Patrick : Enzo Donnarumma is an Italian singer, songwriter and convinced Christian. His faith plays a major role in his life and is also clearly reflected in his music. In 2015, he released the metal opera 'In The Name Of The Father' and this 'In The Name Of The Son' is the next in line. Donnarumma did not make the album all by himself. He collected some sounding names: among others Marty Friedmann (ex-Megadeth, ex-Cacaphony), Ralf Scheepers (Primal Fear), Mark Zonder (Fates Warning), Gary Wehrkamp, Brian Ashland (both Shadow Gallery), Kobi Fahri (Orphaned Land) and the Weza Moza Gospel Choir participate on the album.
The musical direction of the album is instantly clear from the theatrical intro 'Waiting For The Son' and the subsequent bombastic 'The Tower Of Babel'. In the distance, a shrieking guitar plays a role, but the principal part are oriental influences (in the veins of bands such as Amaseffer, Myrath and Orphaned Land), thick layers of keyboards, classical music, symphonic influences, sweet choirs and movie music. The album has a bombastic, oriental, theatrical approach, and ‘In The Name Of The Son’ may be put down as a metal opera, the album never gets really heavy. The cinematic, atmospheric music apparently suits better for a moderate approach, resulting in a track like 'Glory To God', which mainly consists of keyboards and a thin, acoustic guitar and at the end a somewhat stronger guitar line picks up. A track like 'Trial' has a guitar which initially starts heavy, but after that, it only takes minutes for vocals and strings. As soon as the story line allows, guitars and drums swell. 'Psalm 133' is a track that has a lot of interfaces with Orphaned Land (not entirely coincidental because Kobi Fahri is present on it) and may well be the most firm track of the album. Additionally, you have to do with tracks like 'Magnificat', 'Matthew 11:25', 'Eternal Rest' and 'If Not You '. Piece by piece very cinematographic pictured, but often very long, so the intensity evaporates and the animation to keep listening quickly fades.
This 'In The Name Of The Son' is mainly about bombast and the theme, and an approach has been chosen that has little interfaces with metal. Sadly, for the end result is now very lean. Nevertheless, there will be solid lovers for the cinematic, theatrical approach to this album; unfortunately I do not belong to that group.