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ADAGIO

Progressive Metal • France


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Adagio biography
Hailing from Montpellier, France, ADAGIO was formed in 2000 by guitarist Stephan FORTE, a former graduate of the CMCN Music Academy in Nancy, having undergone compositional studies of the baroque and classical periods as well as Jazz fusion. In 1996, he released his first symphonic metal instrumental demo," Visions", which lead to an opening slot for Yngwie MALMSTEEN. Having added vocals and expanded his catalogue to eight original compositions, he was offered a tentative contract by French record company N.T.S, who suggested he form his own band. FORTE recruited vocalist David READMAN (PINK CREAM 69) to the band, having met him at a concert during summer of 2000, when they quickly became enthusiastic about a mutual collaboration. Although FORTE programmed most of the keyboard arrangements himself, he was ably assisted by Richard ANDERSSON (MAJESTIC), while the line-up was completed by a rhythm section comprising of Franck HERMANNY on bass and Dirk BRUINENBERG (ELEGY) on the drum stool, who were initially called in as guest musicians.

The result of this collaboration was the band's debut, "Sanctus Ignis" (2001), produced by Pink Cream 69's bassist Dennis WARD, having previously worked with VANDEN PLAS, AXXIS and DC COOPER in this regard. Designed as a showcase for FORTE's skills, hallmarked by long, intricate guitar parts of great technical virtuosity, "Sanctus Ignis" could best be described as a dark, slightly melancholic progressive metal release in the symphonic/ neo-classical tradition. Influenced by MALMSTEEN on the one hand and bands such as SYMPHONY X on the other, FORTE's guitars were ably complemented by READMAN's searing vocals, soaring above the Frenchman's compositions, such as "Second Sight", "Sanctus Ignis" and the monumental "Seven Lands Of Sin", however the release became of particular interest of guitarists and received notable success in France and Japan.

Their follow-up, "Underworld" (2003) was the consequence of two year's intense song-writing from FORTE, whose pre-occupation with the themes of death and existence, resulted in an altogether darker release, featuring more overtly orchestral elements supported by Rose HREIDMARR (ANOREXIA NERVOSA) on a vocals, as well as the 50 strong choir 'Ensemble Vocal de Lyon'. The arrival of permanent keyboard player, the classically trained Kevin CODFERT (who would later become more involved in the production and mixing of the albums in his own studio), added to the richness of the orc...
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ADAGIO discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

ADAGIO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.99 | 87 ratings
Sanctus Ignis
2001
3.98 | 110 ratings
Underworld
2003
3.56 | 57 ratings
Dominate
2005
3.51 | 40 ratings
Archangels In Black
2009

ADAGIO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.12 | 15 ratings
A Band In Upperworld
2004

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ADAGIO Reviews


Showing last 10 reviews only
 Underworld by ADAGIO album cover Studio Album, 2003
3.98 | 110 ratings

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Underworld
Adagio Progressive Metal

Review by nDeck

4 stars The codex of neo-classical style of progressive metal

This album is a masterpiece for the band Adagio, their best album in many aspects. It is sure a great work of composition and recording. The leader of Adagio, Stephan Forte, went in Lyon (France) to record the choir for the album, to give more credit to the project of creating the ultimate symphonic metal album. Every music contains what you here in every other contemporaneous band, intro with strings, long organ bridges, solos of electric guitar and keyboard (don't forget it was made in 2003). Unfortunately, even if the listening of the album gives you a good feeling, every song took apart are not as memorable as the ensemble. There are melodies that drive the song all the way to the end. You find parts of Keyboard/guitar/bass shredding for the sake of shredding and, I'm starting to get sick of these parts...

So a Masterpiece for Adagio, for the progressive rock collection, but sometimes it looses its way with demonstration of technical virtuosity. So it is not a masterpiece of prog music because every master has its balance between virtuosity demonstration and musicality.

