Interview by Miriam CadoniI must thank a dear friend of mind that some years ago introduced me to this particular musical genre [ the neoclassical/ambient genre] and consequently make me adore some of its important acts such Dark Sancuary, Dead Can Dance, Die Verbannten Kinder Evas & Dargaard. Today I’ve the pleasure to speak about Sweden’s Arcana, that along the mentioned bands, represents one of the most expert ensamble since their long career (their first release is to date is in 1996). In particular, I’ve contacted Cecilia Bjärgö, one of the singers and Peter‘s wife [the mastermind behind Arcana], for an interesting interview about their latest album “As Bright as a Thousand Suns” and some updates. Dear Cecilia, first of all thanks so much for this interview! I hope that everything is ok with your personal life and work…
Hi Miriam=) I am fine, thank you. I am in the middle of changing apartment though, and that takes its time. Dust everywhere, cardboard boxes everywhere, stuff everywhere… and I am having such a hard time throwing away things;) Continue reading »
Label : BadMoonMan Music
Review by Vard Aman
Aut Mori are from the city of Yaroslavl, about 250km North East of Moscow, and were formed in 2009 by three ex-members of Doom Metal band Auto-de-Fe (other ex-Auto-de-Fe members spawned the band Sea of Despair). Aut Mori play a style of atmospheric Gothic Doom Metal, similar in a lot of ways to Auto-de-Fe, but with a very strong Draconian influence. Actually, to best describe Aut Mori’s sound on “Первая Слёза Осени” think of a Russian version of a more atmospheric and symphonic Draconian but with less oomph (something along the lines of “She Dies”). It sounds like a promising prospect, doesn’t it? Well, it is! Also, while I have your attention regarding Draconian, I should just mention that the guest drummer on “Первая Слёза Осени” is none other than Draconian‘s Jerry Torstensson, who was also responsible for the mastering of the album; and the guest violinist, Olof Göthlin, was also responsible for the violins on “A Rose for the Apocalypse”.
Interview by Vard Aman
In my opinion, well played Doom Metal is one of the ultimate and most extreme forms of music, second to none when it comes to creating and unleashing powerful, dark and stirring soundscapes of emptiness, despair and (yet), total awe. Some people may disagree with me, depending on their personal tastes; but if you agree with me, you might want to do yourself a huge favour and check out an Australian band called Lycanthia. Lycanthia have recently released their second full-length album, entitled “Oligarchy”, and on it Lycanthia produces all the soundscapes to which my above description applies. Founded in 1996, they have provided one of the sturdiest pillars of Australian Doom Metal, and have since become a household name – OK, maybe a name in one of the less frequented corners of the Doom Metal household (where you might find a Funnel-Web Spider perhaps), but they’re rightfully and deservedly there none the less. Lycanthia is fronted by three vocalists, one male (Lee Tassaker, also the bassist) and two female (Vanessa Black, also on violin; and Megan Tassaker, also on keyboards). I chatted to Megan recently.
Hi! Welcome to Femme Metal Webzine.
Thanks for having me.
Let’s start off with a bit of history: Tell us a bit about Lycanthia‘s formation and early years.
In the early days, Lycanthia started out as just a recording band made up of a group of friends. The main inspiration at the time -without naming names- was that many of their favourite parts of certain songs would be orchestral sections, or parts with female vocals but when you would see the bands live, those elements wouldn’t exist. Lycanthia wanted to make a band that would be able to zone in on these elements AND reproduce them live. Once a demo was made, the next step was making it a live act.
What inspired the name?
The name was taken from the book Lycanthia, by Tanith Lee.
There have been quite a lot of line up changes over the years. How much of a hampering effect has this had on Lycanthia? (I’m assuming it has).
It has had an effect, as far as holding back recordings goes. Although we do try to take our time with recordings and make sure they are right, the last album “Oligarchy”, would have been recorded much earlier if it weren’t for those kind of hiccups. It’s a shame that people hold it against you or try to judge your band when that happens as well, for the most part we have remained friends with ex-members. There have been many reasons people have left, from wanting to go in different creative directions, to having family or work commitments that have restricted their time. Having said that though, we are all very happy with our current line-up, it has definitely helped us step up and refine our sound further into what we want it to be. So as much as these things can hold thing’s back, they can also push you further.
What other projects have you been/are you involved in?
