The glockenspiel that opens “O Conto (The Tale)” makes you feel like a fairytale book is being opened, inviting you to go along on a magical journey. Take a look at the album cover and I think you’ll agree that there are elements in its design that make you think of Sleeping Beauty, for instance. Then there is the figure in the centre, who holds a doll – perhaps connecting with past memories? There is an innocence about her. She’s in a cellar, just like Bastian was when he snuck away to read The Neverending Story. Did you see the hands pressing at the window?
Priscila Lira’s voice shines through a symphony of strings and electrifying guitar on “Anjo de Luz (Angel of Light)”. From the orchestration you get the feeling that something epic is being recounted: “Anjo colhe, Lágrimas faz o rio caminho, Ao céu – Angels reap, The tears that form the river road, To heaven.” She longs for the angel of light to take her to heaven. The classical and contemporary instruments compliment each other; the use of the harpsichord one of my favourite inclusions.
An electric guitar and the drums start at a gallop on “Sacrifício (Sacrifice)”, an invitation for the weary to come to Jesus who will dry their tears. If I had to position Angel’s Fire on the symphonic metal spectrum, I’d place this Brazilian band somewhere between Cellar Darling – their song “Avalanche” comes to mind, and Ignea, a Ukrainian band that recorded their song “Alga” with a symphonic orchestra.