HARPAZO: The Crucible
The Crucible represents the fruit of the long-awaited collaborative labors, sown some 15 years ago, of Gary Wehrkamp (Shadow Gallery/Amaran’s Plight) and his former student Marc Centanni. For those familiar with his other works, Wehrkamp is neither a stranger to melodic progressive rock/metal nor does he shy away from epic concept pieces.
In the Shadow of the Greats
In fact, Shadow Gallery is best known for the Tyranny/Room X two-part sci-fi/socio-political thriller which cemented them in the progressive metal hall of fame. Those albums – released a remarkable 7 years apart – vie for, in my mind, one of the best concept progressive rock/metal operas of all time.
Consequently, I put them right up there among Ayreon’s The Human Equation (2004), Dream Theater’s Metropolis Pt. 2: Scenes from a Memory (1999), Evergrey’s In Search of Truth (2001), Fates Warning’s A Pleasant Shade of Gray (1997), Kamelot’s Epica (2003)/The Black Halo (2005), Neal Morse’s Jesus Christ: The Exorcist (2019), Opeth’s Still Life (1999), Pain of Salvation’s The Perfect Element : Pt. 1 (2000), Savatage’s Streets: A Rock Opera (1991), Spock’s Beard’s Snow (2002), Symphony X’s Paradise Lost (2007) and of course Queensrÿche’s Operation: Mindcrime (1988) which started it all, although it could be argued that Mindcrime II didn’t hold up musically or lyrically to the brilliance of its predecessor.
The Plight of Amaran’s Plight
However, Shadow Gallery’s success aside, what Wehrkamp is less known for was the more “solo” work entitled Amaran’s Plight – Voice in The Light (2007), which was a collaborative effort with author John W. Crawford. Interestingly, that release also featured DC Cooper on vocals. When I interviewed Gary for the release of Voice in The Light, he hinted that there was possibly going to be a follow up, but unfortunately that never materialized.
Back For The Future
Fortunately, despite the long hiatus, fans of Shadow Gallery/Wehrkamp can be blessed and rewarded with new music from the multi-instrumentalist, singer, songwriter and producer through the incarnation of Harpazo (“rapture”). Like the collaboration with Crawford on Amaran’s Plight, this time Marc Centanni contributes the story and the lyrics and helps with guitars, keys and drums as well. And dynamic vocalist DC Cooper once again teams up with Wehrkamp, this time lending his talents as “The Messenger” in The Crucible.
Not surprisingly, in Ayreon/Avantasia fashion, Harpazo has employed the help of a wide array of talented vocalists to “tell their story.” In addition to Cooper, featured here are Lee Lemperle (Outside the Wall), Jennifer Eckhart, Rey Parra (Sacred Warrior/Deny the Fallen), Christian Liljegren (Narnia), Les Carlsen (Bloodgood) Michael Drive (Barren Cross/Human Code) and a surprise appearance on vocals by Brendt Allman (Shadow Gallery) on “Book of Life.”
Vocal Villain
Surprisingly, Wehrkamp – who contributes most guitar/bass and keyboards (and some drums) – also has a major vocal role as villain Jude Soloman. I say surprisingly because while many of Gary’s fans are well-aware of his instrumental/producing wizardry, few know about his gifted voice. To say that he plays his “part” well on The Crucible would be a huge understatement – his vocal performance one of the greatest surprises here.
Drummer’s Fate
Similarly, the appearance of Mark Zonder (Fates Warning) contributing his drumming excellence on four of these songs (“Ichor,” “Golden Crown,” the title track and “The Book of Life”) is quite noteworthy. For those not aware, he was the most dynamic and “proggy” drummer in those wonderful middle career years for Fates Warning when they crafted masterpieces like Perfect Symmetry (1989) and the previously referenced A Pleasant Shade of Gray.
The Story
Arguably, one of the most important elements of a “rock opera” is a great script, a compelling story, so to speak. While some concept records are more orchestrated/compositional in nature (the previously mentioned A Pleasant Shade of Gray by Fates Warning a great example), most of these concept albums contain a narrative. The Crucible falls decisively into this more common, latter category.
Marc Centanni wrote the script and the lyrics. Like Tyranny/Room V, there is a mix of science fiction, socio-political intrigue and spiritual revelation. However, where those Shadow Gallery releases were more secular with spiritual relevance, The Crucible is strongly within the Christian/Biblically driven realm in terms of its message and impact.
Spiritual Impact
Consequently, Wehrkamp and Centanni have succeeded in both maintaining a high level of professionalism within the framework of art and music creation while simultaneously delivering a story which is relevant to all peoples, regardless of beliefs. Nevertheless, the “no-holds barred” message of redemption and transformation through faith in Jesus Christ is the central element of the story and it is clearly depicted here within the milieu of progressive conceptual rock opera. Brilliantly done!
Media Narrative
In bias to the physical media, the 20-page booklet is integral to garnering the greatest understanding of the narrative. Additionally, the lyric (“libretto”) outlines which singers/characters are “speaking” at any given moment during each song. Similarly helpful is the printed synopsis.
