When KAMELOT wrote and then released “Epica” in 2003 it set the band on a path to craft a massive double album/rock opera that focused on the story of Faust and his unholy pact with Mephisto, as inspired by Goethe’s work. Now, twenty years after the release of its second part, “The Black Halo,” we can firmly state that KAMELOT delivered spectacularly on all accounts as both albums became classics of the scene in general and landmark albums in the band’s discography in particular. KAMELOT’s seventh studio offering, “The Black Halo,” was released on March 15th, 2005, through Steamhammer Records.
If “Epica” had the “easy” job of setting the scene, and introducing the characters and the initial plot line, “The Black Halo” had to not only continue flawlessly with Ariel and Mephisto’s spiritually layered story but also resolve the climax and stick the landing, while also allowing for one final plot twist. In keeping the same high level of songcraft and technical execution, KAMELOT have exceeded (or, better said, obliterated) the lofty expectations that usually follow the release of such a celebrated album as “Epica” was just two years prior. Roy Khan again gives it his all in his portrayal of the inquisitive Ariel, while the band follow suit delivering the best on their respective instruments. The music once again is enriched by beautiful yet subtle orchestrations and the interludes tie the chapters together nicely. It’s not for nothing, then, that select tracks from this album have been mainstays in their setlist for more than a decade given the consistent quality of the songwriting and delivery.
Story-wise, the lyrics are as compelling as ever masterfully navigating between grief (“March of Mephisto”), seduction (“When the Lights Are Down”), and clarity (“The Haunting [Somewhere in Time]”) all the while keeping a somber tone that reflects deference towards Ariel’s mishaps at the hands of Mephisto. However, whereas “Epica” dealt more with the relationships between the characters and the bet that set Ariel on his path of discovery, “The Black Halo” deals with the more philosophical implications of this narrative as the supernatural elements collide with the human experience on a religious scale. Ariel first ponders upon the existence of Heaven and the human condition (“Soul Society”) and then passionately begs God for the forgiveness of his sins so that he can enter Heaven so as to satiate his curiosity (“Abandoned”). Since no answer is forthcoming from the Almighty, Ariel reflects back on the pain he caused (“This Pain”) and decides to confront the original harbinger of all his sorrows and frustrations, Mephisto (“Moonlight”).
The title track, “The Black Halo,” finds Ariel facing off with Mephisto and denouncing him as a traitor. The music is about as ominous and gloomy as expected for such a confrontation while the resolution comes from Ariel’s decision to lead a good life despite knowing that he’s going to Hell for his sins and vanities. To this end, both “Nothing Ever Dies” and the centerpiece of the album, and the climax of this story, “Memento Mori,” are beautiful ruminations on love (as the ultimate answer to all the questions of life), free will (as the human power to give meaning to everything) and death (as the end of it all). The final part of the album instead of detailing Ariel and Helena’s encounter in Heaven actually reveals the fact that it was all a play set on New Year’s Eve (the interludes should have been clues of this framing device) with the last track, “Serenade,” being a eulogy on life and its cyclical nature. Talk about theatricality and drama.
Musically, the album boasts some outstanding pieces in “March of Mephisto,” “When the Lights Are Down,” “Abandoned,” and “Memento Mori” while the duet with Simone Simons (EPICA), “The Haunting (Somewhere in Time),” has long been legendary and retained a cult status in the band’s catalogue. Conversely, some of the songs are more restrained to allow the deeper meaning of the lyrics to take center stage, alongside Khan’s matchless and emotive performance. But then again this is the band’s signature sound as they write complex and layered music but do so in a way that is oddly accessible and even subdued at times to let the melody and vocals drive the experience with the instrumentals doing their thing discreetly in the background.
The likes of “Soul Society,” “Moonlight,” or “The Black Halo” are still good examples in this regard, being hook-laden tracks with big, catchy choruses, and top-notch guitar moments. There’s a nice balance of power metal riffage, soaring melodies, and dramatic performances to be found on this album with nothing sounding overdone, over-the-top, or even cheesy, which makes the emphasis fall squarely on Ariel and Mephisto’s story. However, each song stands on its own not just as part of the whole, reason why even if one listens to random songs from this album one still gets the full KAMELOT experience – nothing is contingent on the overarching story, and that’s the brilliance that makes this album such a work of art and a compelling listen twenty years after its release.
Let’s face it, the band know how to sound epic without being bombastic about it, and the trio of albums released in the early 2000s – “Karma,” “Epica,” and “The Black Halo” – stand as timeless testaments to their wining power metal formula. The band was on a streak delivering perfection in every aspect, from composition and lyrics to melody and vocals/instrumentals. As such, the main merit of “The Black Halo” rests not just in wonderfully continuing Ariel’s philosophical journey but in doing so with grace and style, skillfully avoiding the usual pitfalls of the genre and showcasing (progressive) power metal and storytelling at their finest (again). The bottom line is that, even if “Karma” and “Epica” were achievements of the highest level, “The Black Halo” IS KAMELOT’s pinnacle of greatness.
Written by Andrea Crow
Tracklist
1. March of Mephisto
2. When the Lights Are Down
3. The Haunting (Somewhere in Time)
4. Soul Society
5. Interlude I: Dei Gratia
6. Abandoned
7. This Pain
8. Moonlight
9. Interlude II: Un Assassinio Molto Silenzioso
10. The Black Halo
11. Nothing Ever Dies
12. Memento Mori
13. Interlude III: Midnight – Twelve Tolls for a New Day
14. Serenade
Lineup
Roy Khan – vocals
Thomas Youngblood – guitars
Glenn Barry – bass
Casey Grillo – drums, percussion
Label
Steamhammer Records
