A quick history lesson in regard to Lingua Mortis Orchestra before we move on to their new album LMO. It was 1996 when German heavy metallers Rage, after a dozen years of unleashing their own distinct brand of power metal rioting, decided to investigate a classical/orchestral imagination with the cooperation of a classical symphony orchestra. Releasing the album Lingua Mortis, it opened a potent seed within the creativity of the band. From an acclaimed orchestral show at the German Rock Hard Festival 2010, Rage unveiled their ‘alter-egos’ the Lingua Mortis Orchestra to follow this classical path. With Peavy Wagner (vocals/bass), Victor Smolski (guitar, keyboards, cello), and André Hilgers (drums) alongside vocalists Jeannette Marchewka and Dana Harnge, as well as the addition of two orchestras from Spain and Belarus, LMO, band and album, has created a classical experience themed by a true story of witch-hunting in the medieval town of Gelnhausen in 1599.
The album is a mixed bag in success and sound and though it certainly grows on the emotions and imagination through numerous excursions down its evocative narrative, it still leaves indecision ruling opinion. It is a release you cannot question or refuse its passion and invention, nor it’s superbly crafted and imagined adventure, but whether it succeeds or fails in its ultimate quest is undoubtedly going to be down to the individual. Musically the release is pleasingly unpredictable and for large portions an incendiary proposition, but vocally at times it lets the album down as much as it accentuates the rich persuasion of the release.
The opener ‘Cleansed By Fire’ comes in three movements/parts starting with ‘Convert The Pagans PT. 1’ where a brewing ambience accompanied by a lone wizened croon is soon joined by a choral choir and passion hued strings, the song breeding a grand orchestral voice veined by the sinews and sturdy appetite of rhythms and riffs. The vocals of Wagner place their narrative down upon the scenario soon after with the operatic power of Marchewka following, a mix which is far less successful than imagined. Moving through the thoroughly enjoyable metal forged instrumental segment ‘The Inquisition’ and ‘Convert The Pagans PT. 2’, the whole track offers a dramatic and striking start though not one with any true surprises or able to excite thoughts.
Both ‘Scapegoat’ and ‘The Devil´s Bride’ are another proposition entirely, the first entwining the ear in twisted technical devilry and spiteful grooves which awaken a hunger for the carefully sculpted orchestral union. A rapacious incessant groove of riffs courts the growling vocals of Wagner whilst drums and bass build captivating slavery for the emotions with venom and rabidity entwined within appealing keys and strings. Its distinctly individual successor also seduces attention from the off, climbing and plunging keys irresistible as drums and riffs build up their enticements ready for the excellent dual vocal exchange between Harnge and Wagner. It is a transfixing track which barely loses its potency from first note to last before passing its exciting presence over to emotive ballad ‘Lament’, a decent enough piano led song though a little bit of an anti-climax after its predecessor and with a melody and breath which sounds so familiar it feels like a cover.
‘Witches’ Judge’ brings another highlight to the album with its carnivorous guitar play a perfect foil to the orchestral weaves and strikes. Vocally it again wavers in effect, the dual sharing of the song’s tale less endearing than on earlier songs, though musically the track is an eventful aural painting.
Completed by the orchestral crafted ‘Eye For An Eye’ which first ebbs and flows in fire and appeal, LMO is a release which can ignite strong heights of satisfaction but also able to deflate that same victory. There is a fascination bred though which keeps it on the radar of attention and it will certainly find an ardour in many others.
7.5/10
Pete Ringmaster
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