To conclude it worth at least one listening to make up your mind if you're a fan of symphonic metal. Underworld is a excellent addition to any collection

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 Underworld by ADAGIO album cover Studio Album, 2003
3.98 | 110 ratings

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Underworld
Adagio Progressive Metal

Review by Menswear
Prog Reviewer

3 stars Headbanging in a pirate shirt.

Yep, just like the one Bach wore on his paintings with the puffy sleeves and the cauliflower on the neck. On the more serious side, Adagio is offering a nice (but too sparse) blend of baroque and roll. The keyboard player is giving his share of harpsicord and the impressive choir is giving a zest of gothic impression in an album that doesn't really part from your typical metal band. The singer is howling to the moon, the double bass drum is almost always present and the guitars are vertiginous but non-surprising. They have talent, oh yeah.

The only thing that drawed me to this album was the reviews saying 'it's a blend of classical music and metal'. It is, but not enough to give a deep impression. Try it, you probably will like it if you're looking for something melodious, catchy and loud. I just love the blend of classical music and metal, I think it's such a killer approach. But to me the classical vein should've been more exploited; they had something going on some tracks!

Good but needs more cowbell.

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 Dominate by ADAGIO album cover Studio Album, 2005
3.56 | 57 ratings

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Dominate
Adagio Progressive Metal

Review by toroddfuglesteg

2 stars I am the first one to admit that just the thought of power metal fills me with dread. It is one of my least favorite music styles from this planet & further afield. This album really plays on all the strings I do not like.

Pompeous, over inflated sound is what this album brings my speakers and then my senses. The album is based on verse-choir-verse-solo-choir.... well, you get my drift. The vocals is a mix of growls and normal vocals. The guitar solos is diddely-dey-diggi-lo-diggi-lei which is far too common within the power metal genre. The melodies are pretty simple, although the big sound tries to dress up the songs into something greater than they are. The inclusion on this album of a dreadful version of the title track from the very popular movie & TV series Fame is something I cannot fathom. It devalues this album and the band.

There are some pretty good songs here on this album. But Fame is dreadful and so is a couple of other songs too. There is no great songs on this album at all. The solos is uninspired and only the tangent player and the vocalist escapes from this album with their good reputation intact. This album is best forgotten.

2 stars

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 Sanctus Ignis by ADAGIO album cover Studio Album, 2001
3.99 | 87 ratings

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Sanctus Ignis
Adagio Progressive Metal

Review by Mystery

4 stars Adagio's debut was a very promising album, filled with excellent musicianship, solid songwriting, and fairly good production. This album, along with the follow-up Underworld, are both excellent neo-classical progressive albums. Additionally, this album is the only one by Adagio that is completely devoid of death vocals (although Underworld had very, very few, and only on 2 songs).

The album starts strongly on Second Sight and flows very well. The classical influence is very prominent, yet not overwhelming and in fact perfectly mixed with the guitars, bass, and drums. Forte is a virtuoso-level guitarist, and his solos are both technical and captivating. However, Richard Andersson, while good as a keyboardist, does not provide the same experience as Kevin Codfert who would later replace him and be featured on all prior Adagio albums.

The album, overall, is a strong mix of classical music and metal. Forte composed all of the songs, and he did an excellent job.

Highlights: Inner Road, In Nomine, and above all Stringless Violin

Overall: 4.5

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 Underworld by ADAGIO album cover Studio Album, 2003
3.98 | 110 ratings

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Underworld
Adagio Progressive Metal

Review by Mystery

4 stars This Adagio album is the last to feature David Readman, who is my favorite vocalist for the group. Likewise, it was the last appearance of Dirk Bruinenberg, the drummer.

This album succeeds in creating a mysterious, bleak atmosphere, yet all the while remaining beautiful. The orchestra lends grandiose and majesty while not remaining overused. The guitar solos are executed well and highly technical, yet not to an obnoxious extreme. The keyboards are delivered brilliantly by my favorite keyboardist, Kevin Codfert, and add an entirely new dimension to the music. Franck Hermanny's bass, while not very audible, shines when it can be heard.