I (Megan) am also in Avrigus, Lee is currently playing Bass for Cruciform and plays session bass for Avrigus. Mat is in Bleakwood and Blatherskite.
Tell us a bit more about Avrigus.
Avrigus is a recording band featuring myself and Simon Gruer. I would describe the music as atmospheric doom/gothic metal. The band was founded by Simon and the previous vocalist/keyboardist/composer Judy Chiara. I met Simon at a Lycanthia gig (before I was in the band), at the time I hadn’t heard any Avrigus. He mentioned that he was wanting to keep Avrigus going but Judy was not longer wanting to be a part of it and he was searching for a new vocalist. He had tried to get it going with a few other people but it hadn’t really worked out. So I checked out the music the next day and expressed my interest, he had heard demo tracks that I had sung on and was very enthusiastic. We met up and I dropped down some demo vocals for “Banquet of Souls”, Simon was very happy with how it sounded. I think he wasn’t 100% sure until he heard me play an original song though. I played “Beauty and Pain” on keyboard and sung it for him, he loved it immediately and we set out creating a bunch of songs that became the “Beauty and Pain” EP, available for digital download only at the moment on our website: www.avrigus.com. At the moment we are recording an album that was mainly written by Simon before I joined the band, most of the songs were written in the time between “The Secret Kingdom” - the last album with Judy, and the time that I joined the band. One original written by me will also appear on the album. At this time we don’t have a sure release date as we are still in the process of finishing writing vocal lines and perfecting the orchestrations.
How would you describe Lycanthia‘s sound to those who haven’t heard it?
A blend of old-school Death/Doom riffs, complimented by counter melodies on violin, harsh grim vocals and dual Female harmonies.
What is the significance of Doom Metal and the attraction to it, both as a musician and as a fan?
Doom is about creating an atmosphere and a mood, many other genres are just about technicality. For me music is art and a creation of expression, not that there isn’t merit to being technically proficient, just that I prefer song writing to move me and hopefully move others.
Tell us a bit about your previous releases, “Myriad” and “Within the Walls”.
“Myriad” was a first attempt at writing songs as a group for Lycanthia. A fairly collaborative effort, the majority of members were teenagers when this album was made and the sound was not as clearly defined as it is today. At the heart of it though, it was just made for fun. In between “Myriad” and “Within the Walls”, we put out a single called “Inferno” which we recorded specifically for a compilation CD. By the time we came to “Within the Walls”, Lycanthia had many other songs written – including some that ended up on “Oligarchy” (which obviously weren’t in their current state then) – the songs that were chosen were the ones the band felt were ready for putting out into the world, that had been worked on and reworked until they were to the bands liking.
How has your sound changed over the years leading up to “Oligarchy”?
Some of the songs were written – in a much basic form – before “Within the Walls” and we were still working on them. As a band, having new members join allowed Lycanthia to be more diverse and imaginative, a lot of parts of songs we weren’t so happy with were able to be brought to life in ways we had only imagined before.
Is there a possibility of re-working/re-recording and re-releasing some older Lycanthia material in the future? (Such as “Hope Lingers Yet” - it was a snippet of that song that introduced me to Lycanthia and left a lasting impression).
No, we have no plans to re-record “Myriad”.
What has the response been to the new album so far?
The response has been fantastic. A lot of people have told us that we have brought the band into a new place with this release, and obviously it helped get us attention from Hypnotic Dirge Records who signed with us. It has also helped us score several endorsements.
What inspires your lyrics and what are your general lyrical topics? I’m particularly curious about the stories behind “The Essential Components of Misery” and “Forgone”.
“The Essential Components of Misery” is lyrically about the way we see the world around us. Although we are lead to believe we have freedom, we do not. We are lead to believe that we have choices, but the choices are really just to conform or be left behind. So in a way, it’s a bleak reaction to the harsh reality of the world as we see it. “Forgone”, this song is like a part 2, part 1 being “Eternity”. So in the title of the two songs there is a hint to what the song is about… “Eternity… Forgone”. It is probably our only song that is lyrically a fictional story rather than a story that comes from personal experiences or feelings. It is about a deity that falls in love with a mortal, and has to be stripped of eternity to embrace their lover. Although it is fictional, I think it is something that everyone can relate to, forbidden love.
Would it be true to say that “Forgone” is written as a poem first and foremost and that the song’s lyrics are based on it? If so, does that apply as a general rule to most of the lyric writing process?
