dtguitarfan I remember discovering this album and laughing with joy as I listened to it the first time. I absolutely LOVED the theatrical orchestral arrangements layered underneath heavy metal guitars and drums, the operatic soprano of Simone Simmons juxtaposed with the growling death-metal vocals. I will be honest here - I have never been a huge fan of death-metal growling. It has turned me away from some bands - some that I later decided to give a fair trial and was able to enjoy despite the growls, and some I never could get into. I like to compare death-metal growling to hot sauce - different people have different tolerance levels of it, but there's almost always a point at which it's too much, and another point at which it's just right and makes a dish oh so interesting. Epica, I believe, is one of those bands that uses just the right amount of growling - juxtaposed with the operatic soprano vocals, it makes things oh so interesting, and this particular album of theirs has become one of the most frequently played in my collection.

adg211288 Requiem for the Indifferent is the sixth album from Dutch symphonic metal band Epica. It’s been a few years since they last released an album and I have to be honest, Requiem for the Indifferent always stood as my most anticipated symphonic metal release of 2012. Their last few works easily stand as testament to the band’s credentials as one of the genre’s finist acts. The album was unfortunately released with its final song, Serenade of Self-Destruction, missing the vocal tracks due to an error. Nuclear Blast has released this song as a free download for the time being but hopefully future pressings of physical copies will contain the correct track.

Requiem for the Indifferent continues the natural progression of Epica’s sound that has been in evident throughout their career, but especially since the release of The Divine Conspiracy (2007), and by extension Mark Jansen’s newer group MaYaN’s debut album Quarterpast (2011). I’d say that the album can be quite fairly considered just as much to do with progressive metal now as it can symphonic metal. While they’ve had prog leanings for a while, perhaps most evident in previous album Design Your Universe’s (2009) epic centrepiece Kingdom of Heaven, here they’re no longer in the shadows; very much out in the open. Epica produced a couple of symphonic metal masterpieces with their last couple of albums as far as I’m concerned, Design Your Universe especially, but the song they’re producing here is definitely what I’ve been waiting to hear from them.

It’s typical then that Requiem for the Indifferent seems hell-bent on blowing up in their collective face. From the error affecting Serenade of Self-Destruction to the generally poor production job by Sascha Paeth there seems to be something around every corner that will hold the album back. The former I can overlook since it isn’t the band’s fault. It isn’t something that should be allowed to happen but I can overlook it all the same. The latter however is a kick in the teeth to say the least, especially since based on the actual songs this is another high quality Epica release. Maybe not overall on quite the same level of quality as their last two, but I’m still confident about its standing as an exceptional follow-up based on the songs here. The production is another matter. It’s not terrible as such but it doesn’t do the music any favours either. It just sounds...flat. The guitars are the worse effected. I’m used Epica producing a powerful and heavy symphonic metal sound, and this is very weak in comparison. What’s most surprising is that Sascha Paeth has done a fine job for them in the past. To be fair the production is a little up and down, sometimes it works, sometimes it doesn’t. It all depends on the track and the context and direction of the music at the time.

The writing and the performance of the band members are the best redeeming factors you can get though. As I said, based on the material Epica has offered up this time I don’t think this album is quite as good as The Divine Conspiracy or Design Your Universe, but it certainly gives more than its fair share of tracks which can be considered to be among the band’s best. Among these highlights is perhaps surprisingly the lead single Storm the Sorrow. Precedent says the Epica single will be a more commercialised track than the rest of the album, and either growl free (Design Your Universe’s Unleashed) or near enough to not make much difference (The Divine Conspiracy’s Never Enough). Of course where this style of metal is concerned we’re still talking a bit more radio friendly than most but still Storm the Sorrow not only features a very prominent growling section but it’s really no more commercial than the average Epica track. Simone Simon’s vocals are what makes the track really special though. As usual she delivers perfectly throughout the album. Jansen’s growls are also on the mark; despite what some people may say about his vocals I think we’re talking one of the most powerful growlers in metal here. If the MaYaN debut, a symphonic death metal album, proved anything it was that Mark Jansen can carry an album as the lead vocalist just as well as Simone Simons. Together the two are the definitive beauty and the beast vocal team.

Other early highlights include Monopoly on Truth, Internal Warfare, and the title track, which includes some eastern folksy sounds. That’s pretty much the entire first half of the album except ballad Delirium, which is a nice enough track that highlights Simone’s vocals but as with any metal album the band would be doing something wrong if this was the track you were most interested in. Monopoly on Truth, Internal Warfare, and the title track showcase Epica’s more pronounced progressive metal approach, especially the latter two.