The music flows well from track to track, and the band shines on every one of them. This album is very good and is one of the better neo-classical prog metal albums out there.

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 Archangels In Black by ADAGIO album cover Studio Album, 2009
3.51 | 40 ratings

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Archangels In Black
Adagio Progressive Metal

Review by Mystery

3 stars Adagio's newest album is stylistically more like Dominate than Underworld, of which band leader Stephan Forte assured a heavier resurgence. Nevertheless, as wonderful as this new direction is, it lacks the beauty and intensity found in the first two albums Sanctus Ignis and especially Underworld.

The songs are fairly good, but not always memorable. Regardless, there are some gems on this album, such as The Astral Pathway, the title track, and Codex Oscura. The songs flow fairly seamlessly into each other, with the exception of Undead. The song has a beautiful piano intro, but the guitar riff that immediately proceeds it is not transitioned into well. This album also suffers from some forgettable tunes, such as The Fifth Ankh.

All in all, Forte succeeded in creating a very dark and heavy atmosphere with a dominant guitar, yet he did not completely capture the beauty of Underworld. This album, while fun to listen to and filled with expert musicianship, fails to captivate me like other Adagio albums. There is no track on this album that can compete with the Stringless Violin from Sanctus Ignis, or Introitus from Underworld, or R'Lyeh the Dead from Dominate.

Overall, 2.7 stars.

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 Sanctus Ignis by ADAGIO album cover Studio Album, 2001
3.99 | 87 ratings

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Sanctus Ignis
Adagio Progressive Metal

Review by Epsilon

4 stars Are they the European counterpart to Symphony X?, I don't think so, it's more than that. They're born not as a response to someone or something else. They create a balance between harmony and a wise sense of their musical faculties manifesting the way they feel the music and not trying to be a vulgar copy.

Adagio is the musical concept from another disciple of the neo-classic treatment of electric guitar in last time, his name as some of you already know is Stephan Forté. A guitar virtuoso young promise from France (well, that was a decade ago) who could build a talented act, piece by piece for Sanctus Ignis' recording sessions.

Names like David Readman (main voice on German hard rock band Pink Cream 69), the veteran drummer from Holland Dirk Bruinemberg, the young skilled bassist Frank Hermanny (who's known for working not only in metal and progressive music, but also on jazz and pop music projects in France) and finally the man who's considered as the keyboard version of Yngwie Malmsteen (because of his speed, virtuosity, skill and both are from Sweden), Richard Andersson. They helped him to make his dream come true.

Sanctus Ignis was the first step into the professionalism in music for Stephan, but no one would imagine how powerful and ambitious his music would be. The record is highly enjoyable the most, they focus on existentialist topics in their lyrics, musically they develop a kind of 50/50, I mean, they distribute the melody and progressive marks as much as they give energy and virtuosity to each song.

Songs like "second sight", "in nomine", "sanctus ignis" and "paneut et circences" are authentic exercises of how to play classy prog-power metal while other tracks like "the inner road", "stringless violin" and specially "the seven lands of sin" take us through the complexity of guitar chords, catchy double bass changes, a remarkable work on keyboards and David Readman is taking the flag higher with every line helped by his plethoric voice.

Maybe I would say their only weak point (I must be honest about it) is the lack of originality, but who cares when stuff like this is made so well. To conclude this review I recommend you try to get the Japanese version, there you'll find a nice version of Led Zeppelin's immigrant song.

By: Epsilon.

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 Dominate by ADAGIO album cover Studio Album, 2005
3.56 | 57 ratings

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Dominate
Adagio Progressive Metal

Review by Epsilon

3 stars When I talk about the combination of metal, classical music influences and progressive, I always take in mind Adagio's music. I would say that Stephan Forté and his band were a particular experience for my hearings when I listened the debut album (Sanctus Ignis) by first time a few years ago.