Sometimes that happens and other times if a lyric idea comes to mind, we will just write them down and set them aside until a song comes along that it suits. With all our songs, it’s not so much lyrics to a song, as it is a poem to accompany the music. Once the poem is written, we arrange it melodically to suit.
How regularly do you play live and what is the response like at your shows?
When we aren’t recording, we play live probably once every couple of months. The response is always great. We heavily advertise our shows to build up hype and we always enjoy playing live because that’s when we get to experience crowd reaction to the music.
Have you done any international tours?
As of yet, we have not. We do plan to in the future though; it’s something we all really wanting to do.
How healthy is the Doom Metal scene in Australia currently?
There has been increased enthusiasm for the genre lately. We have Mournful Congregation from South Australia, they play Funeral Doom. Okera from Melbourne, and Futility from Canberra are just some of the amazing doom bands that are also playing in Australia at the moment.
I’ve noticed a few ex-Lycanthia members around in Doom Metal bands, like Rise of Avernus (Andrew Craig), Rituals of the Oak (Sabine Hamad-Linfoot), and Murkrat and The Slow Death (Mandy Andresen). Can you tell us anything about them?
Firstly we’d like to mention that we are great friends with all these people. We are big supporters of all of these bands and love their music. In the case of Mandy, she begun Murkrat after leaving Lycanthia, it was a direction of music she had been heading towards for a while and we love it, but it isn’t the sound for Lycanthia. The same can be said for Sabine, she found her tastes leaning towards a different direction, and you have to follow what you want to do musically, otherwise there’s no fun to it. Andrew Craig is one of those guys who is always filling his time up with heaps of projects, we loved our time with Andy but in the end, he didn’t have the time to put towards us along with all of his other commitments.
What do you all do when not playing music?
Steve is a car fanatic, always going to old car shows etc, he is also a heavily into ninjitsu. Mat is an armature photographer. Lee likes to do a lot of painting, he actually painted the cover of “Oligarchy”, though it had editing and arrangement done to it, music and literature are big interests of his too. I go in and out of phases but always creating things, whether its poetry/lyrics, drawings or clothing, I also love to read. Vanessa takes part in many arts projects, creating and designing spaces.
Australia has always been one of my favourite countries. I like the people (well, more than I like most people at least) and the idea of clean first world cities in a country with so much open space and nature – the best of both worlds. But that’s just my opinion. What is it like living in Australia for you? What do you like and what don’t like about it? And is +40C really just “a tad on the warm side today, mate”? And have you ever seen one of those famous Sydney Funnel-web Spiders?
I am very much an Autumn person. In Australia, summer is a humid hell of heat, sweat and flies. In winter, I freeze, although I do enjoy the scenery of winter, the cold feels like pain to me and my sinuses suffer. The same sinus suffering happens to me in Spring-time, Autumn is perfect in-between weather to me. I do love that we have nature and cities in Australia, one of the thing’s I dislike is probably that in general, the music industry in Australia is not very big at all. To be honest with you, I probably have seen a Funnel-web but if I have I didn’t recognise it. I don’t even think I know what they look like, which is probably really bad hahaha. Living in the city, I don’t really see that many spiders and have to travel to see the wilderness.
Back on topic again, one final question: What is next for Lycanthia?
Next, I’m not sure I’m able to announce the very next thing that will happen, but it’s coming in November. We should be able to announce soon. I’ll keep you posted.
Thanks for chatting with us, good luck, we’ll be watching and listening closely!
Label : Termo Records/Better Place Recordings
Review by Luisa Mercier
Third release for the English Rhys Marsh and his big orchestra. Based in Norway, the band features members from a moltitude of other musical projects like The Irrepressibles, In Lingua Mortua, The Divine Comedy and many, many others. So influences are really varied and it is difficult to fit the music in just one genre. I would say that is Prog with Jazz, Ambient and Symphonic hints, so lovers of this kind of music should enjoy “The Blue Hour”. It is a record that should be listened in the quiet, at sundown. It is made of slow tempo songs with male and female vocals that entertwine. “Broken Light” is a perfect example. Expect long instrumental parts and a lot of brass and woodwinds, relaxing moments and a little bit of psychedelia. Definitely not a release for everyone, since listening to the album can result hard for a first time approach to such refined music, but lovers of this kind of music, will appreciate it for sure.
