EPICA

I was suprised to find Kamelot listed on this site as they are usually described as a melodic power metal band, and that agrees with how I would set it. However, their lead vocalist's former band, Conception, belongs clearly to the prog metal field and that would make Kamelot familiar with progressive music fans. Epica is Kamelot's most mature album, with a strong combination of power, agression and melody. Roy Khan's lyrics and vocal style balance with the non-stop raging music and thus the album is an easy listen to mostly everyone. There are the typical Kamelot songs on this album with the orchestrations of Miro giving a certain depth to their power metal, with the wonderful and inspired choruses, all performed by Roy Khan. There are also elements of other music(notice the Tango rythm of the Lost and Damned), two wonderful ballads, and the additional female vocals of Mari that add a great amount of melody to the outcome. The most worthy album(maybe along with Karma) of a band that refused to fall into the standards of power metal and live up having their own style and view of metal music.

Symphonic Progressive Metal

This was my third CD of the band that I purchased after "Karma" and "Fourth Legacy". Through this album, Kamelot has pushed their music forward into a prog vein while still maintaining their style in power metal with its upbeat tempo. The symphonic influence has even intensified in this album and it can be seen through a more dynamic works on keyboard parts and orchestration. I admit that I am a great fan of Kamelot since I listened to "Karma" at the first time. According to me , this album is the only prog album by Kamelot. I hope the band would produce another prog album on their next release.

Unlike the previous albums, the orchestration part under Prologue is no longer a full orchestra piece - rather, it's a very quiet orchestration sound that welcomes the next high-energy track Center of the Universe with a power metal rhythm (double pedal drum in a fast tempo). The orchestration sounds very obvious in this track altogether with guitar work. Khan powerful voice enters the music and brings us to an excellent music harmony. Once a while the orchestration at background appears obviously during transitions and quieter passages. The changing time signatures has proved how prog this track is. The inclusion of piano and female backing vocals have helped create an uplifting atmosphere of the tune. Despite its fast tempo, this tune produces wonderful melody that we tend to sing it altogether throughout this track.

The music turns into a faster tempo during the intro of Farewell and it turns into a quieter passage where Khan starts to sing. The band still maintain a strong orchestration piece to strengthen the composition of this track. Even though it does not happen frequently but there exist shifting tempos.

Interlude I (opiate soul) is opened by a sound exploration that sets the nuance of the next track. It is followed by a choir of male voices overlaid by the female voice. It continues with Edge of Paradise in a medium tempo but still demonstrates a high energy and melodic music. The transition into quieter passage has a strong influence of classical music that brings us to the choir again. The guitar solo then follows.

In Wander offers the marriage between power metal with neo prog vein. Why? It starts with a melodic and mellow intro with excellent voice of Khan. The guitar fills remind me to the old 70s Hackettian guitar style. It's not exactly like old Genesis but the overall flow of this track reminds me really to neo prog! The inclusion of violin has created a symphonic nature of this album. This tune reminds me to an epic "Elizabeth" from "Karma" album.

It continues with a short music Interlude II. "Descent of the Archangel" continues to bring us with a faster tempo track in power metal vein. This track has a very minimum (or none?) prog element but it's a very interesting track to enjoy. Luca Turili (of Rhapsody) contributes the guitar solo on this track. (That's what I like most, musicians collaborate with other bands - music unites people! I know that Thomas Youngblood can do a great job but he gave a chance to other to fill in.).

A Feast for the Vain looks like a normal power metal music if we merely enjoy the opening part. But in the middle of track the band has inserted a quieter music passage that demonstrate the orchestration part. The music then returns back to the original tagline rhythm and melody.

On the Coldest Winter Night is a mellow track in the vein of the band's previous album Karma's "Don't You Cry". The difference is that this tune is much prog. It's truly prog to the bone! The song is composed without drum works. The drum stools is replaced by a percussion work. It's full of symphonic elements.

Lost & Damned opens with a classical style piano work followed in crescendo by an upbeat power metal style but it is performed very dynamically, augmented with excellent guitar work. You can feel the power through the double pedal bass drum sound. When vocal enters in quieter passage, there is a beautiful violin sound and piano work. The music then turns into faster tempo with orchestration and slowing down again for next vocal line. It's an excellent and powerful track with (again) melodic music. I think this track would be accessible to most music buffs. The break into quieter passage with sad vocal augmented with light orchestration is really wonderful "Helena don't you cry? .".

