourt's technical guitar play was plentiful and categorical while André Mattos' trademark high tenor (or to those mocking the man, "castrato"), emotionally-charged vocals added much to the fledgling band's sound. The participation of household names such as Kai Hansen and Sascha Paeth in the recording and production ensured that Angra would get the fame it deserved.
Instead of sticking to the formula that had granted them significant fame so early on, the Brazilian quintet (now counting with a permanent drummer, Ricardo Confessori) took a more daring path. Sascha Paeth was still one of the producers but the sound he was dealing with this time was significantly different., although symphonic interludes can still be found everywhere and André Mattos' signature singing is well-cemented,
But what IS so particular about
Holy Land? For one, it is a conceptual record, with the underlying theme being what Brazil must have been like around the time the Portuguese accidentally stumbled upon the land and claimed it as their own (for those not too familiar with South American history, the album's cover art is a map of Brazil in the 16th century). The rest... well,
Crossing, the minute-and-a-half long introduction, summarizes quite nicely what the album is all about. It is actually a part of a mass celebrated by 16th century Catholic composer Giovanni da Palestrina, with jungle noises persisting on the background. In other words, it tells the listener that the album is going to contain plenty of classical and folkloric sounds.
The album loses no time and jumps right into
Nothing To Say (Note: the track's first thirty seconds is actually a continuation of the introductory song). At first glance, it seems that Angra is carrying on what they were doing in their debut album - unforgiving power metal with technical, elaborate guitar solos and some classical sounds. However, the album slows down once
Silence and Distance kicks in with its soft piano intro. Although mid-paced buzzing guitars and orchestra join in later, Mattos' vocal delivery is the focus here.
Caroline IV, Pt 1 and Pt2 are more versatile tracks, constantly swinging from mid-tempo riffage backed by deep, driving folk percussion to the swiftness and power of the guitars, spanning a grand total of ten minutes and arguably being an accomplishment within Progressive music.
Holy Land is certainly the highlight. No "power" metal can be found in here - it's a slow track filled with a smooth piano and a wide array sounds including whistling and a flute, all melting together with typical rock instruments into a grandiose yet touching sound. Some may
hate Mattos' singing in here at first, maybe finding it too flamboyant or simply annoying but his flawless performance will sooner or later grow on the listener as he realizes his falsettos are in fact, the icing on the cake.
Angra delves back into a somewhat more familiar territory (faster) with
The Shaman, although by no means they "play safe".Tribal drumming thumps behind the wall of distortion for most of the track and in the middle a fellow narrates something (possibly a ritual) in an unknown language, which aids in building up a mystical atmosphere.
Make Believe takes its time and moves quietly and leans more on the rock-ballad side, nevertheless keeping itself interesting with its meditative lyrics and choosing to slowly yet steadily grow louder, culminating with a categorical guitar solo as the song closes.
Z.I.T.O. comes along, and boy, it comes fast and hungers for your ears' full attention. Palm-muted riffs, double bass drumming and breathtaking speed are the rule in here, with Bittencourt showcasing his sonic, virtuoso guitar-playing skills for more than a minute. Once again the album reduces its velocity, now with
Deep Blue where the organ and (surprise!) Mattos' vocal prevail, this one could have been very well been performed in a medieval church... if the guitar duo did not come on at the four minutes mark; the song as a whole remains mellow and very pleasant to most ears. The album closes modestly with
Lullaby For Lucifer, featuring nothing but Mattos' voice, an acoustic guitar and the ambient sound of docile animals and running water. If anything, it is an excellent song to listen to while sitting in a beach and contemplating the setting of the sun.
Holy Land is an ambitious record, and at no point it falls short of achieving its aim. To the contrary, as each song passes by, it reinforces the belief that the album has indeed succeeded. By making intelligent use of their trademark classical interludes, using André Mattos' voice to its fullest potential, deploying Bittencourt's and Loureiro's proficient guitar-playing skills when most fitting and employing folk influences to an intriguing effect, Angra created an indispensable metal album - even more so for Power, Progressive or Folk affectionados. This one is undoubtedly the band's best Mattos-era work.
Angel's Cry and
Fireworks are excellent records as well, but
Holy Land vast, filled scope is unmatchable.
Credits:
Andre Matos - Vocals, Piano, Keyboards, Organ
Kiko Loureiro - Guitar, Backing vocals
Rafael Bittencourt - Guitar, Backing vocals
LuÃ*s Mariutti - Bass
Ricardo Confessori - Drums
Recommended Tracks:
Carolina Pt. 1/2
Holy Land
The Shaman