Rating – 70/100
- And I Wait
- Read the Cards
- The Movements of Our Last Farewell
- Broken Light
- Wooden Heart
- Further from the Truth
- The Place Where You Lay
- One More Moment
- Rhys Marsh — Voice, guitars, piano, mellotron, pedal steel, organ, zither, & orchestrations
- Trude Eidtang — Vocals
- Jess Bryant — Vocals
- Åsa Börrefors — Vocals
- Nicklas Barker — Mellotron
- Lars Fredrik Frøislie — Chamberlin, hammond, moog, autoharp & celeste.
- Akira Rabelais — Electronics
- Timbre Cierpke — Concert Harp
- Gaute Storsve — Guitar
- Steve Honest — Pedal Steel
- Ketil Vestrum Einarsen — Flute.
- Mia Silvas — Flute
- Tuva Hatlelid Mortensen — Oboe
- Kirsti Jacobsen — Clarinet
- Henning Wien — Bass Clarinet
- Jørgen Vie — Bassoon
- Tetsuroh Konishi — Trumpet
- Hayden Powell — Trumpet
- Erik Johannessen — Trombone
- Kristoffer Lo — Tuba & flugabone
- Anna Giddey — Violin
- Charlie Stock — Viola
- Natalie Rozario — ‘Cello & orchestrations
- Jo Fougner Skaansar — Double & electric bass
- Francis Booth — Bass
- Andy Raeburn — Drums
- Takashi Mori — Drums
- Mattias Olsson — Drums, celeste, mellotron & orchestron.
- Iver Sandøy — Drums
- Martin Horntveth — Drums & orchestral percussion.
Label : Rock’n Growl Records
Review by Disgraced & Luisa Mercier
From Croatia with sadness. Ashes You Leave, the historical doom-gothic metal band that started already in 1995, are back with their sixth studio album and a new, hoping solid line-up. Well, I’ll immediately say that I’m a long, long time fan of them so many of my judgements might be shadowed by my own liking of the music but two big faults, according to my humble opinion, are present as well and be sure I’ll point them out nonetheless. Kicking off with a piece of news most readers of this webzine will be interested in, this is the first record with new female singer Giada (also her first professional record ever), who marks the third woman in a three-records period in the AYL camp and their fourth singer generally speaking. Leaving apart first doomstress Dunja, who marked the mydyingbride-ish sound of their first three albums, and without being rude to Giada‘s two predecessors (one of whom was an incredibly talented keyboardist as well), it’s pretty clear since the opener “Devil in Disguise” that she’s the best choice for this band, with a quite distinctive voice which I’ll be about again later.
As I just said, “The Cure for Happiness” starts with “Devil in Disguise” which quickly shows you the best the Croatian have to offer; one might say that this album is a bit like “Songs of the Lost” #2, since with their previous album they had abandoned most of the symphonic temptations presented on “Fire” and on the opposite embraced again a slower, more melancholic kind of metal which certainly suits them better. But beware, there are very, very few “nu goth metal” elements here, no Delain or Lacuna Coil-like so to say. A generous solo in the opener track, and the overall heaviness are good examples of that – examples which shold be taken and learnt by many. Of course one of the trademarks of this band, aka miss Batinic‘s soaring violin melodies are always there but they aren’t part of the real own structure of the songs as they did in the past (the firtst three albums reworked the lesson of My Dying Bride‘s “The Angel and the Dark River” in a quite personal and successful way) although since being Marta together with guitarist/growler Berislav the only two founder members remained - a couple in music and in real life, for gossip’s sake – the feeling of a classic sound will be perceived by any old fan, thanks to that subtle red line that separates AYL from most bands in the same genre. Guitarist Berislav Poje, as already mentioned, is also responsible for the male harsh vocals audible hear and there in the most traditional duets à la Theatre of Tragedy with Giada; this marks another big and good return, since it was many years we didn’t hear so much manhood in AYL vocals. His growls are deep and powerful, very much death metal alike and very fitting. Second track “Only” Ashes You Leave starts with a beautiful violin-paced movement and seems to be a little less uptempo than the opener; perhaps if Placebo ever decided to play metal they’d deliver something like this – with Molko’s already rather feminine vocals it wouldn’t be that hard and let’s remember AYL themselves did an incredible rendition of “Every Me Every You” on their previous album. Particularly notable in this song are the guitar riffs again and the groove toward the end of the song born also thanks to the work of the other new bandmember, drummer Sasa Vukosav, who really did a great work with the sticks, and Luka Petrovic‘s bass skills.