Helena's theme is a short track with a nice melody of female vocal in high register notes; with light orchestration at background. The orchestra then takes the lead at the end of the track, continued with Interlude IV (dawn) that contains only a male voice narration. It then flows beautifully to an orchestration that remarks the next track The Mourning After that opens with eastern like music style. The orchestration dominates the music and the vocal of Khan starts to roll . "I just have a dream ..". Uughhh mannnnn ... what a fantastic melody this track is!!!! The music flows in a medium tempo with intense appearance of orchestration. The music even gets better at approx minute 2:40 just before stunning guitar solo. "Carry On . Carry On .". The second part of guitar solo reminds me to the traditional 70s guitar solo typically performed during interlude part.

III ways to Epica is the concluding track for the album. It starts off with a dynamic drumming followed by soft guitar riffs and symphonic style keyboard work. The guitar solo then takes the lead melody in a power metal beat. The composition of this track has been crafted in such a way that makes this track is well positioned to play a role as an "encore" to the overall music concept. The structure is not straight forward power metal vein, there are many shifting time signatures - therefore this track is completely a prog tune!

My CD is the Limited Edition with digipak design,Quicktime multimedia track, temporary tattoo (that I don't use it) and bonus track Snow (got nothing to do with Spock's Beard album!). It's a very enjoyable track with great melody and power metal beats - plus some prog touches.

Well, I highly recommend you to buy the Limited Edition CD! This album is really worth collecting as it has a beautifully composed music - marrying symphonic orchestra and power metal style with rather complex structure and catchy melody. Miro and Sacha Paeth are both still involved in this album and other guest musicians. I'm not exaggerating to say Kamelot rulezzz ....!!!! - My personal advise is that you better purchase this Kamelot's CD than any Radiohead album! Keep on Progging ...!!!!!"

"If the war by heavens gate released desire. In the line of fire someone must have known. That a human heart demands to be admired. But in the Center of the Universe we all alone ." - KAMELOT "Center of the Universe".

Progressively yours,

GW - Indonesia

KAMELOTreminded me so much of QUEENSRYCHE it was scary. Their approach and sound is very similar. The fact that Roy Khan is a dead ringer for Geoff Tate was probably what struck me as amazingly obvious. Let me be clear about one thing, it is a compliment not a misgiving or negative intonation in any way that I draw this comparison. If you find any familiarity and or common ground with the music you are hearing for the first time, that is a step in the right direction, at least it is for me. While they push out powerful surges of melodic metal as if it were a high voltage line gone wild on their recent release "Epica", in the same instance they provide moments of bliss and beauty to give their sound a balance and tone that defines what they are communicating through music and lyrics. This is all great stuff! I really enjoyed it.

I thought to give things a different spin I would offer this explanation of the story in the album provided by the group. This information was taken directly off the band's website.

1) Prologue This is the intro to the album where the listener is being placed in a dreamlike sequence. Simply there to set the atmosphere, but it's also a reference to "Prologue in Heaven" in the book it is inspired by (Faust).

2) Center of the Universe This song is an extension of the Prologue, and is directing the listener into his own mind or the "inner universe", where all questions may possibly be answered. This is the first song on the album, but actually the last song that was finished for "Epica".

3) Farewell The journey begins; In Farewell, Ariel (the main character) burns all bridges and leaves everything he knows behind. He cannot find the answers he's looking for in science or religion, and wants to explore the world on his own. This song was made on a stormy night in Florida in the summer of 2001.

4) Interlude I (Opiate Soul) In this piece we try to describe the darkness and desperation one can feel having fallen into human addiction.

5) Edge of Paradise Ariel is balancing on the edge. His encounter with the great world out there has been anything but successful. In foreign countries far away from home, he experiments with alternative ways to find happiness and peace, but is slowly loosing his grip on life.

We chose the mixture of Arabic scales and Gregorian-like choirs to portray the temptations, pleasures and pitfalls of hazardous reality escape. Quite a few bottles of good Bordeaux went down during the process of writing this song.

6) Wander In his desperation, Ariel seeks back to a time where love and youth were carrying him on a wave of promises. He understands that these dreams are only sentimental wishes. Life has no longer a purpose for him.

7) Interlude II (Omen) At this point Ariel is determined to take his own life. The melody is a reference to Helena's death scene later on the album.

