Wasteland

Although this album is called ''Wasteland'', the impressions it brings are those of wonderland. Atargatis play a genuine style of metal. This album, although labelled as gothic or symphonic is neither. It is 2 bright to be gothic, and is not enough bombastic to be symphonic, furthermore, albeit there is a violinist prominent and keyboards abound in the music, neither is used to create symphonic arrangements.

Myself being a violin player (but a meager one), I was pleasantly surprised how the violins were used. They always come to accentuate a part of the music, animating it and giving it an instantly recognizable flair - no other band uses violins this way. It is hard to describe them, but I'd say they are amain atmospheric. What extends the atmosphere evoked by violins is the voice of Stephanie. She possesses an unique voice, she ressembles no other. When heard, it shall be known, and approved. She uses a semi-operatic technique and it suits the musique very well. Her timbre is very high, slightly nasal at times, a soprano I deem, her voice produces a colorful effect and the mix with a slight reverb enhances this further. She sounds evocative and highly expressive, emotions are brimming out of the notes. On ''Wasteland'' she sounds apathetic and sarcastic, while on ''Selina'' she sounds eerily enchanting, on ''Cradle of Fern'' and ''Thy Crystallic Ascension'' gentle and lyrical, in ''Through The Mists Of Oblivion'' and ''Circle Of Life'' she sounds imposantly lush and mystical... Such versatility is always welcome and appraised when so much vocalists are so bland and blunt. I'd describe her voice as being litterally crystal clear and resonant, powerful and sonorous, her tone being very similar to the violin. Now I come to the point: that similarity is used to great extent throughout the whole album. Violins play almost all the time, mainly on mid-range notes, and with Stephanie in unison, this invokes an unequaled ethereal, dreamlike, peaceful harmony. Such consonantry resounds transcendental and otherwordly at times. Occasionaly, there is a male vocalist who joins Stephanie. He sings in a raw, trash-like style, but his vocals are agreable ans contrast well with Stephanie. Guitars play harsh, rhytmic riffs, which follow the mostly fast-paced aggressive drumming, a solo graces sometimes, and good news - even bass is audible and it is highly distorted, which makes the music pretty heavy. There are keys, but they are scant here, used to back up other instruments, and to add to the overall atmospheric vibe, as violins dominate them, thankfully.

Lyrics deal with nature, pagan deities, or mysticism. ''Wasteland'' provides a post-apocalyptic view of mankind, who defiled the earth by negligence. ''Selina'' is about Selene, the greek goddess of the moon, portrayed as a heartless but beautiful seductress, ''Cradle Of Fern'' and ''Thy Crystallic Ascension'' shows man as bound to nature which is severed and needs to be restored through rebirth and purification, ''Through The Mists Of Oblivion'' present a mystic vision and are allegoric. ''Cyrcle Of Life'' also delves into mystical and religious topics. So, there is a prevailing pagan, pantheistic and somehow druidic or wiccan aspect in the lyrics.

Finally, the best way to describe this album is to fancy a pure mountain spring in whose crystal blue waters you bathe and whose flow slowly enthralls you and lulls you to finally come to some kind of catharsis. Also, the album can be interpreted as a spiteful and angered Mother Nature poised to revenge, a beauty defiled aspiring for renewal. Maybe both. Maybe someone else will have another view, which is good, as art is supposed to be open for subjective experiences. The quality of this album lies in its depth, numerous facets, its atmospheric, mystic and soothing aura and its openness to experience it in and at many levels.