Angra - Fireworks

To completely understand Angra's 3rd full length disc, "Fireworks", one must travel back in time to the band's beginnings. Forming in 1991 and choosing a suitable band name that means 'Goddess of Fire' in Brazilian Tupynikins mythology, this surprisingly (after considering their title banner) all male ensemble literally blazed into our metal world relatively unnoticed. Armed at first with only their impressive 1993 debut, "Angel's Cry" (where oddly enough, the rawer demos were almost, and often times better than the slicker studio release) Angra recieved a lot of credit for helping pave the way for power, but mostly progressive, metal bands to find popularity outside their home countries and inner circles, but it wasn't until the technological advancements of computers and the widespread popularity of the internet, did they begin to properly get the credit for their achievements that they deserved. Their classical influences were well flaunted, and their symphonic sound was much speedier than other prog giants from their starting time frame such as Queensryche and Dream Theater, so naturally they attracted a sometimes very different set of fans. "Holy Land", their followup offered a slight change of direction, a mixed bag of even heavier tunes and prominent Brazilian melodies that lacked some of the character that was present on the first release. Then came "Fireworks", which again saw them altering their established sound, yet simultaneously staying very much the same.

1. "Wings of Reality" - Its instantly evident that bringing in Chris Tsangarides (who has produced Y&T, Yngwie Malmsteen, Judas Priest) to put the producer's touch on "Fireworks" was a critical decision, since the sound seems much richer and defined than on the previous releases. As a throwback to some of their original works earlier in their career, this album's opener comes across as being an showcase of musical virtuosity in a neoclassical, prog/power hybrid setting.
2. "Petrified Eyes" - The varied guitar driven "Petrified Eyes" takes off strangely, with country/folk like chicken picking in the background, but fusion-jazz influenced squaling guitar on the top, but this will change multiple times, ultimately incorporating galloping Iron Maiden inspired riffs, and even delicate acoustic with a sentimental lead break over the top. Andre Matos screeches in the forefront during lulls in the pulsing barrages of tempo changing sound, and delivers inbetween smoothly.
3. "Lisbon" - incredibly, "Lisbon", the single from "Fireworks" is a psuedo-ballad, with Andre's usual high pitched, but well controlled voice. But what makes "Lisbon" gel is the incredible violins that are just as important as the riffs and drums that keep the song firmly grounded, allowing the vocals and strings to swirl in the spotlight. Main parts of the chorus are repeated a little too often, the curious line "Skies are falling down", is mainly to blame, but the solos enveloping around it are easy to get lost in.
4. "Metal Icarus" - This briskly divine shredfest features fireblown axework courtesy of Kiko Loureiro and Rafael Bittencourt, that lick like white rimmed flames and wildly smoldering riffs that could have been performed by the fire goddess herself.
5. "Paradise" - Long & winded track, that seems to warm out its welcome early on, but quirky catches in the vocal delivery, mix it up enough to keep the mind from wandering like the song often does. However, when put in the context of its concept, the song is strangely fitting, as it deals with pawning one's life off for another's savage amusement, in a gladiator arena located in what is revealed to be hell.
6. "Mystery Machine"- A headbanging delight, slipping all sorts of little subtle sounds in, almost unnoticable til after a few listenings. "Don't run away, cos' you can't hide from thunder". You can't hide from this clever tune either. The lead breaking solo warps and patters down like blistering acid rain.
7. "Fireworks" - A lot of what were previously diehard Angra fans were turned off by on "Fireworks" (the album) is the often-times deliberate prog-like pacing that causes a few songs to plod along at decidedly speed lacking tempos. A prime example of this is the excellent title track (which that description is most likely up for debate with some of the speedier loving fans of the band), with its intruiguing winding guitar solo planted in the middle which riles up into pure electric beauty. Also of note is the soothing use of strings, and a celebration of pyrotechnics in the explosive vocal melodies and blast of color chorus. This is a large step for them, because Angra has never been known for their ballads ("Angel's Cry" did not even feature a proper ballad, or slow its breakneck pace down for very long, for that matter). Lyrically, its so cleverly touching, a promise of love on New Year's Day, while patiently awaiting the display, as the chorus begins, so does the fireworks as they are described gorgeously in detail, and as the pryo show wraps to a close, the listener can easily visualize the untamed joy of the dazzling intricate patterns of fire in the sky. "Love is the key to believe, in our hearts, in our minds, in our souls! but now no matter what I say, just look at the fireworks!"
8. "Extreme Dream" - Nifty, very progressive dual guitars, both with a distinctive sound, trade back and forth in a battle for supremecy, with the center of this song being their battlefield. Even though a bit 'extreme', its an unconventional treat to hear, in this otherwise fairly straightforward song.
9. "Gentle Change" - Starting off rather unpleasantly with island percussion that sounds as if it came straight off the Caribbean, but after the first shaky minute, it launches itself into full ballad mode, with sweet 'ooh'ing and otherwise cooingly soothing vocals by Matos. The middle is a mixture of many things, including a classical paradise, breaking into periods that are reminiscent of Savatage's epic ivory tickling, more axeslinging heroics, and Latin rhythms.
10. "Speed" - The title says it all, nearly six minutes of double bass drums, frantic guitar solos, and snippets of Iron Maiden in the galloping riffs and song structuring. Matos hits and holds an incredible note near the end.
11. "Rainy Nights (bonus track)" - A superb, modernesque midtempo track with a moody edge and addictively unusual percussion. The escalation of violin, guitar, and contrasting vocals takes the breath away. One of the best tracks on the album. Sadly its only on certain pressings of the album as it is a bonus, and shouldn't be missed since it gives the perfect 'natural' balance to the disc, which would feel otherwise disjointed without it.

The third release and progression in the Angra catalogue, "Fireworks" recieved alot of criticism simply for not being the kind of atmospheric fare, "Holy Land" was or the speedy quick fix that their debut provided. But this makes the disc even more unique, and instead of being just another rearranged unimaginative spinoff of previous works, the band must be admired for atleast taking some new approaches and incorporating a rawer, slightly more relaxed feel to an already well tempered sound. Also in its favor is the fact that it is *not* like "Holy Land", which was so well recieved partially for its overblown prog doodling, seaside/nature samples and percussion that was anything but ordinary. Personally I found the "Holy Land"s 'learning curve' to be way too high, and could never embrace it, as a whole or in parts, in the same way that was easily capable with sections of "Fireworks". Every song has its fair share of soaring vocals and blazing experimental riffs that enrich the listening experience by a tenfold. For those that would like to partake of prog structured tunes, stuffed to the bursting point with inventive guitarwork, then look no further, for this album is a solid, enjoyable journey in its own right.

Rating - 8.5
by Alanna Evans
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