8) Descent of the Archangel When Ariel is at his lowest, Mephisto as he wishes to call himself, appears in the pale moonlight. Ariel is totally surprised as the devil seems to be nothing like what he had expected; In the shape of a beautiful woman, Mephisto politely explains Ariel what he could bring to his life.

Luca Turilli from RHAPSODY plays the first half of the guitar solo on this song.

9) Interlude III (At the Banquet)

A lot of people are gathered at Mephisto's castle, where Ariel has been invited. He arrives a little late, but just in time to catch his host's remarkable entrance.

10) A Feast for the Vain At the big party Ariel make friends with everybody and has the time of his life. Women, drinks, food. Mephisto covers any carnal need. At the end of the song Ariel signs the deal that will be fatal.

11) On the Coldest Winter Night After the party, Ariel all of a sudden meets Helena, the girl from his youth. They share a short, but intense moment together.

This song has a strong reference to cold (as opposed to Wander which refers to summer) that symbolically describes Ariel's change after his meeting with Mephisto. It was recorded live in the studio with djembe and D-bass.

12) Lost & Damned Helena approaches Ariel to tell him that she's pregnant, but never gets that far. Ariel is convinced that the deal he has with Mephisto will cause her too much pain and suffering. He is anyway seeking a higher goal than love. At least that is what he believes at this point in the story. He tells her decisively to forget all about him and leave.

The tango-like verse in this song is an attempt to musically describe the tension between Helena and Ariel. Fabricio Alejandro is featured on the bandoneon.

13) Helena's Theme Helena drowns herself in the river.

A stunning performance by the American singer, Mari, beautifully supported by Rodenberg Symphony Orchestra.

14) Interlude IV (Dawn) The town crier reads the news about Helena's death.

Guest appearance by Ian Parry (ELEGY/CONSORTIUM PROJECT).

15) The Mourning After Ariel hears about Helena having taken her own life, and with her their unborn child. He mourns deeply, but hopes that they will meet again on the other side.

16) III Ways to Epica This song closes part I of the concept. It sums up the album with Mephisto clearly representing evil and cynicism, whilst Helena reappears as an angel representing good. Ariel is still somewhere in the middle.still searching balance and ultimate truth.

While this may not define your own personal vision of a concept album, this is what it is to the group in their own words and I would venture to guess many of their listeners. As written in the track sixteen description-"This song closes part I of the concept." If there is a naysayer out there, which I am sure there is, that wants to rant about this not being a concept album, contact the group, as I got it right from the horse's mouth.

In my opinion this is more divers then Karma, but not as good as the album from 2000. They try to put on the portative a diverse music. In all they did a great job. Some of the tracks are very good, and not in the Kamelot style 100%. I remaind here A fest for the vain and III ways to Epica, i think the best here. As i said on the other reviews from Kamelot, this is well done, Good, but non-essential. This band do what they know better, i mean good music, and most of the time enjoyble. Great band, in the top in prog scene.

Kamelot is by far one of my all time favorite bands. And Epica is but another one of their masterful albums along side Karma and The Black Halo. These guys may be more of the power metal criteria, but they also have some impressive musician skills (Kahn, Youngblood) and have plenty of progressive elements to definiatly consider Prog Metal! Epica is as it says and Epic. It's a story about a man (Ariel) who's lost intrest in religion and seeks something else. After overcoming various temporal addictions he travels beyond the paradises of hte world into a world were he meets a vile being (Mephisto) and is lured into making a pact with him. The pact tells him that he can have anything of the flesh pleasures, but once he dies his soul is given to him. In blind stupidity Ariel does, and once he falls in love with a beautiful women (Helena) everything falls apart and he no longer desires the pact, it's a tragic tale with incredible music. Give it a listen, it's a masterpiece in it's self. The Black Halo continues this epic tale, and this album contains incredible songs such as Center of the Universe, Edge of Paradise, Descent of the Archangel, Lost and Damned, Wander, On the Coldest of Winter Nights, Lost and Damned, Feast for the Vain, The Mourning After, and II Ways to Epica. Pretty much, the enitre album is incredible with cool little interludes that I really actaully like. At first they kind of annoyed me, but then I actually found that they're really cool. Give Epica a listen because it's a masterpiece. They have different moods and every song, though short, are lovable and unique. Kamelot is a band of significant report! 5/5 stars, masterpiece!