Third track “For the Heart, Soul and Mind” has been released as an online promo single few days ago. Probably that’s because it’s a faster song with a catchy chorus; strophes are actually the best part in my opinion, with an almost stoner flavour in them and Giada‘s voice getting a bit acid. In the chorus instead she lets herself be driven by a semi-opera style which comes again in the final vocalizing. Well, this is a point worth of discussion because I think she has a wonderful, warm, natural low voice which makes some tracks simply shine. A bit reminiscent of both Flowing Tears vocalists, past and current, just to give you an idea: they are not the same but that is the what we’re speaking about. I think it would be a pity if such a particular singer were influenced by the actual trend in melodic metal and pushed herself to go higher and higher with octaves or to sing operatic-like (although this would help her delivering the “Fire” material) because there are already so many bands with women singing that way while Giada here seems to be quite good at handling lower and more powerful vocals… and there are many examples in the actual “new wave of doom heavy metal with p***y on vocals”, just think of Jex Thoth! Add that Etro shares also the same hair colour with Thoth and les jeux sont faits. Back to our review, what we have next is “The Ever-Changing”, a track more difficult to get which proves what the guys are able to do when they let their doom roots grow free in the musical ground. If Giada didn’t sing that operatic (she did it perfectly but it’s the same as above; think of Mariangela Demurtas singing old Tristania songs, she does it wonderfully but what is unmatchable is her contralto voice, making her resemble a Grace Slick in a metal band) this would be a real 10/10 track! Heavy, melancholic, f**koff guitars, also a bit of evil floating in the background and you have something Draconian would die to write.
Fifth song is “Meant to Stray”, which I admit is a song I still have to fully understand, even after dozens of listenings. It’s an average midtempo song which simply doesn’t impress me like the others, with a certain mainstream rock vibe in it. Following is one of the highlights of the album, smartly chosen as first promo single already back last April. “Summers End”, as I commented on YouTube me myself, is an instant classic, without any doubts one of the best songs the band ever created and I would like to speak face to face to both older and newer fans saying it’s a bad piece. It’s one of those rare songs that immediately grow on you AND even after you listen to it so many times like I did, it’s always like the first time. A soft arpeggio introduces Giada who delivers her most passionate interpretation, so full of emotion, in one of the most beautiful vocal lines of the whole album. Lyrics are so meaningful, yet simple and straight, proving that you don’t need complicated metaphors to let your inner feelings out: after all, anything you feel is plain and direct inside your heart and mind (and soul, according to track number three!) so why should it become complex and twisted when you give it to the world?
Is this human nature
Are we designed this way
To be unhappy, so uncertain
To live in fear every day
Yet in the affairs of the heart we dwell naïve
So childishly gullible and willing to forgive
And when we’re left with nothing but the choking pain
We hope it will be washed away by the autumn rain
Aiming something straight like in this case does not take the magic of the music off, on the contrary it helps you to drown even more in the cloth weaven by the notes. In the middle of the song, before male vocals have their say, we have another beautiful, short guitar solo that comes to life again later on. Also the violin allows to build the whole atmosphere and the initial arpeggio ends the song nicely – one of AYL‘s flaws is that the end of the songs too often stops sort of abruptly. So we arrive to the seventh track “Reality Sad”, a good and heavy stone thrown at you without mercy. Berislav, Matija, Luka and Sasa produced other grinding moments that live will truly smash crowds. Oddly enough, first listenings to this track brought some similarities with Salt Lake City-based band Subrosa to my ears. I should have said “oddly to the maximum”, because Subrosa are one of those bands you just cannot describe without sounding too devoted to be objective or anyway, without failing in giving a rightful impression. If you who are reading this love doom metal, both ol’ school one and modern styles, if you like stoner/sludge, The Sins of Thy Beloved, ’80s darkwave, heavy guitars dissstorted, avantgardness and pure magic in the end, go check them out. Well, fact is that we have doom in both bands, we have violin in both bands, and female vocals too, and above all, the reason why I thought of the comparison, a similarity in the way guitars and vocals speak to each other, the emission of vocals and the sharpness of the axes, maybe it’s just me I get this because of the production but hey, that’s the impression I had. “The Cure” does not have anything to do with the new wave band but is a beautiful violin interlude; too bad it’s so short because it would’ve been quite original to have it as a full song – and please note that I usually don’t like instrumentals. Final track is “…For Happiness” which sadly sounds too anonymous than the rest of the album, definitely not a highlight for me. It isn’t a bad song, it also has a good crescendo but as we use to say here in Italy, it’s “not meat nor fish”. Personally I would have chosen some other ending, maybe with more impact but I’m glad they didn’t make any suite or whatsoever because for me it’s the same speech as for instrumentals. But hell! We don’t have pompous, orchestral metal here luckily! Even though it would be interesting to see a band this kind having their hands into a long, long track that is actually a suite and not a common deathdoomgothic metal llllooong, slllooowww song.