The structure of the release is typical Epica: intro, few tracks, interlude, and then rest of the tracks. Actually the structure is more or less identical to Design Your Universe including the positioning of the two epics and why not? It worked well enough for them last time and if it weren’t for the letdown of a production I’m sure it would do the same here. I have to be honest, because of the material and performance standard I’m still happily giving Requiem for the Indifferent a very high end score, but I have to consider the issues the album has so as much as I’d like things to be different my rating can’t be as high as what I previously gave The Divine Conspiracy (9.6) and Design Your Universe (10.0).

After the interlude, Anima, the pace gets going again with Guilty Demeanor. This one’s another shining example of Simone’s vocal abilities. I’d consider it a highlight for that reason alone. Also the production works a bit better here. The next track, Deep Water Horizon, is a little hit and miss though. Simone’s still on form and to be fair it really picks up about two thirds of the way through, but you have to wait a bit for the track to deliver the goods. Things are back on track with Stay the Course however, with more prog coming out of the woodwork. Honestly most of the album retains Design Your Universe’s top tier level of quality, but little blips like Deep Water Horizon are what holds it back a little. Not as much as the production, because for example I can’t help wondering how much more powerful a track like Deter the Tyrant would sound if those guitars had more bite to them, and if they were a bit more dominate in the mix. There’s a lot of going on with the guitars in this track, and it would be nice for some attention to be given to them. The production highlights the vocals but harms the instrumentation. That’s a shame, because what’s the point in actually bringing something really special to the symphonic metal table if you’re not going to flaunt it?

It’s ironic really, but I’ve spent my time earlier this year in other symphonic metal reviews I’ve done going on about how Epica is the best in the symphonic game right now and then they go and get outshined by a couple of other acts, namely Pythia and Xandria, especially Xandria. Still despite the production this ultimately isn’t an unsatisfactory release from Epica. With a couple of exceptions we’re talking exceptional to masterpiece levels of quality once again. If it weren’t for the production I’d now be giving it a grade pushing towards that top tier but although it doesn’t suffer so much that it drops out of the exceptional zone the score I ultimately have to give Requiem for the Indifferent is more towards the lower end of that scale. Personally speaking I do love this album, but there are some things that as a reviewer I can’t just overlook and that production is one of them. But anyway, if you’ve enjoyed their past works I see no reason not to like this one. Newcomers may wish to investigate Design Your Universe instead though, for no other reason than that production giving you the wrong impression.

8.7/10

(Originally written for Heavy Metal Haven (http://metaltube.freeforums.org))

arcane-beautiful (This album is a lot like the new Cannibal Corpse album…not in style, just in the way I feel about it)

Why I haven't gotten round to reviewing one of these guys albums yet is a mystery to me...cause I really do love this band. But sure, I'm reviewing all the new stuff now, so I might as well give my opinion about this knew one.

Now Epica have been a band I have really loved for quite a long time now. Ever since The Divine Conspiracy (which is definitely one of the best symphonic metal albums ever made) I have been a fan. Now their last album Design Your Universe I haven’t really gotten around to listening too, and I don’t physically own a copy of their first 2 albums (although I do know they are 2 amazing albums). So I was excited to actually sit down and listen to this one.

Now, I was slightly disappointed with this one…but it’s still not a bad album.

There is a definite slight change in direction with this album, but with good intentions. Usually the choirs and orchestration are really over the top in Epica albums, but with this one, they’ve taken a slight backseat. They are still there, don’t get me wrong…just not as in the limelight as they where. The guitar sound has improved as well, and the guitar playing (I think someone has been listening to Dream Theater in my opinion).

The vocals as usual from Simone are amazing as always (she really is one of the best female metal vocalists, and she is always underlooked). But the biggest surprise from me is that Marks vocals really are improving, and in my opinon are becoming a real highlight of the band. Also the drummer is doing some grunts now as well, which is pretty cool.

As usual, Epica’s lyrics are always a little bit better than most metal bands, whether they’re singing about mental health, politics, philosophy or just life in general. Both Simone and Mark are great lyric writers.

The only problem I can see with the album is that there are only moments that really grab my attention. Usually with an Epica album, every song is stuck in my head after listening to it, but with this one, at the most 2 have really became Epica classics.