On Epica, I was amazed at the medieval meets Metal sound. It was just what I was looking for. The Black Halo is equally good. Kamelot knows how to tell you a story with their lyrics while providing a rich full sound to accompany them. From what I have read and heard, I believe that the 2 albums I mentioned are Kamelots best work. Dont hesitate to buy either or both of them.

This is the second Kamelot’s album that I got after Karma. Epica is the first Kamelot’s concept album. The concept itself was inspired by Goethe’s Faust. You can find the band’s descriptions of the concept at their website.

And now for the tracks…

‘Prologue’: A short and rather quiet track that lead you straight to the next song…

‘Center of the Universe’: This track is really cool; it’s a fast tempo track with more power metal feeling to it, and in the middle part, there’s a female vocal on the background, followed by some heavy riffs.

‘Farewell’: This track follows the previous track very well. Great melody, with fast tempo and orchestration piece as well.

‘Interlude I (Opiate Soul)’: An intersection between the tracks, with some Latin phrases sung by male and female voice.

‘The Edge of Paradise’: Following the interlude, this track is good, and the melodies are quite catchy

‘Wander’: This is a nice, slow track. Great melody and vocals by Khan as well.

‘Interlude II (Omen)’: Another interlude, a short track that then leads to…

‘Descent of the Archangel’: The tempo becoming fast again in this track. More power metal feeling in this track. Luca Turilli of Rhapsody contributed a guitar solo here.

‘Interlude III (At the Banquet)’: A sort of short monolog, followed by some guitar tunes, and then…

‘A Feast for the Vain’: This track also has some catchy melodies and some orchestration parts in the middle.

‘On the Coldest Winter Night’: Another soft and mellow track. The guitar melodies here are great, and Khan’s vocals are also good.

‘Lost and Damned’: This track has a good opening, with piano tunes that followed by the beat. There are also some nice Violin sounds that included in this track.

‘Helena’s Theme’: A short nice track with female only vocals and some orchestration parts here.

‘Interlude IV (Dawn): Following the previous track, this one comes with some short narrations.

‘The Mourning After’: This track has a medium tempo, with some catchy refrains, especially at the ending part.

‘III Ways to Epica’: The last track, but not the least. This track ends the albums very nicely. The chorus was sung by both male and female voice here. Nice melody here and there’s some tempo shifting too that made this track more prog feeling.

Overall, Epica is a great album. I don’t find a single weak track here, and the concepts are quite nice too. Kamelot combined power metal and progressive elements very well here, and this album is definitely worth listening. Highly recommended for prog metal fans.

After the brilliant Karma, I think Kamelot faced a hard challenge: how to surpass such a magnificent work? The obvious answer might be trying to do another Karma, using their winning formula or... going one step further (and risk losing their power metal fan base in the process). Fortunatly the band chose the second. While their sound is still basicly power metal the symphonic elements were pushed forward, now including the use of a complete orchestra, choirs and weird instruments to enhance the concept.

The band also dared to persue greater ideas and Epica was based on the classic Goethe´s Faust. A very bold move for a power metal band. Few groups had enough talent and guts to do such a monumental step ahead and come out with this masterpiece. thanks also to the wonderful production by Sasha Paeth and the marvelous orchetral and choir arrangements done by co-producer Miro (Micheal Rodenberg).

Although the music still pretty much retains its metal credentials, the prog elements abound here and Kamelot is no ashed of doind bold arrangements and the use of an elegant piano and acoustic guitar (On The Coldest Winter´s Night), for exemple. With no weak tracks nor fillers, and a whole new language in terms of epic musicl, Kamelot became a league of his own. Of course this kind of work takes more than one listen to get all the subtle details and perceive the intricated arrengements, but once you do it, you´re hooked.

Epica is a masterpiece of prog music and a must have for anyone who likes prog, regardless of it being light or heavy. Highly recommended!

An exciting entry into progressive metal arena which manages to stand out above its peers thanks to irresistible hooks/riffs, boundless energy/passion, and a touch of symphonic-- making "Epica" a theatric and enjoyable listen. For starters, the musicianship is legitimately excellent, with each member cranking out memorable sounds, although its hard not to acknowledge the infectious vocals of Khan as the show-stealing performer; the inclusion of the occasional female voice and classical instrumentation goes far to demonstrate band's the versatility in song-writing, and "Epica" seems to have a perfect mix of heavy rockers and ballads to please just about everyone. The praise aside, there is still a lot of prog-metal clichés throughout Kamelot's playing, but their few distinct qualities are still enough to elevate them above the mire, and make "Epica" a worthy purchase for fans of the genre and as good a starting place as any for those curious in the band.

