| Musical Style: Metal Opera | Produced By: Enzo Donnarumma & Gary Wehrkamp |
| Record Label: Rockshots | Country Of Origin: Varies |
| Year Released: 2017 | Artist Website: |
| Tracks: 13 | Rating: 95% |
| Running Time: 66:41 |
In The Name Of The Father, the Underground Symphony Records debut full length of Enzo & The Glory Ensemble, was easy to like when it came out in late 2015. It stood out in all the right ways: featuring a host of distinguished guest musicians, including Marty Friedman (ex-Megadeth), Kobi Farhi (Orphaned Land), Ralph Scheepers (Primal Fear), Mark Zonder (Fates Warning & Warlord), Gary Wehrkamp (Shadow Gallery), Brian Ashland (Shadow Gallery) and Nicholas Leptos (Warlord). It mirrored a ‘metal opera’ feel in blending strong leanings towards the power and progressive with nuances of classical music, symphonic & art rock, theatrical soundtrack, New Age and World & Ethnic Music. Its lyrics drew heavily upon scripture, referencing song titles such as “Psalm 63” and “Psalm 3”, and medieval prayers, noting modern interpretations of “The Anima Christi”, “Glory Be To The Father” and “Benedictus”.
Returning in the fall of 2017 with its Rockshots Records sophomore release In The Name Of The Son, Enzo & The Glory Ensemble present with much of the same but also a whole lot more. In terms of the former, each of the above noted guests again make appearances, which lend to the project the continuity to seamlessly transition back to similar metal opera territory. From the standpoint of the latter, In The Name Of The Son takes a consistently heavier stances (placing further emphasis on the ‘metal’ in the metal opera), but it also resides upon the greater progressive foundation (revealed in intricate, more outside the box and overall lengthier songwriting). Tying everything together are added symphonic aspects (the Weza Moza Gospel Choir from Congo appear on several tracks) not to mention stronger leanings towards the theatrical (noting the cinematic keyboards throughout).
For those wondering, Enzo refers to founding member Enzo Donnarumma, whom continues to bring to the project a multi instrumental proclivity (noting his use of lead guitar, classical guitar and organ) and signature baritone if not operatic vocal abilities. Artist actually got his start in 2012 as part of Members of God and its debut release Ten Talking Words, a work that came about as a result of the vision he conceived of ‘Christ speaking through metal’ and conceptually based itself around ‘delivering with a strong and emotional impact the true message of the crucified Messiah’. The album additionally reflects his background combining classical music - Donnarumma is a graduate in classical guitar - and theatrical productions, noting how he previously directed Jesus Christ Superstar.
Hence, the manner in which all of the above strongly influence his work on In The Name of The Son, starting with short (1:50) introductory piece “Waiting For The Son” with its New Age-ish keyboards and acoustic guitar. The heavier guitars at the end segue to “The Tower Of Babel”, darker and symphonic based in carried vocally by the Weza Moza Gospel Choir over a bedrock of heavyset rhythm guitars. Light Middle Eastern elements lend a calming effect.
Enzo & The Glory Ensemble maintain its penchant for putting scriptures to up to date musical forms, as found in the upbeat melodic metal to “Luke 1:28”. This one grounds itself on contrasts, as Enzo’s lower register baritone trades off with Brian Ashland’s classic tenor as cinematic keyboards help further the abounding melody at hand. Organ and guitar solos (both attributing to Enzo) convey things instrumentally.
“Psalm 8” allows some assuming power metal undercurrents to seep in, reflecting in its leading rhythm guitars and symphonic keyboards that hint of Divinefire. Similar to “The Tower Of Babel”, the Weza Moza Gospel Choir vocally upholds its length, minus the pleasing keyboard solo of Alessandro Battini.
Two shorter cuts in the three and a half minute range follow. “Glory To God”, first of the two, features front lady Amulyn Corzine (Whispers Of Heaven) on its lone verse (taken from Luke 2:14) with Enzo providing the classic guitar solo. Kobi Farhi and Enzo combine for a duet on the more upbeat second, “Psalm 8”, as medieval instrumentation and metal guitars contest.
Eight minute “Magnificat” represents first of the albums more progressive cuts. The song comes across in the form of a majestic ballad, tranquil, sublime and atmospheric as keyboards and orchestration buttress its lengthy while Amulyn trades off with mezzo-soprano Tina Gagliotta (Peomisia) and contrasting baritone Enzo. Mary Friedman flows into the lush scene with his emotional guitar solo.
“Isaiah 53” leaves initial impression as another ballad in opening to orchestration and choir vocals. A minute and a half in, however, reveals the song holding to a power metal basis as guitars step forward and push things ahead at the more exponential tempo as Enzo and Gary Wehrkamp handle things vocally. Despite the heavier proclivity, a pronounced melody stands out all the same.
Back to melodic ballad territory but in a heavier form on “Matthew 11:25”, second six minute cut in a row. Key word is melodic, as the song also gives prominence to lush keyboards and orchestration but interspersed with more than adequate amounts of staunch rhythm guitar. Some of the albums more emotionally inspired moments occur as impetus peaks for the moving ‘no one knows the Son except the Father’ refrain, sublimely sung by Enzo (Amulyn takes the verses).
Albums nine-minute magnum opus “The Trial” ensues and follows along similar lines as Bloodgood’s (much shorter) “Crucify” and XT’s (even lengthier) “The Crucifixion” in dramatically portraying evens leading up to Christ’s crucifixion. Whereas Bloodgood approached things from a speed metal vantage and XT melodic hard rock, EATGA provide its own theatrical symphonic take in employing over a half dozen vocalists- ranging from operatic to melodic to extreme - interspersed with the ever present Weza Moza Choir.
