Rage - Afterlifelines (2024)

The consistent dedication of some artists is incredible. I am talking of course about Peavy Wagner, mastermind of Rage, who are approaching the achievement of their 40th anniversary. The most impressive part is that we are talking about creative years, as Afterlifelines has turned the release count to 23 if I am not mistaken. Full length, because if we count EPs, Lives etc. it gets out of control. The group has passed many phases, from the 90s one with the Efthimiadis brothers, followed by the Smolski era that pushed many Symphonic buttons, to the now with Jean Bormann on guitars and Vassilios Maniatopoulos on drums, completing the trio that has leader Peavy on bass and vocals, as always.

The line up changes contribute to the reinvigoration of Rage, but if Peavy’s heart was not burning for more Metal, we would not have this conversation. On the contrary, Afterlifelines is a different kind of beast that is essentially a double album, with each one clocking for at least 40 minutes. The first “side” is all Metal and similar to the band’s recent past. The second, is a trip to more epic paths that also sees the inclusion of Symphonic elements. By that, don’t expect the music to get much softer or the orchestral arrangements to smother the Metal aesthetic. It is not Lingua Mortis revisited, but a more refined version of modern Rage.

Starting with the first half AKA Afterlife, I was glad to find out that it hits like a truck. Not for a song or two, but always, to the point that tracks like Waterwar borrow some Thrash elements. The good part about Rage is that their aggression is not limited into relentless pounding, but is combined with melodic extensions. This is true for the majority of the choruses and on many occasions, also found on the lead guitars. Fast drumming, great riffs, heavy as boulders rhythm guitars and Peavy’s distinct vocals make Afterlife the metalhead’s perfect playground. As we approach the end, Shadow World and Life Among the Ruins retain some of the momentum but also show a gentler side, to bridge with the second part…

… that is called Lifelines. The reason this is not Lingua Mortis Pt.2 is because if you isolate the orchestral parts, the remaining layers can still stand on their own. One the same time, the symphonic part has its own character and is not there just to label this side differently, so you have the two worlds co-existing in harmony. If you believe Rage are kidding in this second half, you better reconsider lest you are caught off guard by Cold Desire. Root of Our Evil keeps up the speed but is also super melodic in a good way. Curse the Night is first Metal and then Symphonic, with a bridge that breaks bones. After 16 songs, the band deserves to add a ballad and Dying to Live is a decent one. The title track ends six seconds short from breaking the 10 minute threshold, so as you understand there is more variation on this album. Rage say “till next time” with In the End, that for the most part features a classical guitar and allows us to cool down.

Variety aside, I believe the heavier Afterlife is more tight and better overall. Lifelines is an exemplary effort that shows how strictly Heavy Metal bands, should exhibit their symphonic expressions. Rage have explored that area thoroughly after all, so they are definitely the ones to show the way. The question is who has 1 hour and a half of uninterrupted time, in order to consistently enjoy Afterlifelines at its fullest. I will admit I am just a Rage fan, not an avid one, so it will be impossible for me to regularly return for all 21 compositions.

For album number “I have lost count” and as a way to celebrate a 40th anniversary, Rage over delivered. They could easily pick the best moments, craft a 10-track record that would melt minds and call it a day. Instead, they served double that number with the result not feeling forced at all, two parts that can stand on their own, without sounding alienated from each other. Peavy respects himself, respects his followers, we salute his stance and Rage could not mark this point of their career any better.