A NIGHT AT THE OPERA

Oh my, I can't say that I wasn't warned! I had read on ProgArchives about this album as having a huge sound that had to be heard to be believed. But there's no way to prepare for this. It's massively, epically, comically, stupendously huge, and the onslaught lasts for an hour!

It's like being punch drunk and sort of enjoying being pummeled, but a part of you also wants it to end--knows it has to end.

Let's see...we've got massive Queen-like choirs throughout, tons of hammering double-bass, ever-present dual guitar (sometimes it sounds like four or five lines), pretentious lyrics, and on top of all that, lots of orchestra hits to add even more emphasis.

I'd talk about some of the songs, but they really do sound a lot alike. Maybe it needs more time to grow, but most times I put it on, I get that drowning feeling and have to come up for air. I suppose if I had to pick one, it would be the 14 minute closer, And Then There Was Silence, which gives me a digestible chunk when I'm in the mood to be musically pummeled.

All in all, certainly a unique album. Judging by the cover, I wouldn't see much difference between this and Pendragon's Masquerade Overture, but upon listening, they couldn't be much more different.

It's strange--I don't really like to listen to this album, but I do think it's cool that it exists. It answers an important question: What happens when take over-the-top metal and then go a few notches higher?

Now I know: A Night at the Opera happens, and now that the matter is resolved, let's hope bands in the future decide against answering it again.