Setting the Stage (On Fire)
In the year 2142 Jude Solomon, CEO of Ichor, is advancing technology that will merge humanity and machinery. His goal is to evolve mankind to live forever and in doing so censor and replace “destructive” beliefs with “one truth.” Solomon’s rise to “trusted hero” is aided by catastrophic natural events which kill millions of humans. His proposal for the salvation of mankind is for them to be injected with the “Ichor cure,” forcing them to become part of his purge of “traditional” beliefs.
Not surprisingly, there is a revolution, and a “genocidal” war ensues to eradicate the rebels (sound familiar?). Subsequently, Solomon deploys “The Messenger,” a cybernetically augmented assassin to eliminate an uprising in (of all places) Jerusalem. The transformative/world altering events which follow are chronicled by the music/songs of The Crucible… [my paraphrasing throughout]
Trial by Fire – The Crucible
Speaking literally, the word “crucible” invokes high heat, the images of a porcelain vessel, to contain melting metal. Speaking musically, I would not characterize The Crucible as a molten metal amalgam of crushing instrumental prowess. However, speaking metaphorically, I can’t think of higher stakes for a “trial by fire” for humanity, not only for the “traditionalists” (aka “believers”) in the story but also for those who are the perpetrators of an insidiously evil agenda. For, after all, life is a matter of life and death. However, the crafters of this release have an even different meaning in mind…
Ichor Serum – The Blood of the Gods
The opening track blasts out of the speakers with conviction and intensity, featuring the duet of Michael “The Messenger” (Cooper) and Jude Solomon (Wehrkamp). Most striking is the voice of Wehrkamp, which soars with clarity and power. This is, by prog standards, a relatively short and direct song which serves to introduce “Ichor,” the nanoid serum which melds man and machine. Here the message of acolyte Michael is “preached” with the conviction of a victim convert.
“Freeing your life with Ichor/To change this world/I will vanquish our foes/This is all we’ve ever known/No peace, no control/They’ve opened my eyes”
The God Complex – Infected with Sin
“Legion Program” serves as a brief cinematic instrumental interlude to the declarative/authoritarian “I Am God.” Here we “hear” of Jude’s true nature, his obsession to control, sculpt and rule … his delusion to become God sovereign, enabled by the technology in which he trusts. Once again, the song features Wehrkamp’s vocal prowess, the music supportive but taking back seat to his words.
Musically, this song hearkens back to early Vanden Plas (The God Thing), but these proclamations aren’t respectful of The Living God and instead invoke images of the ultimate perversion of the truth.
“You exist because I allow it/You will end when I demand/Feel my rage burn … I am the vanguard of your implosion/Corrupting your mind within/I am the forger of termination/Infecting your soul with sin/I am God…”
Of note, this song also features Niklos Kahl (Lord of the Lost/Flaming Row) on drums.
Fake Crown
On “Golden Crown” we meet Relena Umberto (Lee Lemperle) – Jude’s daughter – who is being swooned to her father’s cause by Michael’s seductions. His proposition is for her to take up her “crown” and become princess of Babylon, Rome. The gentle acoustic guitar picking which starts this works so well, beautifully executed. This is followed by the symphonic build-up to Michael’s “proposition.”
Incidentally, Cooper’s voice is golden here as he pours on the charm. So often the “villain” is portrayed as this character devoid of decency and honest desire, and so its great to see this more “human” side to the bad guy. The dueling vocals are wonderful here, but my only criticism would be that we don’t get to hear enough of Lemperle’s beautiful voice in “solus” until the song is almost over. Wehrkamp’s guitars, both solo and acoustic, are sublime, playing perfectly to the subject matter. Clocking in at just over 8 minutes, this track never loses momentum despite its duration.
Christian Holocaust
The title track features an interesting interplay between the principles as an “opportunity” arises in the form a meteor shower where “billions will die, as we prepare…”
Musically, this track sounds a lot like Shadow Gallery meets Ayreon – a wonderful blend of prog rock/metal as Michael declares his mission.
“Let their armies come for me/We will not fear the cross/A global annihilation. A Christian holocaust”
At this point, we are finally treated to a flurry of instrumental indulgence before the second part of the song features a spiritual duel between Pope John (Michael Drive) – the leader of the Christian resistance called “The Crucible of Jesus Christ” – and Michael. As the song moves toward its finish, Jude joins the rounds of vocal layering as he commands Michael with, “You must follow your leader.”
Trial by Two
Clearly the most musically dynamic song up to this point in The Crucible, “Two Witnesses” is a prog juggernaut. Here we are introduced to the “shepherds of Jerusalem” – Ellie (Jennifer Eckhart) and Moses (Rey Parra). The opening salvo feels a bit like TSO before it settles into Jude and Michael’s play for the prize. Some of the distorted keyboard here is magical in support of the dialog.
Seamlessly, the dialog flows into Ellie and Moses’ plea for purity.
