Register Forgot login?

© 2002-2022
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

Angra > Angels Cry > Reviews > Demon Fang
Angra - Angels Cry

nothing like them dulcet tones - 69%

Demon Fang, June 21st, 2022

Boy oh boy, there certainly is a lot to love about Angels Cry. A sublime experience, with riffs and guitar solos that dazzle the mind; rhythms that positively captivate as they cascade from riff to riff; vocals that straddle the line between soulful and the end result of somebody freebasing helium… okay, so Andre Matos is definitely an acquired taste, with some finding his thinner inflection charming and others more annoying. On Angels Cry, he does tend to vacillate between a slightly gruffer tone and, well, that tone. This, however, opens him up to deliver some rather melodious choruses amidst a smoother yet neoclassically-charged set of compositions.

So… why the relatively lukewarm score, then? Because honestly, only three of the songs on here really nail that sweet spot. You know the one – the hooky riffing, the deliciously melodic choruses, the blazing solo, and of course, Matos’ infectious vocals. “Carry On” is an iconic song for a good goddamn reason. It opens up with some downright angular riffing and carries on with some righteous soloing before Matos’ pipes enter the fray. Then, between his air siren-esque inflections and the outright speed metal riffing Loureiro and Bittencourt are pulling off underneath, the chorus blares out some right uplifting vibes. Add some fiery soloing and a triumphant horn’n’bass laden break, and it’s no wonder it’s still an iconic hit 29 years on. Though let’s not sleep on “Time” and “Angels Cry” – to do so would be a crime as these songs are almost as good! They’ve many of the same hallmarks, albeit at a more medium pace and not quite as solo-laden. Still, they hit that melodic sweet spot of infectious riffs and Matos’ vocal inflections to create some highly memorable songs nonetheless.

After that, I don’t know, man – they’ve got the right pieces, but they don’t slot in so well together. The riffs still mix it up between subtly complex mid-paced ones and speed metal; the solos are still so filled with passion that they outright electrify the atmosphere around you; and even Mariutti’s bass and Holzwarth’s percussion get their time in the spotlight to light things up. “Evil Warning” has an iconic chorus, for Christ’s sake! But on the whole, they lack that overall cohesion and the strong hooks of the three great songs. A song like “Never Understand” has a proggier composition, mixing it between a softer moodier lead-drenched piece, a faster power metal bit and some killer soloing, and it seems like it’d be a top song. But – putting aside how middling overall the power metal riff is on this song – it drags, like it’s never going to end. It often seems like they put together a softer song and their instrumental solo showcasing song together haphazardly, or they just couldn’t help themselves, especially towards the end. Not to mention the overlong glorified outro, “Lasting Child”. Dig the attempts at emotional climaxes with the symphony and whatnot, but it does often come across unfocused, and the payoff ain’t really there. It was a good try, but there isn’t a whole lot to it, and it is definitely one that ends up in the background, ending the album on a not-so great note.

The other songs are more normal and absolutely have their pros, but either the melodies are overall unmemorable – like the ballad-esque “Stand Away” and the generally not-as-good “Carry On”-esque “Streets of Tomorrow” – or come close but have more ordinary riffs. “Evil Warning” is the song that comes close with that cool choir-like intro, some slick leads and a strong chorus courtesy of Matos, but then its main riff is so ordinary, like a mid-strength fast-paced riff that doesn’t really stand out until it’s chorus time; from there, it falls just shy of the mark. Perhaps expectations of the other songs soar like the solos on this album because of how flat-out stellar the first three songs are, but the fact of the matter is that the rest (for the most part) aren’t simply slightly less good. For as many cool sections and great ideas as there are, the overall compositions don’t quite add up to what they could’ve been. The good news is that later albums absolutely tighten these ideas up, so at least Angels Cry is a fascinating proof of concept album that just happens to have three terrific songs (and one close-to-terrific song).

Oh okay, the “Wuthering Heights” cover is at least pretty cool if only because Matos nails a lot of those angelic Kate Bushian notes.