Phantasmic parade epica lyrics12/16/2023 Epica always leave the lengthier song for the end, a magnum opus to wrap up the album, which is also the title track. The third song that needs special commentary is of course the final one. Simone Simons is again the lyricist and the concept covers the current uprooting of thousands of Syrians, many of them children. The mid-eastern vibe is enhanced with the use of sitars and tribal drumming. While the orchestra has always been a vital part of the band's sound, with ''Dancing in a Hurricane'' it comes to the forefront, the rest of the band appearing later on, on another excellent build up. His prose is stuck on the same matters that have been bothering him for the past seven years, lacking any depth that might have been there. It's true that his lyrics can be cringe-worthy one liners, trying to be revolutionary and help activate our third eye, but they're neither political nor deeply philosophic. Unfortunately, Mark is limited to self-righteous moralizing. Her writing skills are far more poetic and natural than Mark's, showcasing better use of language and control of storytelling. Simone Simons proves she is the best lyricist of Epica. The build-up is proficiently crafted, starting off with a sorrowful orchestral piece that slowly leads to the climax, the operatic vocals are superb and all instruments involved shine, with the solo violin stealing the show. ''Once Upon a Nightmare'' already surpasses older Epica classics. It's no surprise that the three most quality songs of the album are found on the second half: Ideas sound more concentrated, not just scattered around and it's a relief for an album boiling with ideas that can't be channeled properly. Most of the good moments can be found here and the quality is shifted on higher highs. Τhe second half of the album, however, finds the band in greater form, heavier than before, playful and relaxed on their instruments, fully inspired and making good use of gimmicks. The songs are one great wall of sounds and musical details, with little space to breathe, which is probably the main mistake, tiring the listener a bit too early. Without focalizing on any individual track, the first half of the album, whilst enjoyable, is the lesser of the two. Metal is masterfully combined with classical music, giving an expected sense of grandeur, but doesn't quite work, no matter how good the songs are. After the intro, however, the album doesn't continue in a particularly strong manner. When ''Eidola'', the album's prelude song, starts with an Inception-like melody, it becomes apparent that Epica draw inspiration from scores. Don't jump into conclusions, though, because the album really is far from being mediocre. With successive listens though, after the element of surprise is gone, it becomes apparent that there are hidden drawbacks. In all its excess, grandiosity and cheesiness, it comes out as a really good offering, with the nice parts outnumbering the mediocre ones. Listening to The Holographic Principle in one sitting is quite satisfying. On the first listen, all the stimuli an album has attack the ear in a hazy, unorganized way and what's left in the end is only the standout moments, both good and bad. Review Summary: A one-trick pony is just fine for once
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