“We are the harbingers from the book of John/We’ve come to smite the earth/Babylon ‘the Great’ will fall … Sacrificed on the cross/to give everlasting life/ He died for you and I”
[Whether this is a direct reference to Sacred Warrior’s “He Died” here I am not sure, but noted by this reviewer nevertheless … cool]
As they introduce the antagonists to “the Lamb/sacrificed on the cross” we are treated to guitar and keyboard soloing in Kansas fashion. However, at this point in the saga, Michael is still convinced that he is the savior … and, oh by the way, “the assassinator.”
Heart Attack
Revelation. Michael realizes who he is (a “soldier of Lucifer’s son”) and what he has done. “The Stranger” (Les Carlsen) enlightens him as to “the rapture” and provides him with a tool (Bible) to escape from the tyranny of Jude’s stronghold on his life and soul.
Consequentially, “Change of Heart, Pt. 1” is akin to a “heart attack,” an event from which you can recover but never unchanged. In doing so, Michael moves on to convince Relena that she must similarly repent, but instead she heedlessly proclaims, “I would drown in the lies/There’s no messiah in the sky/Your God will never come.”
The drumming of Niklas Kahl is once again noteworthy as the pace quickens, along with the guitar’s urgency and melody, to hurry the newly converted Michael into the battle for the cause to kill Jude.
Confrontation
In transition, the aptly titled “Ultimatum” represents a turn of events. Honestly, this is one of the most melodic tracks on The Crucible, and musically it reminds me of the beauty of early Shadow Gallery releases, especially some of those wonderful melodic choruses on Carved in Stone (1995). I love this song, not only because of its redemptive power, but because the music is so melodic. Lyrically, this song resonates deep to the core of existence … to the ultimate battle between good and evil.
“For love to be truth/We must have free will/Our mortal trial (crucible)/Choose good or evil”
Child’s Hymn
Subsequently, the music box “Jesus Loves Me” intro to “We Are Weak” sets the stage for the run to the finale which follows. Those chant/chorus closing words are powerful in their truthful simplicity, indeed.
“Jesus loves me still today/Walking with me on my way/Bringing me up to the sky/Holding me as I die”
Crucifixion Redux
Surprisingly, some of the catchier, more melodic songs fill the latter portion of The Crucible. Casimir (Christian Liljegren) plays the contemporary Pontius Pilate on the climactic “Small Price to Pay” as he attempts to convince Michael to “just give in to survive.” The heavier guitar rhythm here appropriately conveys the seriousness of the situation for our now protagonist Michael who boldly proclaims,
“Stand tall and pray/Death for eternal life/Is a small price to pay”
Cardiac Rehab
In true concept opera form we have a sequel/reprise kind of song. “Change of Heart, Pt 2,” gloriously delivers nine more minutes of transformative revelational bliss as Relena simultaneously accepts the reality of her father’s true nature and escapes from Rome. As Relena experiences a “rehab” of spirit, she joins forces with Michael to proclaim,
“If only you believe … Jesus died to save us all … if only you believe”
The music once again supports the vocalist as the guitars sing out in triumphant exaltation, the keyboard exit transitioning nicely into the finale…
Bookend – A Light in the Sky
Finally, organs and ethereal sound effects introduce the end, followed by a Celtic guitar lilt as Relena makes her final declaration of purpose – a newborn child in tow. There is no denying that “Book of Life” is a beautiful song, Lemperle’s voice truly shines forth here. The final chorus of the 144 seems to contain a “reprise” of effort from all the players but I confess this seems less spectacular than is deserved based on everything which has come before.
Retrospective Perspective
The Crucible represents a remarkable musical and spiritual journey set in the future – one which may be much closer at hand than the purported year of 2142. While I rejoice with Wehrkamp and friends with the realization of years of planning come to fruition, I can’t help, as a musician, feel just a slight bit of a “let down” when I compare this to Wehrkamp’s previous works with both Shadow Gallery and Amaran’s Plight. Some of the instrumental and technical muscles have clearly taken a back seat to the message.
However, putting this all in perspective, the story and the message here clearly take center stage to the music, and that’s a good thing considering the eternal consequences at play in the bowl of this crucible. Furthermore, its just great to have Wehrkamp and Cooper, along with relative newcomer Centanni, crafting this kind of music. While I am not willing to put The Crucible in the same gallery as those greats mentioned above, the music here stands up as a testament to both the faithfulness of God and the credibility and sheer perseverance of the gifted musicians involved with this project. Praise God.
Track Listing:
1. Ichor (4:22)
2. Legion Program (1:05)
3. I Am God (3:50)
4. Golden Crown (8:10)
5. The Crucible (8:07)
6. Two Witnesses (10:10)
7. Change of Heart Part 1 (8:04)
8. Ultimatum (3:25)
9. We Are Weak (2:17)
10. Small Price to Pay (3:54)
11. Change of Heart Part 2 (9:21)
12. The Book of Life (8:00)
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