Songwriting 3 Instrumental Performances 4 Lyrics/Vocals 3 Style/Emotion/Replay 4

This is a concept album that is based loosely on Goethe's "Faust". I have to say that KAMELOT have blown me away with every album of theirs that I have listened to.That includes "Karma", "Epica" and "The Black Halo". The band EPICA named themselves after this album, and their female vocalist guested on "The Black Halo". I had a real blast listening to this all week and it's difficult for me to pick my favourite between this and "The Black Halo".This is so melodic and well played. Khan once again shines, his vocals are so tasteful.

"Prologue" opens with sounds of a fire crackling and nature sounds. Suddenly we get some strings that turn into a full orchestral sound that explodes to open "Center Of The Universe". What an intro ! The soundscape is powerful as the vocals come in.This is pretty amazing. Just a sonic assault 3 1/2 minutes in. "Farewell" has a punishingly heavy intro.Check out the drum barrage 1 1/2 minutes in. A blistering guitar solo before 3 minutes. "Interlude I (Opiate Soul)" features a Gregorian-like choir that also makes an appearance on "Edge Of Paradise". This song opens with a head banging rhythm. Just a great display of vocals and heaviness later in the song. "Wander" is a beautiful ballad. Now i'm not into ballads but this isn't sappy at all, just heavenly.There is a ripping guitar solo late as well. "Interlude II (Omen)" has some cool thunder claps as piano and violin take part. "Descent Of The Archangel" is a song I like a lot. It features a guest appearance from RHAPSODY guitarist Luca Turilli. And that guitar solo is fantastic ! "Interlude III (At The Banquet)" has the sounds of a party in the background. "A Feast For The Vain" has such a catchy melody that is contrasted with a dark and heavy passage.

"On The Coldest Winter Night" opens with church bells and the sound of the wind blowing. Acoustic guitar, strings, piano and light drums lead the way in this absolutely gorgeous song.The sound of the wind blowing ends it. "Lost & Damned" opens with heavy drums, piano and synths. The guitar comes blazing in as bass and drums pound away. Fast and mid paced passages are contrasted. "Helena's Theme" has the sound of birds chirping, water running, orchestral, and guest female vocals. "Interlude IV (Dawn)" has the sound of someone announcing Helena's death. "The Mourning After" opens with these slower, heavy riffs. A very powerful intro. Heavy drums and vocals take over. A catchy rhythm with background vocals too. An amazing sound before 3 minutes. The guitar is screaming a minute later. "III Ways To Epica" opens with TOOL-like drumming. Check out the guitar, this has to be the best guitar on the album. Vocals actually get a little angry and are contrasted with his normal (I know they are far from normal) vocals.

Now I know why this is so highly rated on Prog Archives. A must have for Power-Metal fans.

A Symphonic Metal Masterpiece.

This is the first album of Kamelot I fully listened to and I must say, unlike other Symphonic bands I've listened to to this date, not many can compare with the Concept abilities of Kamelot's Roy Kahn.

Epica tells the story of the Alchemist Ariel's journey in search of the truth. Every song in the album revolves around the story of our protagonist in his many adventures and meetings. We are introduced in the first few songs to his personality, his aspirations and what he is seeking for. As the story progresses we are introduced to Mephisto, the fallen angel who helps Ariel in exchange for his soul and to Helena, Ariel's most beloved individual. I can go on and on about the story and concept elements of the album but that is for the listener to discover, I will say this, it is an Incredible story about Human perseverance and the quest for the ultimate truth.

Musically the album is outstanding, all the elements of music portray the story of our protagonist, from beginning to end. Kamelot uses Interludes as ways to change a setting or atmospheres throughout the album. As a concept album, each songs flows smoothly, just the way a concept album should be. The true core of the album is Kahn's Vocals, he is simply incredible, we finally hear what he is capable of after two albums of adjusting.

Epica is an album for anyone wanting to listen to a good story through musical elements. It is Kamelot at its finest, with every singles song marking incredible musical value.

Rhapsodies and ballads

Kamelot came of age with their previous two albums, and even dabbled with incorporating a concept on the three part "Elizabeth suite" which closes "Karma". With "Epica", they go the whole hog and present a full blown concept album, based on the first part of Goethe's "Faust". Lyrically, this is a brave choice of theme, the rather complex fantasy based story placing significant demands on the song writing.

