Register Forgot login?

© 2002-2015
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Dead Again - 49%

GuntherTheUndying, September 22nd, 2013

Trail of Tears closed the book after releasing "Oscillation." The band's vocalists—Ronny Thorsen and Cathrine Paulsen—had apparently had enough of putting up with each other, so they launched an open-letter war over the internet, which is clearly the only feasible solution to solving interpersonal dilemmas, that ended in an implosion. I'm a total stranger to Trail of Tears, so as usual I'm creeping into the graveyard and exhuming this band's frail, rotting corpse for reasons that are none of your concern. I had been quite curious about finally hearing Trail of Tears: I was under the impression the Norwegian squad fell somewhere between symphonic gothic stuff and a melodic style of black metal. "Oscillation" is quite ordinary and disappointing, however: it comes off as a standard gothic metal release carrying symphonic/orchestral elements in its pockets. In other words, nothing this type of genre hasn't produced before.

It's a rather anticlimactic record, which is somewhat baffling considering this is the swan song of an esteemed project often dubbed one of the genre's finer acts with six full-length efforts in the rearview mirror. In the end, "Oscillation" sounds frustrated and bland. Being a total neophyte to the world of Trail of Tears, I must say the vocal situation that takes on the familiar concept of mixing harsh grunts with elegant female chimes is cooked better than most. Cathrine Paulsen does a splendid job appearing emotional and pristine against the bleak backdrop, and Thorsen's growls stab like a knife in the gut; they do not appear in conflict, even when overlapping. This is the sort of combination many groups of this niche (and even beyond) attempt, but ultimately fail to achieve. With that said, I'm left feeling sort of depressed about the remaining traits within "Oscillation," and I'm not referring to the dreary, joyless lyrics about life sucking the big one and the like.

Trail of Tears' style implies there's nothing here that would indicate the band is trying to rise above the cookie-cutter idea of what this genre tends to offer. The thirteen anthems are all simple, poppy pieces of accessible, modern metal riffs melted down with basic rhythm work and symphonic pieces weaving through the sad atmosphere which "Oscillation" preaches. It's a fairly acceptable blueprint, but it falls down after a handful of songs, becoming rather bothersome given the record has THIRTEEN cuts that all juggle the symphonic goth idea in similar circles. The opening "Waves of Existence" is quite fine, and "Scream out Loud," though dominated almost entirely by Paulsen's vocals and a sugary chorus, is catchy and explosive. After the title track, however, Trail of Tears creatively breaks its foot and pouts in the mud. Song after song flies in one ear and out the other with little to remember afterwards. The six-minute "Path of Destruction" is completely devoid of hooking guitar work, while "Room 306" or "Eradicate" shows an irritated group hammering out inadequate, common music with little meaning.

The Paulsen-based, piano-driven "Lost in Life" is a fitting ballad that shuts the door on both "Oscillation" and Trail of Tears for good, though Trail of Tears had once called it a day before and then reorganized, so who knows if this is their actual final opus. The bonus tracks ("Sleep Forever," "Quick Fix of Shame") are musically more adventurous and rewarding than most of the record; they both share a revitalized energy and explore musical ideas usually foreign to "Oscillation," such as blast beats and enhanced symphonic arrangements on the latter. The fact that the bonus tracks are more hooking than the actual album speaks leaps and bounds about the substance of "Oscillation." It seems Trail of Tears—this strictly being the view of an outsider—had outlived its prime, and "Oscillation" marked the decline into mediocrity. I'm not very good at farewells; neither is Trail of Tears, apparently.

This review was written for:

The golden years have gone, she sings - 72%

sushiman, May 4th, 2013

I've been following this gloomy Norwegian gothic death metal group fer many a year now, and their career isn't the simplest to sum up. Let's try shall we, since this'll be their lastest album. They've veered from their first two records of mournful epics uplifted by operatic vocals, to hate-fuelled, Dimmu-style melodic extremities with the next two, and recently to a more compact sound partway between Tristania and Penumbra. What about this swansong then, eh? Where each previous album was some development or growth of the previous album's agenda (even discounting the often drastically different line-ups) this is pretty much Bloodstained Endurance, Chapter II.