But…that’s my opinion really.

1. Karma – A nice little intro. 6/10

2. Monopoly Of Truth – Ok, now this is the way you start an album. Such a kick ass song. This song seems to show Epica’s more proggier approach, which I have to admit, sounds amazing. There is also a riff in this song which Epica stole from me…now I have proof I wrote it 4 years ago…but I’ll let them have it this time. 10/10

3. Storm The Sorrow – Ok, this is the single from the album, and I can see why. I really didn’t expect this song to be that good. Love the choir arrangements. Such an epic ending. 10/10

4. Delirium – Beautiful vocal intro. I love the choir arrangements in the song. There is some really beautiful moments in this song. 8/10

5. Internal Warfare – The verse melody reminds me of Alladin, for some odd reason. There is some really dark moments in this song. Great lyrics. 7/10

6. Requiem For The Indifferent – Nice middle eastern sounding intro to the song. Mark’s vocals are pretty killer in this song. Nice chorus. The lyrics are the best part of the song in my opinion, and really bring up some pretty cool topics like recession and the current economic climate. 9/10

7. Anima – A nice piano interlude. 5/10

8. Guilty Demeanor – Pretty kick ass song, and it’s pretty quick too. Some nice lyrics too. 8/10

9. Deep Water Horizon – The changes throughout this song are pretty odd, but interesting nonetheless. The instrumental section in this song is epic as hell. 8/10

10. Stay The Course – Killer vocals from Mark. Pretty epic at times. 8/10

11. Deter The Tyrant – The use of the choir is pretty epic. Kick ass song with a pretty cool chorus. 8/10

12. Avalanche – Great use of vocals in this song, especially from Simone. Cool chorus too. 8/10

13. Serenade Of Self-Destruction – Ok, for those that don't know, there was a total cock up in the mixing and distribution of this album. For some odd unfathomable reason, the vocal tracks for this song where taken out...which really is like taking the cake out of a birthday cake. So no mark for this one. I blame Nuclear Blast. The only time they've done me wrong.

14. Nostalgia – I can see why this wasn’t on the album. It’s alright I guess. The vocals are the highlight really. 6/10

CONCLUSION: This is their weakest album in my opinion. It’s still pretty great, but comparing it to there others, it’s their weakest. I would recommend this album to a metal fan, but if someone really wants to get into Epica, I would suggest something else.

7.2/10

cennsor [review originally published on http://thecennsor.wordpress.com/]

Being to the premiere concert Epica put out in Amsterdam a few days prior to the release of their new full-lenght Design Your Universe was probably the worst idea I could come up with – in order to keep this review objective. Too late, I guess. And besides being witness to hell of an output (the show, even choreographically speaking, was great), I had the chance to hear how the (almost) whole new album sounds like on stage. And that falls nowhere short from its studio value: magnificent.

For those who might be wondering: the addition of Ariën van Weesenbeek on drums did bring a whole new approach to the songwriting. So did the add-on of guitarist Isaac Delahaye (to be held responsible for the unexpected appearance of several solos here and there). As a result, Epica‘s sound has (finally?) become much heavier and aggressive, yet of course still awesomely balanced by their trademark penchant for symphonic melody.

This whole new attitude also carried an impact to vocals. Fear not: our beloved operatic Simone can still hit quite some high notes. But you’ll have to appreciate the variety to her singing style, to be heard (I’m picking my own favourite example, but many more are possible) on Martyr of the Free Word, which moreover features a gregorian-like choir of exquisite quality. Mark‘s grunts are also still there, as well as Ariën‘s. We might as well mention Tony Kakko‘s contribution on the duet-ballad White Waters — again, a good effort, even in the ear of a non-fan of Sonata Arctica‘s like me.

But the force of this album lies in the way a couple of elements have fallen into place, even more than before. Epica have been building on a very unique style in the direction of a more and more mature symphonic sound, rising out of a rib of the now dead After Forever to develop into a yardstick in their genre. Whoever would’ve looked up at Nightwish, some years ago, as the quintessence of symphonic metal, has now a younger act to reckon with — and that does say something.

Design Your Universe is a testament to Epica‘s well-deserved leading role in the sub-genre of symphonic metal. Slashy guitar riffs, majestic arrangements, far crunchier rhythms and more varied vocal lines, all merged into a very mature songwriting, couldn’t but lead to very worthy nominee for “album of the year”. Yeah, you’ve heard me. Here’s more than enough to earn the Cennsor‘s greatest honor for 2009. Coming out straight after one of my favourite bands’ most recent output (see previous review), that again means quite something.

