However, this two-bands-one-name thing is not just stupid, but has clearly taken its toll on the quality of both groups. The two post-Trilli recordings reveal one absolute truth that none can deny: Trilli and Staropoli need each other. Without Staropoli, Trilli stalls on overbearing neoclassical elements that go nowhere, while Staropoli's metallic direction lacks the bombastic, creative colors that come from Trilli's arrangements. Cursed by this separation, the songwriting efforts of both parties have greatly diminished, somehow turned tired, generic, insipid. Comparing "Ascending to Infinity" and "Dark Wings of Steel" would be moot, though; both are unique entities. The glares of change are most prevalent on "Dark Wings of Steel" as its direction is a new era for the group, albeit one that's far from bold.

Simply put, "Dark Wings of Steel" is unequivocally tarnished by the abundant metallic forces that make it an average power metal record with classical influences instead of the dazzling amalgamation of Rhapsody of Fire's former travels. I hate to compare this to other Rhapsody of Fire records, but really, the change in texture and quality is enormous: the engrossing orchestral elements and symphonic influences are completely secondary to the record's elementary power metal base. Looking at an album like "The Frozen Tears of Angels," the two halves of Rhapsody of Fire's body become a new entity that sounds like classical music clashing with metal; the comprehensive idea of combining both is masterfully equal, not one giving an inch nor letting the other take control.

Here, that brilliance is sidelined for incombustible Manowar-esque instrumentation with a full orchestra and choir clinging to the side of the dish like four-day-old coleslaw. Rather than progressing or even circling the Rhapsody of Fire sound, "Dark Wings of Steel" is simple and gaudy, the antithesis of Rhapsody of Fire's yesteryears. The problem with the incredibly uncomplicated theme isn't the lack of explosions, but how vapid everything sounds together. Pretty much every track from "Tears of Pain" through "Custode di Pace" exemplifies arid, stagnant guitar parts with lackluster keyboard and orchestral patterns lazily connecting the whole picture into one haphazard entity that flies like an obese dragon. I can't remember a thing about those songs—they're tired, unmemorable, and inadequate.

Going a little more in depth, the songs in general feel poorly stitched together by rudimentary riffs and keyboard sections that restrain the bass and drums to solely providing rhythm while the classical elements struggle to remain relevant. It ends up making the sixty minutes of "Dark Wings of Steel" tiresome. Within this lackluster product there are some very decent moments, however, as Fabio Lione delivers what might very well be his finest vocal performance to date, and some hits linger in the mist. "Angel of Light" is very impressive, showing that this blueprint definitely has potential. Roberto De Micheli and Staropoli perform some wonderful solos that are incredibly poignant and emotional, not relying on speed or dexterity but raw energy, and they work very well. The great chorus helps a bit, too.