The now traditional album overture "Prologue" is rather different here, devoid of the pomp which greeted us on previous albums. It does however lead to a couple of melodic up-tempo numbers, "Centre of the universe" and "Farewell" being very much in the fine traditions of the band. While the frantic drumming of the band's genre of choice is still in evidence, these songs have a slightly lighter feel, perhaps due to the strength of the melodies.

The album includes a number of "interlude" pieces which serve as links between the main tracks. The inclusion of these brief instrumentals enhances the prog experience of the album. Tracks such as "The edge of paradise" further develop that feel, the song moving though different tempos and moods, while including operatic vocals.

The band's softer side is once again brought out in their fine ballads such as "Wander", a highly accessible number with some highly effective guitar work. "On a cold winder night" is a delicate acoustic song with fine orchestration and a great vocal performance by Roy Khan.

The distinction between Kamelot and Rhapsody (of Fire) is at its most blurred on "A Feast for the vain", a wonderfully infectious but totally accessible romp (Luca Turilli actually appears on one track on this album). "The mourning after" continues the Rhapsody feel, with choral harmonics and striking guitar work.

The principal progression here is not in the music itself, but in the adopting of a concept to cover the entire album. Musically, there is slightly more subtlety overall, but those familiar with the bands albums up to this point will have no difficulty recognising this as a Kamelot album. In all, another excellent album.

'Epica' - Kamelot (7/10)

While I am indeed a fan of Kamelot (and european-styled power metal in general) they've never passed me as being all too progressive. However, any progressive metal fan should be able to appreciate the progressive and classical nuances of this band. Roy Khans classically-trained operatic vocals are among some of the best in melodic metal, and the band certainly makes an impression with 'Epica.' While it's probably not my favourite material from the band, 'Epica' is a metal opera that lives up to it's name and beyond.

For those relatively familiar with power metal, there shouldn't be too much here that you won't have heard before. Kamelot's sound is unique in a sense, but they are definately not progressive to the point of completely distinguishing themselves from their contemporaries.

There is definately a story of sorts being told here; and while I've never paid too much attention to the lyrics themselves, the plot elements feel very classical, as if this was the grim soundtrack to some renaissance tragedy.

While all of the music is great, the problem (and reason that this is not a five star album) is because there aren't any tracks here that truly stand out as being exceptional. 'Epica' is a piece that flows as one, but there aren't any parts that really knock one's metaphorical socks off. However, the fact remains that Kamelot is a very talented band, and 'Epica' shows this very well.

Epica by Kamelot is almost entirely straight up power metal. Yes, it does have a concept which will often make prog lovers go nuts. Yes, it does have a couple songs that change time signatures and whatnot. However, these things are commonplace in standard power metal, which Kamelot seems to be a poster child of.

It is somewhat worth listening to once, though really once the first couple of tracks are through there's not much to say. Each track blasts through in standard quick paced tempi (though thankfully not quite as fast as other power metal contemporaries), and guitars go up and down scales at lightning speeds (though again far more tastefully than a couple of bands ever solo-ing orgies with their instruments). All in all, Epica is basically regular power metal with an extra dose or two of prog, though that doesn't necessarily help.

Of course, who can deny that the performers are bad musicians? Roy Khan of course has an exceptional voice like plenty of power singers and he can sing along with the best of them. The guitar leads by Thomas Youngblood are competent to say the least, and truthfully are excellent at best. And the drummer Casey Grillo is unsurprisingly ever present with the rapid battering of his double-bass pedals.

However, the album suffers from what plenty of power metal albums suffer with: same song syndrome. It's track after track of energetic paced music with obligatory rapid guitars and drums, and really after a while the album loses its energy because of lack of dynamics or variety. Of course, the listener is occasionally given a break with four short (though musically lacking) interludes, or the obligatory ballads, which by the mere mention of the names cause metalheads to groan by their cheesinees. Of course, once back onto one of the fast tracks, it's more of the same old same old. Even the casual Kamelot fan knows the first real song to the album "Center of the Universe", and it actually is a great track and it definetely stands out in the metal world, yet it seems that after that, the listener is subjected to "Center of the Universe" parts 2, 3, 4, 5, 6, and 7, which for 16 tracks including a few slower songs and 6 tracks that don't really hold their own as musical compositions, is really too much of the same.

