XIII

XIII is one of a few Rage albums at the close of the 90s upon which the group decided to lean very heavily on their symphonic influences and incorporate the 'Lingua Mortis Orchestra' idea directly into their metal albums. As loathe as I was that one of my favorite German acts would submit to impulses of rock opera and Broadway balladry, I'll admit that they did a pretty good job of it on the 'main' releases where the style was implemented, rather than the junky scrap EPs and Lingua Mortis album that had come out a couple years earlier. In fact, the orchestration of Christian Wolff is spun so smoothly into this record that, if you hadn't already gotten history with the Rage catalogue, you might think that this was just the fundamental sound on which they were built.

There's a tradeoff. While the musicianship of the quartet loses nothing in terms of proficiency, it's dialed back a lot to let these horn and string sections breathe. It feels like the band is really playing along with an actual symphony, and unlike other extreme metal bands who would later try and clutter everything up by going overboard, the Germans are restrained and entirely song-focused, and that's what makes this album a cut above. This is not some showboating affair, but an attempt to compose emotional resonance which makes this pleasant to listen to even decades later; a trait that would carry on to following album. Look, I'm all for the shrieking excess and dizzying speed metal licks of their earlier years, but I'll take the tunes on this one over ANYTHING the Trans-Siberian Orchestra has ever released, and I can only image if Rage had decided to focus on covers and not their original fare, they might have achieved some sort of massive stardom the likes of which that post-Savatage project did. But that just goes to show you this was no cheap cash grab on the emerging trends brought about by groups like Therion; these guys were serious about stripping down their sound and adding a new component, tastefully.

It's exceptionally clear and well-produced, with the guitars and symphonic keys in perfect balance above the very audible rhythm section of Wagner's bass and Chris E's drumming. Peavy's vocals actually sound really good hear shifting between his angrier, gritty ravings and the soothing mid-to-high pitched stuff he uses over a lot of the softer or more sentimental parts. I don't know if there's a single song on this album which lacks for something really catchy..."Days of December", "Over and Over", and "Heartblood" are all fine examples of good riffs, memorable vocal lines and keys working in tandem, and they don't have to entirely abandon the energy and heaviness of their former selves. "From the Cradle to the Grave", with its almost goofy symphonic groove, burrows itself straight into your ears and brain, and while "Paint it Black" is a really generic choice for a cover, and my least favorite piece on the album, they actually do well to merge it into this orchestrated metal style and make it blend in seamlessly with the aesthetics of all the originals.

Despite the shared DNA of Mr. Wagner, XIII is not the Rage I grew up on, but the way the band threw itself at this challenge showed restraint, nuance and an appreciation for how these styles should be balanced. The result was, at least for me, the best album they had put out since 1990's Reflections of a Shadow, and to think, a year later they'd up the ante even further...

-autothrall
http://www.fromthedustreturned.com

Many will tell you that this is a point at which for once the world's least commercially susceptive band may have actually strayed from their roots finally and, cough, sold out. NOT TRUE! In fact, beyond the mellower choruses, simpler riffs, and elegant symphonics all this is is a slab full of RAGE.

This one starts out with nothing short of a classic headbanger. The opening riff of From The Cradle To The Grave will immediately induce headbanging, but then it sinks into a doomy verse section, only to thrust you back into that riff. The chorus here is memorable and the buildup to the solo is incredible, it's a dark song but at the same time catchy and appealing. Next up is undoubtedly one of RAGE's most pedestrian tunes, it still has a few riffs sprinkled in there, but the chorus is catchy, fun, and the pace is well enough that is makes it a worthwhile track. Next track, Sign of Heaven starts out in classic RAGE fashion with a nice speed metal riff, the chorus is more of a progressive sound, with a simple riff that gradually progresses into the chorus which is as solid a melodic power/speed chorus as you will find. Next up is a ballad, Incomplete, it rivals anything any other great power/speed metal ballad, including Vicous Rumour's Children, Metal Church's Watch the children pray, It is a bit mellower than those two but just as memorable. Next up is a melodic speed metaller that really picks up at the end, with another catchy chorus. HEARTblood is a heavy groover, not like any other RAGE song. It has an industrial sounding vibe, at 6:21 it’s a bit overlong and probably the weakest track here. The next song, Over and Over makes up for anything commercial or weak on this album. Its a typical RAGE classic, 16 years after their inception still churning out the sound that made them the standard. Its heavy, fast, and catchy all at the same time, and did I mention there’s a symphony orchestra. The quintessential symphonic speed metal song. Next up is another ballad, weaker than the first, but it landed RAGE like 3 separate singles, which speaks to the quality of it. Then comes a mid-paced track, Immortal, another archetypical tune for this one, still powerful, still RAGE.

All in all, it's not their best, but it is a testament to Peavy Wagner for never backing down and sticking to his roots perpetually.

It's just a superior album, don't believe to those who say it's a failure.
In my opinion, this is the best experience of mixing metal with classics ever.
Sound here is based on "End of all days", even in a more mild and melodic way. Album begins with an outstanding Intro, composed by Christian Wolff, who also took part in producing the whole album. The Symphonic Orchestra Prague shows all of its mastership in this heavenly overture. My favourite songs on album are "From the cradle to the grave" (just a killer track!), " Days of December" (nice tune and riffs), " Sign of heaven" (fast power metal track) and "In vain (I won't go down)" (slow, almost a ballad with great accompaniment of orchestra). There are also some pretty orchestral interludes between songs, fitting the whole atmosphere very well. The only weak track here is "Heartblood", especially when Peavy growls "just give me your he-aa-rtt". Two covers are presented on album: "Paint it black" [originally performed by The Rolling Stones] and "Tom Sawyer" [originally performed by Rush] (the last one is the japanese bonus track). "Paint it black" is almost unrecognisable, Peavy re-arranged it too much. On "Just alone" you can hear some exotic instruments - it seems like this song is a pure experiment for Rage.
Conclusion: I know only 2 good examples of mixing metal with classics, and one of them is Rage "XIII" album (another - last Therion works). It is too much better than Metallica's attempt a year later. Check it out!