Trail of Tears were always in a different league to the mediocre likes of Siebenburgen, recent Sirenia and so forth as far as I am concerned, what with de facto band leader Ronny Thorsen possessing latent proclivities for truly devastating death metal outbursts in the otherwise Therionic surroundings of choirs, epic clean vocals and symphonic keyboards. Recent efforts have unfortunately once again done away with blast beats and much of the overt fury, while keeping enough gruffness to offset the sugar. Oscillation slightly tones down on the rage again, though Ronny still gets a look in on many of the verses and breaks, and sounds as ferocious as ever. The title track, for example, has a bit of a 'My Comfort' feel to it, while the otherwise average 'Vultures Guard My Shadow' features some harsh vocal assaults as unforgiving as Thorsen's ever been, which is great I guess, 'cause it reminds you that this band is no Sirenia or Nightwish, they're actually capable of brutality when they want it.

The burly vocals of Thorsen have been paired with plenty of different singers, from sonorous soprano Helena Iren Michaelson to the brilliantly bluesy Emannuelle Zoldan, to my favourite of all, the gifted and criminally unknown tenor Kjetil Nordhus - his departure from the fold after he and the rest of the band members featured on Existentia fell out with Thorsen has been an embuggerance if only because he's done almost fuck all since. Here Cathrine Paulsen is providing the cleans for her third ToT album, and she is as impressive as ever, unleashing noble clean vocals and the odd soprano note as well.

The songs themselves just unfortunately aren't as crack-a-lacking as on the previous record, despite being enjoyable. 'Waves of Existence' opens with dramatic guitars, a My Dying Bride style whine, pretty different to the grandiose strings usually present - but the customary bulldozer bass and groovy death metal riffs aren't far behind. In terms of songwriting it isn't a huge triumph, though in terms of vocal performance, production and general atmosphere it sounds great. Good for a bit of headbanging and probably even better with some beers, but I wasn't stunned, and after recent openers like 'Deceptive Mirrors' and 'The Feverish Alliance' I expect to be rapt. It sets the scene for an uneven album, where the usual overtones of cathedrals being engulfed in fiery infernos while angels sing choirs of anguish have been replaced with something more in line with the cover art's somber, modern hues and imagery.

Sometimes it gets really modern. Like about as far from 'A Fate Sealed in Red' and 'Obedience in the Absence of Logic' as poss while still being the same band. Paulsen's chanting and belting vocals on 'Scream Out Loud' are incredibly poppy, as is the song's general progression and funky electronics. It's a sort of 'Bye Bye Beautiful' - personally I pretty much dig it, but I know that this is where the album is likely to lose less invested and more jaded listeners. Despite these leanings, the album is comprised of songs of between four and six minutes, adding enough to the arrangements to avoid the verse-chorus curse, and generally making none of the mistakes a band like Sirenia or Battlelore do. 'Crimson Leads on the Trail of Tears' includes some great, galloping rhythms, a huge atmosphere created by vocal effects and ethereal backing choirs and feels good despite its jiggy, positive vibe (and the admittedly irksome "shout choirs" that feel uncomfortably American... as in "NWOAHM").

There are a few highlights after that pretty solid first four songs: 'The Dawning' has a really cool, driving vibe to it, rhythms sizzling toward some incandescent horizon as Paulsen and Thorsen's vocals respectively soar and bawl. Would have made a good opener, actually. 'Lost in Life', another soft song, has a beautiful performance by Paulsen, reminding of 'A Storm at Will'; it's a real lighter-waver, or would be if there was any chance of Trail of Tears ever playing live again with Paulsen, or at all. 'Eradicate' is like a part two to 'Waves of Existence', same familiar thrust, while the two bonus tracks, 'Sleep Forever' and 'Quick Fix of Shame' are actually very cool - the first a dramatic, groovy riff fest, the second a creepy and surprisingly extreme outburst reminiscent of Existentia or A New Dimension of Might.

However, despite their evading the curse of many of the female-fronted bands signed to labels like Napalm Records, the album generally sags a little at the middle. 'Path of Destruction', 'Room 306' and 'Our Grave Philosophy', aside from the vocals, don't have much to recommend them, lacking the atmosphere and drive of a 'Waves of Existence' or 'Oscillation'. So if you removed these three (and probably 'Vultures...' and stuck 'Sleep Forever' and 'Quick Fix...' into the main tracklist, you'd have a much stronger album.

So that's it. The end of Trail of Tears. No-one really cares, except me, who has been listening to them regularly for the good part of a decade. The fall-outs with most of the past band members probably prohibit any interesting re-recordings or farewell compilations surfacing, or some Candlemass style live show with several past singers making an appearance, so with this flawed but pretty damn listenable album the band falls silent. It's stronger than Free Fall Into Fear and Disclosure in Red, but the newcomer would be better advised to start with albums other than those and this.