Let me stress on but one of the elements leading to a perfect album that I’ve credited Design Your Universe to possess. It’s the positioning of the songs throughout the record. Not to overrate it, but it can certainly help an album gain a steady spot on your playlist. The scheme short intro+bursting opener with the long title track as a closer still finds its place here. Resign to Surrender in fact already sets the tone for the rest of the album: one definitely gets the impression (the hope?) a new, higher level of heaviness is what we’re going to deal with here. Which is definitely the case, as shown by the couplet Martyr of the Free Word – Our Destiny and again, later on, by yet another pair of pretty heavy pieces, Deconstruct and Semblance of Liberty, the latter being sort of Epica‘s own reprocessing of Fear Factory‘s Replica they had covered on their previous album.

After Our Destiny, the 13 minute long epic Kingdom of Heaven pinpoints the album’s coordinates (heaviness on a symphonic note, with very proggish syncopated riffs in between), to give way to an interlude followed in its turn by the TDC-styled Burn to a Cinder. Time for a tender piano ballad (Tides of Time), then back to some heaviness, and finally the aforementioned White Waters and the title track.

The owners of the album’s limited edition will be further pleased with Incentive, a great combination of grunt vocals, hammering drumming and very epic cues.

THUS SPAKE THE CENNSOR: To try and go into even further details couldn’t however replace the great experience, filled with what is really an epic feeling, you’ll undergo if you actually listen to Design Your Universe. The Cennsor advices to go have a listen, for if you already liked Epica, you’ll now stick with them much tighter. 9/10

Isa A beautiful combination of symphonic metal and medieval neo-romantic classical music.

The Divine Conspiracy, the most recent of Epica's discography as of this review, really does show blatantly symphonic metal at its best. The female vocalist Simone Simons is well known in the metal community for a good reason, and she has my utmost approval as a classical singer myself. Even though she doesn't sing with a classical style, it is nonetheless quality singing with a sense of vocal control and technique. This is legit composition here, incredibly lush and convincing choral and orchestral parts of the modern medieval neo-romantic style, the sort of thing you'd here playing D&D-based RPGs, as well as some world music influence. It's still metal in the vein of Nightwish, but Epica's music is far more developed and artistic than their Finnish counterpart, with much more instrumental variation and mixture of genres. The lyrics are great, often addressing philosophical and political concepts without being overly pretentious or biased. The band has a very mature sound already, and it will be interesting for me to hear more of their follow-up works in the next few years.

The opener of the album introduces the medieval neo-romantic style with orchestra and chorus (singing in Latin!). Tracks 2-5 are the most accessible and "metal" of the album, which is common with a lot of prog; first few tracks hook the listener in to the band, then the album gets more artistic and creative, expanding the ears of the listener, and this album is a perfect example of this. La'petach Chatat Rovetz: The Final Embrace presents a middle-eastern world music composition, very delightful and fits into the flow of the album beautifully. The series of the Final Embrace are the best and most "prog" sounding tracks on the album, Living a Lie starts of with classical melismatic chant in asymmetric meter - what more could I ask for as a huge fan of Gregorian Chant and prog? What's more there is a Catholic prayer in Latin, enunciated correctly (for once) which blows my mind as an orthodox Catholic. This is probably the best track on the album in general. Fools of Damnation starts of with middle-eastern singing style most associated with Islam, which then leads into the best chorus of the album talking about totalitarianism and an instrumental section with asymmetric meter, organ, classical singing, back into the chorus. Absolutely solid. The album continues with more decent tracks; Safegaurd to Paradise is a neo-romantic ballad that really shows off Simon's vocal abilities and the band's softer and more intimate side. The album comes to a great close with the 13 minute opus album title track.

The only main problem I have with this problem is how long it is. While there is a lot of good variation of sound in each track, the tracks all start to sound very similar after an hour, mainly as a result of the symphonic metal influence, especially the heavy guitar riffs that sound very the same for many of the songs. Each track is fantastic on its own, and the album flows very well, but you can have too much of a good thing for too long, which is definitely the case with this album.

If you like symphonic metal, especially on the more progressive side, this album is essential for you. Overall I strongly recommend this to listeners of metal, especially those who like the kind of modern classical music that you here in medieval-based RPGs. The two genres combine beautifully, which Epica demonstrate with this solid album.