Years later when I thought Adagio's first record had not any competition, suddenly Underworld album came out and I knew that a new masterpiece inside the genre had appeared before my eyes. A world of musical softness, classy melodies, a great balance of technique and mostly, an authentic source of talent gave life to one of the most complete neo classical progressive metal albums (maybe "The Divine Wings of Tragedy" from Symphony X could be compared as an equal).

Nevertheless, after I heard Dominate, doubts and questions surrounded me. Where all magic compositions had gone? What happened with the inspiring music landscapes? Was Adagio going to despair?... and the answer is simple NO, in spite of line-up changes (three original members had left the band, including the charismatic voice of David Readman) they wanted to keep the essence of their music and that?s sure.

Once the band incorporated its new elements they tried to blend some ideas and focused some others. For example, that sensation of orchestration isn't as present as before, also some growls they used on Underworld were repeated with more frequency this time. They conducted the music in a less progressive way and more oriented to a melodic metal sound with a darker touch. Perhaps the only questionable point is the final mix sound (quite inferior quality in comparison to their predecessors, it could be better, specially on drums), however Adagio's original attitude is still there, even sometimes I think on this record more like a transition work but only the time will put this record on indicated place

By: Epsilon.

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 Archangels In Black by ADAGIO album cover Studio Album, 2009
3.51 | 40 ratings

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Archangels In Black
Adagio Progressive Metal

Review by MorbidRitual

4 stars Not up there with Underworld, but still a great album. Adagio is a very talented band, and the Neo- Classical elements are definitely the selling point of the band. Use of piano is scattered throughout the album and adds a lot to the music. While having great moments in the album, the obvious trying to be "evil" throughout the album both lyrically and musically is not too appealing to me.

The album starts off with Vamphyri, a song from that from the very start you learn that Adagio has taken a turn away from their first 2 albums. The song starts out with heavy distortion, and what's this? A scream? The great guitar solo wasn't enough to make this song quite stand out, however.

The song that follows is The Astral Pathway, which in my opinion is one of the best songs on the album. The singing in the chorus combined with the piano make a great combination, and overall is a very great song musically.

The first two songs on their own show how much the album varies. From including growls, to going back to a Neo-Classical masterpiece, sometimes in the same song. Don't let the rating fool you, this might have easily been a 5 star album as maybe a debut. However, Underworld makes this album pale in comparison.

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 Archangels In Black by ADAGIO album cover Studio Album, 2009
3.51 | 40 ratings

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Archangels In Black
Adagio Progressive Metal

Review by Mithr4ndir

4 stars I was square on top of the fence with this album for the longest time. I had heard from everyone who likes this album that it is a massive grower, and I took the cliche with a grain of salt. That saying does hold true with this album. The first couple of listens and you'll be like, "Really? Really Stephen? You actually released this?" But as you listen to it more, you begin to assimilate all of the fantastic musicianship present

The vocals were my main concern coming into this record. I for one despised Dominate solely due to the vocals. Gus utterly destroyed what would be a serviceable record with his vocals. Christian Palin does much, much better on this record than Gus did on Dominate. No, he isn't as good as David Readman, but that shouldn't discourage you from purchasing this record seeing as nobody is as good as Mr. Readman.

Compared to Adagio's first two opuses, this record is far more guitar driven. That's not to say that the first two lacked in the guitar department - that is nearly a blasphemous sentence - it's just that the keyboards in this album aren't as prevalent as in Sanctus Ignis or Underworld.

To expand on the guitars - they are utterly masterful, as expected. Stephan's guitar work is absolutely stunning. There is nothing lacking in the solo department, and unlike some parts of their other albums, the riffs are very, very good too. Much heavier and more ballsy than anything they have put out thus far.

The only questionable part in this entire record is the retarded intro to Fear Circus. It is so horribly irritating that it takes away from the greatness of the song that follows.

Many people complain about the innate egoistic qualities present in progressive metal, and I just have to ask why? That is one of the integral parts of the genre, and it isn't going anywhere. If you're going to complain about it, then you should turn your back on the genre.

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