Epica (album)

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Kamelot chronology
Epica

Studio album by Kamelot
Released	January 13, 2003
Recorded	Recorded at Gate Studio (Wolfsburg, Germany) June-October 2002
Genre	Power Metal
Length	52:12
Label	Noise Records
Producer(s)	Sascha Paeth and Miro
Karma (2001)	Epica (2003)	The Black Halo (2005)

Not to be confused with Epica (band).

Epica is a full-length album released in 2003 by the Metal band Kamelot.

This album is the first story-based album made by Kamelot: most of the lyrics were written before the music. Epica stands for an epic tale, but also the center of our (inner) universe, our minds our souls and our dreams. It's where all of life's unexplainable questions are answered.

The album is loosely based on Faust written by Goethe. The album also inspired the naming of the band Epica after its release.

1 Main characters
2 Track listing
3 Plot
4 Line-up
5 External links

[edit] Main characters

Ariel - an eversearching person, seeking balance and truth. Ariel is not satisfied with the answers religion and science can provide. He burns all bridges and sets out on a journey to find the balance he feels is missing in his life; the ultimate truth that could make life worthwhile.
Helena - She is the only girl Ariel has truly loved. They have been separated for years when they finally meet again after a gathering at Mephisto’s castle. On Epica she represents innocence and all that is good.
Mephisto - the representation of evil. Mephisto, who appears in different shapes and disguises, gives evil and cynicism a name in the story. He is never quite what you’d expect the devil to be, apparently rational and sophisticated, always tempting and seductive. Mephisto portrays the true weaknesses in us all as human beings.

[edit] Track listing

Prologue – 1:07
Center of the Universe – 5:26
Farewell – 3:41
Interlude I (Opiate Soul) – 1:10
Edge of Paradise – 4:09
Wander – 4:24
Interlude II (Omen) – 0:40
Descent of the Archangel – 4:35
Interlude III (At the Banquet) – 0:30
A Feast for the Vain – 3:57
On the Coldest Winter Night – 4:03
Lost and Damned – 4:55
Helena's Theme – 1:51
Interlude IV (Dawn) – 0:27
Mourning After – 4:59
III Ways to Epica – 6:16
Snow (limited edition bonustrack)
Like the Shadows (Japanese bonustrack)

[edit] Plot

Spoiler warning: Plot and/or ending details follow.

1. Prologue

This is the intro to the album where the listener is being placed in a dreamlike sequence. It sets the atmosphere, but it’s also a reference to "Prologue in Heaven" in the tale Faust which it is inspired by.

2. Center of the Universe

This song is an extension of the Prologue, and is directing the listener into his own mind or the "inner universe", where all questions may possibly be answered. Also near the end of the song it seems that Ariel is imparting that he is about to leave which would lead into "Farewell." (This is the first song on the album, but actually the last song that was finished for Epica.)

3. Farewell

The journey begins; In Farewell, Ariel burns all bridges and leaves everything he knows behind. He cannot find the answers he’s looking for in science or religion, and wants to explore the world on his own. He seems to be seeking at the very least the satisfaction of having tried to do things on his own, even if he seems mad. (This song was made on a stormy night in Florida in the summer of 2001.)

4. Interlude I (Opiate Soul)

This piece tries to describe the darkness and desperation one can feel having fallen into human addiction.

5. Edge of Paradise

Ariel is on the edge. His encounter with the great world has been anything but successful. In foreign countries far away from home, he experiments with alternative ways to find happiness and peace, but is slowly losing his grip on life. However in his gaining loss of sanity its obvious he has learned something of the twin faces of society, its darkness and its light. (Kamelot chose the mixture of Arabic scales and Gregorian-like choirs to portray the temptations, pleasures and pitfalls of hazardous reality escape.)

6. Wander

In his desperation, Ariel seeks back to a time where love and youth were carrying him on a wave of promises. He understands that these dreams are only sentimental wishes. Life has no longer a purpose for him. He feels he might have given up what he had truly needed and a part of him deeply regrets it throughout the lament.

7. Interlude II (Omen)

At this point Ariel is determined to take his own life. The melody is a reference to Helena’s death scene later on the album.

8. Descent of the Archangel

When Ariel is at his lowest, Mephisto as he wishes to call himself, appears in the pale moonlight. Ariel is very surprised as the devil seems to be nothing like what he had expected; In the shape of a beautiful woman, Mephisto politely explains Ariel what he could bring to his life. (Luca Turilli from Rhapsody plays the first half of the guitar solo on this song.)

9. Interlude III (At the Banquet)

Many of people are gathered at Mephisto’s castle, where Ariel has been invited. He arrives slightly late, but just in time to see his host’s remarkable entrance.

10. A Feast for the Vain

At the big party Ariel make friends with everybody and has the time of his life. With women, drinks, and food, Mephisto covers any carnal need. Blinded by the oppulence and probity Ariel is seeminlgy convinced this is the happiness he has been searching for. At the end of the song Ariel signs the deal that will be fatal.

11. On the Coldest Winter Night

After the party, Ariel suddenly meets Helena, the girl from his youth. They share a short, but intense moment together. (This song has a strong reference to cold as opposed to Wander which refers to summer) that symbolically describes Ariel’s change after his meeting with Mephisto. It was recorded live in the studio with djembe and D-bass.))

12. Lost & Damned

Helena approaches Ariel to tell him that she’s pregnant, but is unsuccessful. Ariel is convinced that the pact he has with Mephisto will cause her too much pain and suffering. To sever their bond he acts very cold, and so it seems even if he could be with her he would rather seek a higher goal than love. At least that is what he believes at this point in the story. He tells her decisively to forget all about him and leave. (The tango-like verse in this song is an attempt to musically describe the tension between Helena and Ariel. Fabricio Alejandro is featured on the bandoneon.)

13. Helena’s Theme

Despairing, Helena drowns herself in a river. (A performance by the American singer, Mari, supported by Rodenberg Symphony Orchestra.)

14. Interlude IV (Dawn)

The town crier reads the news about Helena’s death. (Guest appearance by Ian Parry (Elegy/Consortium Project)).

15. The Mourning After

Ariel hears about Helena having taken her own life; consequently their unborn child dies. He mourns deeply, but hopes that they will meet again on the other side.

16. III Ways to Epica

This song closes part I of the concept. It sums up the album with Mephisto clearly representing evil and cynicism, whilst Helena reappears as an angel representing good. Ariel is still somewhere in the middle; still searching balance and ultimate truth.