| Musical Style: Power/Progressive Metal | Produced By: Ricardo Parronchi |
| Record Label: Avantage | Country Of Origin: Brazil |
| Year Released: 2004 | Artist Website: |
| Tracks: 11 | Rating: 95% |
| Running Time: 59:32 |
With a myriad of standout tracks and impressive production, Destra summer of 2004 sophomore album Joe’s Rhapsody brings some serious excitement to the table for those into melodic power and progressive metal alike. In my opinion, it is the best release to come out of the crowded turn of the century Brazilian Christian metal scene, topping other choice albums from highly regarded countrymen Shining Star (respective 2000 and 2005 efforts Fatal Mistake and Enter Eternity), Dynasty (2004 offering Motus Perpetuus) and Menahem (Angels & Shadows from 2008). Outside of that, little is known of Destra other than it put out in 2000 its Destroyer Records debut full-length Sea Of Doubt.
It has been my experience the Brazilian Christian metal scene of the time was hit and miss, with either inferior production, uninspired songwriting or shaky vocals (or some combination therein) forcing me to pass on what otherwise are promising bands. Destra along with above noted contemporaries, however, prove the exception from releasing albums that for lack of better words bring the total package without any fundamental flaws. Joe’s Rhapsody further stands apart from musically entailing that extra something special that would allow it to not so much surpass the better albums from the region but also potentially rank among my top ten to fifteen albums of all time.
It does not hurt that Joe’s Rhapsody is a concept album - noting the soft spot in my heart for theme-based releases - detailing the life of a death row prisoner, ‘Joe’, who in the end finds Christ. Opening cut "The Dinner - Intro" is self-explanatory in this regard as a mostly spoken word piece introducing the main character as he sits down for his last meal.
Brilliance begins with "Cruel Jungle (Part One)", a punchy bass impelled hard rocker accented by finely honed keyboards and humming guitars in which Rodrigo Grecco highlights his at times soulfully mid-ranged and others classic tenor but always-complementary lead vocals. At the mid-point a slower classically influenced breakdown gives way to the fusion filled instrumental run compelled by Eduardo Parronchi exhilarating lead guitar.
Seven minute "Family Album (Part One & Two)" takes album into progressive territory. As its title implies, song breaks down into two ‘parts’, with first gravitating towards keyed up metal in which Maxsuel Rodrigo’s adulating keyboards and a bold inclining align with the group’s ever present sense of generous melody. Second covers songs final two minutes in form of a semi ballad, as opening jazzy bass and ethereal undercurrents give way to substantial rhythm guitars.
Ensuing cut “Julie” delivers ample variances. It begins in form of an AOR instilled ballad, giving prominence to piano, classical guitar and orchestration over its first minute and half only to accelerate to a Guardian like melodic hard rock groove as polished aesthetics and layered vocal melodies take hold in pleasing fashion. This one proves you need not extend into epic territory to make a progressive statement.
"Cruel Jungle (Part Two)” is six and half minutes of technically intricate power metal. It eminently impels out of the gate, stern and severe with militant riffs leading the way over Ricardo Parronchi’s flinty bass (substantiating the artful verse sections) but also but also solicitous if not courtly (revealed in the irrefutable refrain). Song stops dead in its tracks for an instrumental interlude running the gamut from dutiful soloing to jazzy bass- musicianship is off the charts to the point technical metal era Deliverance comes to mind.
"My Little War (My Big Disgrace)" tempers to a dark and somber mid-paced form. Song correspondingly delivers a staggering low end in impelled by Fabio Fernandes’ inspired timekeeping, but without backing from the profound Destra melody basis, keyboards ranging from classical to organ build upon the alluring form. A breakdown to a jazzy to fusion-based passage further elevates the creativity. The group is literally firing on all cylinders on this one.
"Lost Bullet" ranks with my album favorites. It begins calm, laid back and reserved with borderline lounge like tincturing only to wake up at once as a catchy riff for all the ages bursts forth, the heartfelt conviction fortified by razing drum rolls as Grecco stretches and unveils the ireful side to his vocal delivery. Instrumental moments descend into seventies tinged classic rock only to burst forth as the catchy riffs returns with full on vengeance. What we have is nothing less a brilliant example of songwriting.
"Goodbye Blue Sky" relaxes with its classic ballad procuring. Song gradually impels forward to piano until unblemished guitar steps in, the splendid scene magnified by symphonic keyboards and orchestral elements. Over the final minute and half, luxuriant vocal melodies actuate to the forefront that easefully repeat songs title. This one invites comparison to Narnia.
Album reaches its apex with eight minute “Darkness Land”. Song proves a progressive aficionados delight, muscular with heavy-set moments in which rhythm guitar cuts in and out of the mix as drums set a venomous tone but also wistful in descending to bluesy passages elevated by searing feedback and others poignant church organ. The elegant refrain serves to tie each side together. Theocracy could not do it better.
Bass and organ initiate "Wisdom Call (The Preaching)", a keyed up borderline speed based buffeter touching upon seventies hard rock akin to Modest Attraction. Over songs final minute, however, multiple instrumental interludes from keyboard driven to guitar shred give way to albums crowning moment as emotion builds when Grecco exclaims ‘He’s the Way, He’s the Truth and Light’.
"One Last Pray" fittingly closes the album with its resonant Gospel approach with piano and classical bass compelling from the onset, with initiative only upping when rhythm guitar cuts in alongside burnished vocal melodies. The closing two minutes transition to church organ and Gospel choir that give way to rollicking momentum aligning with the emotion at hand.
As noted, Joe’s Rhapsody is my favorite album to come out of the turn of the century Brazilian Christian metal scene. Again, I cannot understate the quality to songwriting and production in addition to impeccable band performance- in an era when other acts from the local were struggling, Destra knocks the ball out of the park artistic wise. What I find sad is that Joe’s Rhapsody is the final album of original material from Destra, noting the groups 2015 live EP AO Vivo (consisting of live versions to three songs off Joe’s Rhapsody and one from Sea Of Doubt) and 2021 single including Sea Of Doubt song “You Should Believe”. When factoring the quality at hand, Destra should have been Brazil’s answer to Stryper but disappointingly never happened. Regardless, it remains a mystery why a band would release a standout work such as Joe’s Rhapsody and never record again. My advice, if a fan of power/progressive metal with hard rock nuances make the album a necessary purchase.
Review by: Andrew Rockwell
Track Listing: "The Dinner - Intro" (1:47), "Cruel Jungle (Part One)" (4:59), "Family Album (Part One And Two)" (7:10), "Julie" (4:56), "Cruel Jungle (Part Two)" (6:32), "My Little War (My Big Disgrace)" (4:58), "Lost Bullet" (4:50), "Goodbye Blue Sky" (4:18), "Darkness Land" (8:27), "Wisdom Call (The Preaching)" (5:01), "One Last Prayer" (6:15)
Musicians
Rodrigo Grecco - Vocals & Acoustic Guitars
Ricardo Parronchi - Vocals, Bass, Acoustic Guitars & Mandolin
Eduardo Parronchi - Guitars
Maxsuel Rodrigo - Keyboards
Fabio Fernandes - Drums & Percussions
Guest Musicians
Ricardo Rosa - Percussions
Marcelo Saorim - Flute
Valdir Vale Maia - Cello
Leandro Rossetto - Violins
