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I could definitely see myself absolutely hating this as recently as a year ago, but after discovering Tears For Fears' surprising non-crappiness and developing a fondness for some early 80's MOR (Yacht Rock, you have much to answer for!!) my hatred for 80's new wave/goth/music in general has pretty much disappeared. The soaring vocal lines! The awesome bombasticness of so much of the stuff, the love of super digital sounding tones. It sure beats the hell out of the modern day Australian pop, which features whiny divas or terrible pop/folk dudes.
I can't name many in the way of influences as I'm not exactly an expert in this sort of stuff but this whole thing nails a lot of "80's music" type stuff. The gossamer-thin female vocals have a bit of an early 4AD vibe, the chorused clean guitars are straight out of the 80's, the production has those loud synths and big snare tones down, and the male vocals... Well, I'm not really sure where they're from, but those low, supremely bummed and not-really-all-melodic tones sound like a lot of gloomy dudes who want to be/be with Robert Smith or whoever. I love his real repetitive stuff in "Lorelei" (probably my favourite track in general) and yeah, for the most part he works well, making the whole thing a bit gloomier and weightier.
Admittedly metal influences here are somewhat thin on the ground; I'm not familiar with anything else these guys have done but I have a feeling that some other release was what get them accepted into the MA. There's a few variations on that "chugging in the background" type thing that Nightwish/most Eurogay bands have done, plus a bit of Katatonia thrown in, perhaps. Not really much in the way of guitar riffs, but the fairly solid keyboard layering keeps that from ever becoming too much of an issue. Plus, there's a bit of tonal variation; from chugging guitar action to vaguely post-punkish clean guitar arpeggios throughout keeps your eyelids from drooping. All in all the band understands that if you're not going to be riffing like crazy you gotta add some other things to keep the interest going; and while I can't see myself listening to this on repeat for hours on end it works for the hour or so it goes for.
This isn't amazing; I dig Lorelei and Siren but nothing here is pure gold or anything. Still, it's an enjoyable listen and seeing as I've heard sweet FA of Gothic stuff it's a relatively unique sounding thing, for me at least. Give it a listen if you're curious/bored, there's far worse things you could be doing.
This is a quieter kind of music than Theatre's first two works. The rough vocals are gone, replaced by a crooning gentle lullaby. Liv's sweet voice sounds much the same, but is now backed by a slower, sadder melody. And such melody- Wagner flirted with such melancholy but never let it take over as they have here: Here there is nothing hard or overtly metallic to distract you from the simple sad elegance of the songs. And they are songs, not strange works of art like Velvet Darkness and the debut- This is much more normal, often akin to rock or alternative gothic.
We begin with the long Cassandra, a poem from a teen sensibility (That's teen as in Romeo and Juliet, not teen as in the pimply things) that waits a long time to introduce it's counterpoint but does so effectively, with gentle buildup and crushing melody. The album progresses through three more tracks before it peaks with the powerfull, deep, dark Siren. This is a grand work more akin to a movie score by John Williams than Velvet Darkness. And it is followed by two more flawless tracks of subtle power, smart shifts in pace and mood, gathering themselves in sultry melody and building up to orgasmic (Poppæa) bursts of power, riffs and chords of strength and focus that quickly rest back in their puddles. The album flows so naturally it's over before you know you've passed it's depths, it is subtle compared to their early work but not so subtle that one could deride its presence: The album has a sort of effect like watching a good eprformance in a devastating movie. You feel the pain behind it. Then Bacchante ends the album with a boring track I tend to skip, but hey, it can't all be highlights.
This is a one time swansong from a band who having made the highest peaks of gothic metal, would soon turn into some sort of industrial creature. They would eventually return part way to the beauty and power of Aegis with Storm, but for a long time this album was the end of all things beautifull in Norway, where Tristania would soon make it's mark, and where churches were so cleverly built from flammable materials.
After two albums with an unpolished combination of gothic, death, and doom with depressive-aggressive style, Theatre of Tragedy made great music progression. They made “Aegis”.
This album has a uniquely melodic, ethereal sound.
The guitars sound tuneful, resounding, and provide metallic goth rock riffs. Drums give slow, hypnotic rhythm to the music.However, some heavier parts are still present in certain places.Synth beats, electronics and especially tender keyboards play very important roles for the typical dark romantic atmosphere.Clean and deep, the haunting male vocals contrast to the angelic voice of Liv Kristine in magnificent vocal parts.
The songs are like a part of a whole,part of one storyline. Each continues, complements and develops further the other. They follow the same idea but with different structures,feelings and aspects of the main plan.
All the gothic ideals are recreated in the music and you feel like you’re having a really good time in the nearby goth club.
It’s almost a perfect album - a gloomy symphony of beautiful sounds and emotions. But it’s not easy to understand with one listen.Nevertheless, once you see the beauty it will always be there.
When The Gathering released Mandylion in 1995, the metal world would change forever. While the mixing of soprano female vocals with metal was not new, (Into the Pandemonium, Gothic) The Gathering was the first band to achieve widespread acclaim by incorporating beautiful female vocals over heavy and almost doom metal riffs. Open the flood gates for Lacuna Coil, Within Temptation and a host of others to milk the format to oblivion. Now I make no representation as to which band came first and released what album when, but with their third album, Theatre of Tragedy unfortunately came across as a second tier genre jumping band. I actually remember enjoying this album more in 1999 when I picked it up. Perhaps the formula has become outdated, or perhaps the songs just haven’t held up as well.
If I were to write a song for this album, I would construct it as such. Open with clean guitar playing arpeggio minor chords. I would then add a slow palm muted riff, with a layer of light airy keyboards underneath. Drums would be slow and not at all showy. I could also weave a slow somber guitar melody over the top of all of it to color the song a bit. I would then have Liv Kristine sing haunting and beautiful melodies over the top of everything to create a catchy yet mournful song. Finally I would add a Sisters of Mercy type male vocal in certain areas to add dynamic. Heck I might even have him growl in a song or two. I would repeat this basic formula with slight changes to song structure to mix it up a bit.
My above sarcasm aside, I kind of like this album. The problem is that when the primary focus and raison d’etre of any band is the vocals, the music becomes a supporting cast member. Most riffs on this album are slow palm muted chugging, ringing power chords, clean arpeggios, and some higher register melodies all played at a very slow tempo. Therefore any song coloring is done with vocals and keyboards. Not very metal. Since the best songs on the album are in the first half of the album, even the beautiful angelic vocals cannot keep me totally interested for the entire duration.
My favorites are opener Cassandra, Lorelei (is that an up tempo intro I hear?), Angelique and Siren. I think the overall structure of Cassandra is the best on the album. It actually starts off with the male vocal and the female section doesn’t appear until over three minutes in. By doing so, it creates anticipation and excitement for when the female vocals break in. The vocal melodies found on the chorus section of Siren are my favorite on the album, and the mixture of male and female vocals on the chorus of Lorelei are also quite good.
Now although I would listen to this over a Nightwish album any day of the week, each band has a similar goal and presentation. Vocals are to be the primary attraction (in addition to the beautiful female front person in a male dominated genre) and the music should support the vocalist and then get the heck out of the way. I can put this album on every eight months or so and generally enjoy it. Unfortunately the lack of variety and inventiveness keep it from becoming anything more than average.