The classic Rage period had those aplenty, both in lead vocal melodies, in guitar parts, and in orchestral parts as well. Yes they had quite a lot of orchestrations during that time – which is basically “nineties plus”, ending with Soundchaser (2003). Soundchaser I would personally call a “transitional” kinda record – they were trying to become kinda heavier, which isn’t bad per se, it’s just that the melodies got somehow downplayed in the process and not supported throughout the whole instrumental fabric anymore. Maybe this is why there is a backlash against Smolski, but I don’t get it. It’s not like you can publish any material under the name “Rage” without Peavy looming over you. They’re both to blame, if anything.
But when there was Smolski, there was hope. The dude has DA TONE ™, and while yes he can shred along with the Dario Lorinas of this world, he can also play those coveted oldschool melodic leads.
I just can’t seem to really like the contributions of the new guitarist, Marcos Rodríguez. The 2016 record seemed to be written in a way that attempted to mix “classic” and “new” approaches, but here’s the thing: the attempt didn’t exactly work IMO. Either the problem is the new dude’s less bitey tone (even as compared to the tone Schmidt had in the early 90s, yes – he had a damn powerful one), or again, the general structure.
There is a new record about to be released, and here’s a promo vid for one of the songs.
The good thing about the song is that it seems to be melody-centric, and the riffing supports the vocal leads relatively well. Notice the “relatively” thing. I’m trying to figure out if it’s my bias or something more objective. The guitar tone here is definitely on the wimpier side, but maybe this one is supposed to be the ballad? // as ballad-y as it gets with Herr Wagner, sure //
How does it stand against the original studio version of Set the World on Fire?