Operatic in terms of Amulyn’s presence during the classically driven opening moments as she voices the words of Pilate - “What charges are you bringing against this man?” - but also melodic for the subsequent heavier passages to feature Brian Ashland, also assuming the role of Pilate: “Do you want me to release the King of the Jews?” As the song peaks for rapid double bass and thrash like riffs, David Brown takes over with his extreme voice, “Look I am bringing him out to you to let you know that I find no basis for a charge against him”.
Following choir vocals that continually repeat “Crucify! Crucify!”, Wehrkamp and Ashland sum up in harmony by mirroring the words of Christ: “You have no power over me if it’s not give to you from above. Therefore whom handed me over to you is guilty of a greater sin”. A true masterpiece of a work that deserves song of the consideration ends its final minute instrumentally to a grandiose joining of guitars and keyboards.
“Eternal Rest”, a shorter two minute number to feature woodwind and Friedman’s guitar solo, gives way to “Te Deum”. A keyed up symphonic worship rocker, “Te Deum” starts to choir vocals followed by driving guitars as Enzo, the gritty propensity of Ralf Scheepers and melodic flavorings to Nicholas Leptos trade off vocally. A myriad of melody comes to the forefront to help make this one of my albums choice tracks, or at the very least ranks alongside “The Trial” and “Isaiah 53”. Enzo provides the dramatic guitar leads.
“If Not You” brings the album to its stirring close in the form of a hard rock semi ballad. It starts calm and easy going to acoustic guitar and orchestration until impetus picks up a minute and a half in as guitar harmonies step forward only to hit its stride for the staunchly done guitars that propel its final minutes. Vocally, it features half-dozen vocalists over its moving first half only to have choir vocals take over for the histrionic end.
There is a lot going on with the album in terms of abundant instrumentation and multifarious vocalists, but masterfully done production allows the in depth details to rise above the surface without overwhelming the listener. Likewise, packaging nails it with a six-panel digi pak exclusive to a professional mini booklet featuring lyrics and photos of each of the participating performers.
In many cases, song titles lyrically speak of the subject at hand, such as on “Psalm 8” -
You made Him ruler
Of works of thy hands
Put all things under His feet
Sheep and oxen
And the beasts of wild
Fowl of air; fish of sea
And whatsoever passeth
Through paths of the sea
O Lord our Lord
How awesome is thy name
Through all the earth!
- and “Isaiah 53”:
Surely He took up our infirmities
And He carried our sorrows
Yet we considered Him stricken by God
Smitten by God, and afflicted
But he was pierced for our transgressions
Was bruised for our iniquities
Punishment brought us
Peace was upon Him
And with His stripes we are healed
We’re like sheep, have gone astray
We all have turned to our own way
And the Lord hath relapse on Him iniquity of us all
Others such as “Te Deum” is an early Christian hymn of praise:
Your true and only Son, worthy of all worship
And the Holy Spirit, advocate and guide
You, Christ, are the King of Glory
The eternal Son of the Father
When you became man to set us free
You did not spurn the Virgin’s womb
You overcame the sting of death
And opened the Kingdom of Heaven to all believers
You are seated at God’s right hand in glory
We believe You will come, and be our judge
“Magnificat”, another ancient hymn, draws its lyrics from Luke 1:46-55:
His mercy is from age to age
On those who fear Him
He puts forth His arm in strength
And scatters the proud
In their conceit
He casts down the mighty
From their thrones
And raises the lowly
He fills the starting with good things
And rich He sends away empty
Where do I begin to sum up? A good starting point might be to suggest In The Name Of The Son is a demanding listen - the album is not intrinsic to your basis verses chorus verse stuff - but in a positive sense in light of the intricate detail in its possession. It also easily transitions from an already very good effort that is In The Name Of The Father (noting our 85% review) and improves upon it in the form of a heavier musical direction and greater emphasis on the progressive. The decision to employ a full-scale (Weza Moza) Gospel choir was pure brilliance and ultimately helps put the album over the top in terms of its symphonic themes. If a fan of the debut or enjoy ‘metal opera’ releases in general (or a fan of many of the guest performers) then by all means make In The Name Of The Son a priority purchase- you will not be disappointed.
Review by Andrew Rockwell
Track Listing: “Waiting For The Son” (1:50), “The Tower Of Babel” (4:44), “Luke 1:28” (6:26), “Psalm 8” (5:03), “Glory To God” (3:24), “Psalm 133” (3:20), “Magnificat” (7:53), “Isaiah 53” (6:03), “Matthew 11:25” (6:03), “The Trial” (9:20), “Eternal Rest” (1:48), “Te Deum” (5:26), “If Not You” (5:18)
Musicians
Enzo Donnarumma - Lead Vocals, Guitars & Keyboards
Ralf Scheepers - Lead Vocals
Kobi Farhi - Lead Vocals
Gary Wehrkamp - Lead Vocals
Brian Ashland - Lead Vocals
Nicholas Leptos - Lead Vocals
Amulyn - Lead Vocals
Tina Gagliotta - Mezzo Soprano
Derek Corzine - Extreme Vocals
David Brown - Extreme Vocals
Weza Moza Gospel Choir - Vocals
Marty Friedman - Guitars
Alessandro Battini - Keyboards
Giacomo Manfredi - Bass
Mark Zonder - Drums