Epica only slightly gets off from being a horrible album because of a couple cool numbers and a decently tied together concept. However, the cliche power metal elements are completely overpowering, and the cheesiness found in its 52 minute entirety is probably too much. Kamelot as a power metal band is far from breaking new ground, and although they are able to pull a great song out of themselves from time to time, are pretty standard otherwise.

Kamelot - Epica (2003)

After the charming 'Karma' Kamelot offers us their first progressive work; Epica. Still present are the melodic heavy metal guitars and the power-metal bass and drums and the distinctive vocals of vocalist Khan. New is the storyline of the album (concept album alert!) and the experiments with choirs a symphony. The songwriting of Kamelot always had some positive catchy elements and the instrumental parts had already been developed in a good way on Karma, but now the whole affair got a vision. Kamelot had find a way of making music that gave their music a new direction and made the compositions great in their context. If you dislike power-metal you can still stop reading here, but if you an open minded progressive metal fan or a heavy symphonic fan you might still be very interested in this record.

The good thing about this concept album is the shift in atmosphere. As the album begins very optimistic with the up-tempo and bombastic Center of the universe it slowly develops into a more serious and pessimistic way. The main character of the story sells his soul to the devil and slowly becomes darker after loosing his girlfriend and unborn child. The final track of the album, III Ways to Epica is a real progressive track and a great ending of the album. All other tracks are a strong as well and the interludes are functional.

Conclusion. An up-tempo album with a strong emotional content and some progressive elements. This is definitely the best power metal ever made because of it's good story line and great songwriting. The sound of the band is at it's best and the instrumental parts have become great melodic parts that are important for the sound of the band. I can recommend this album to fans of symphonic hard rock and metal and concept album, but still I don't think fans of technical and very progressive metal will be very pleased with this album. This is the best Kamelot record and it deserves a four star rating for it.

Bad karma

Epica is by some considered to be more progressive than previous albums by Kamelot. If there is something to this decree it is probably in virtue of two things: that it is conceptual and that it is even more symphonic or even orchestral than the previous album, Karma. While this is all true, I personally think that the musical direction remains basically the same as on Karma. This means that what we have here is just more of the same which is Kamelot's own brand of Symphonic Power Metal. I pointed out already in my review of Karma that being symphonic or orchestral should not be confused with being progressive. For me, this album comes across as more bombastic and quite overblown in a way that the previous two albums did not.

What they have done for this release is to add a conceptual element as well as several short symphonic interludes between the songs and some occasional operatic female vocals. There are also a couple of spoken word passages and small pieces of Pink Floyd-ish dialog. None of these additions are particularly successful in my opinion, and make the album a bit incoherent and lacking in direction. Apart from these supposed enhancers of their basic sound, Kamelot follow their previous formula pretty closely with Epica. Just like the previous two albums, the present one too starts with a short instrumental by way of introduction. What follows is a rather typical set of Power Metal numbers with catchy melodies and the characteristic rapid dual bass drum attack. I like this type of song to a degree, but I sometimes find them a bit tedious. Overall, I think that these songs were stronger on Karma and The Fourth Legacy.

There are however also some very good moments on Epica. These mostly come towards middle and end of the album. The first that really caught my attention was A Feast For The Vain with its excellent Flamenco-influenced (!) middle section and brilliant acoustic and electric guitar work. This song would have fitted well on The Fourth Legacy which, in my opinion, is Kamelot's best album. On The Coldest Winter Night is a very nice acoustic ballad, with an almost jazzy feel. The short acoustic guitar solo is wonderful. Lost & Damned is another strong number. The very appealing Folk influences that, for me, made The Fourth Legacy such a thrilling experience are more apparent here than they ever were on Karma. The use of the bandeón, which is a kind of Latin accordion, was probably unheard of within Metal music before the release of this album and gives a nice touch to the song. (The brilliant guitarist Al Di Meola is very fond if this instrument that brings a melancholic and nostalgic mood and maybe the Kamelot guys have been listening to Di Meola's music as inspiration?) Had only the rest of the album been as eclectic and inspired as this!

Epica is not a bad album, but it is a bit fragmented and some parts, like the spoken and orchestral parts as well as the operatic female vocals, are out of place. This makes the album occasionally come across as overblown and overly bombastic and I am left with the feeling that the band bit off more than they could chew. There are some excellent moments to be found here, but the listener must wait too long for them to arrive and they then pass to quickly.

I think I got most of the Kamelot I need from the previous two albums

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?