The Divine Conspiracy
Epica move firmly towards their heavier side on The Divine Conspiracy. Mark Jansen's growls receive more space, the drums can attack sharply and the guitars carry considerable weight. Simone Simons, the choirs and the orchestral parts provide a melodic line against that force. The album makes this contrast its main engine, aiming beyond a simple collection of symphonic choruses.
After the opening Indigo, The Obsessive Devotion gets properly underway. The different voices and heavy instruments regularly stand against one another, but also give the song direction. Menace of Vanity makes effective use of the move between harsh singing and a much more open chorus. The melody remains recognisable while the performance changes its character considerably.
Not every shift convinces as much. Chasing the Dragon begins quietly and develops into a far more aggressive section. That change brings power, but also feels abrupt and stretches the song further than necessary. It exposes the limitation of this approach: extra contrast does not automatically make every section connect well.
Sancta Terra provides a welcome space for Simons' singing. It allows her voice room without removing the larger symphonic setting. This shows another part of Epica's appeal. A less crowded arrangement can still make an impact within that grand sound.
The lengthy title track closes with considerable ambition and several different sections. Its scale impresses, though not every transition earns quite as much room. That applies to the record as a whole. Strong ideas and convincing performances appear throughout, but the execution is not equally focused everywhere. The Divine Conspiracy has enough character to sustain the long listen. The band are at their best when melody and the heavy attack genuinely push each other further.
