Reviewed by: Daniel Millard

At the beginning of this project, Rage was more or less a mystery to me, and it’s been very enjoyable buying all of their cds and backtracking through their discography, though a bit challenging. If there’s on thing you need to know about Rage, it’s this: They do melodic heavy/power metal consistently well, and Peavy’s voice makes it rather unique. That said, some of their albums are difficult to review because the style rarely changes very much, with the exception of some serious symphonic compositions in more recent days.

Reign Of Fear (1986)

Execution Guaranteed (1987)

Perfect Man (1988)

Secrets In A Weird World (1989)

Reflections Of A Shadow (1990)

Trapped! (1992)

The Missing Link (1993)

Black In Mind (1995)

End Of All Days (1996)

XIII (1998)

Ghosts (1999)

Welcome To The Other Side (2001)

An aesthetic shift. A blend of the band’s early traditions, spiced by the addition of newcomers Smolski and Terrana. Less symphonic work than on Ghosts, and a consistently excellent album.

Unity (2002) 

Rage’s second album with the Wagner/Smolski/Terrana trio, and the true arrival of the band’s modern sound.

Soundchaser (2003)

The first of two albums that represent the pinnacle of Rage’s career to date, Soundchaser features a slightly more involved approach to songwriting, resulting in added consistency and replay value.

Speak Of The Dead (2006)

A very good album by any measure, and consisting of two nearly independent halves, with the “Lingua Mortis” symphonic suite dominating the first eight tracks of the album, and the second half made up of the band’s usual heavy metal mayhem.

Carved In Stone (2008)

A relative low point for the band in modern years, not quite as inspired or symphonic as the releases that sandwich it.

Strings To A Web (2010)

A solid release, if without considerable change. The “Empty Hollow” suite sees a return of Rage’s symphonic dabbling.

21 (2012)

Apparently the band’s 21st release (I think Peavy had an ego trip, either that or he ran out of creativity), they also seized the opportunity to make the convenient connection to the gambling hall. Good as always, but probably on par with Carved In Stone in terms of lyricism and general creative stagnation.

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