Now, I have already mentioned some major flaws here and there when I met them but now it’s time to face the two biggest ones which motivated me to lower my final mark even despite all the love I have for this band (so you see, in the end I succeeded in being impartial!). First one: this is not a doom metal album as the label or the band promoted it and Ashes You Leave are not a tout court doom metal band since ten years. I don’t know whose fault is this but if you actually look at promo stuff or statements and you don’t know the band you’ll easily expect something totally different, like Shape of Despair or Funeral, or even like early Theatre of Tragedy which is without any more words different from what it is and from what the band is nowadays. However, I must also say, especially for newbies, that doom metal is NOT necessarily slowed down to death and does NOT necessarily have to feature all those elements metalheads usually like about the aforementioned bands. Black Sabbath and Pentagram don’t use growl vocals, don’t have female fairies chanting ethereally, don’t have soaring keyboards or orchestral effects and don’t have lyrics that deal with shakespearean love. It’s a fact that too many young guys think that doom metal is restricted to My Dying Bride or early Anathema and that doom-gothic metal is restricted to Draconian or early Theatre of Tragedy which is completely false. But that is not the full point here; “The Cure for Happiness” depicts usual elements of doom metal, both old and new, but it’s simply not SO doom as one might think. It’s a different kind of sadness hehe. They’re too fast for those who have Unholy‘s and Thergothon‘s logos tattoed on their arms and too slow and heavy for most “femalefrontedmetal” (=mellowmainstreamstuff) fans. So if you like or want to explore the middle path or enjoy milestones like Theatre of Tragedy‘s “Aegis” or “Forever Is the World” or Tristania‘s “Rubicon” or “Ashes” this album is definitely worth your attention, otherwise you might be disappointed. Second big flow is, for the one who speaks, a mistake they’re doing since 2002′s “Fire” album. The production. Everything here is crystalline, polished, well done. Fact is that it’s TOO crystalline and polished. It lacks a kind of ravishness which would go along so greatly with the guitar-laden melodies (one of the best points here, don’t worry: no keys to build the songs, as it’s supposed to be in metal): actually guitars are so sharp and heavy that it’s a big pity they don’t have so much impact. I say that this was to be detected also on the two previous albums because on the slower first three ones it fitted more, it added to the decadence of the atmosphere, hopelessness and desolation matched by the sound itself. But here it just seems like attacking an army of soldiers with guns and rifles riding a horse and throwing arrows. Moreover, I think vocals are often pushed in front too much and to me (personally) it gives the impression they are not well blended together with the other instruments. Like having your singers doing their job in the kitchen with the rest of the band playing in the living room! So mostly because of this I gave this album the mark you see hereunder but I hope the review says way more than a single number. Plus, it wants to be a kick in the ass for the band to be pushed to do even better next time, so it’s because I trust them a lot that I want to force them to improve again more and more, even after all these years.
Rating – 79/100
Ashes You Leave is the most famous Croatian female fronted gothic metal band, founded back in 1995 whent the genre was flourishing thanks to legends like Theatre of Tragedy and Tristania. Their earlier releases are very doom oriented, paying tribute to their main source of inspiration: UK doom band My Dying Bride.With time they developed their sound, mixing it with more atmospheric elements and entering the realm of gothic-doom. In the meanwhile they changed three vocalists and at present an Italian girl fronts the band: Giada Etro.This is their sixth album and compared to the previous one is more guitar oriented even though guitars and violin have not been forgotten as the opener “Devil in Disguise” shows.The song is long, but the vocals are very melodic and make everything more bearable, she has got the classic pop voice and makes everything brighter. Even riffs are more melodic compared to what I have listened of their early releases.First three tracks follow the same formula: long gothic melodic songs with atmospheric inserts of keyboards and violins and growls that appear here and there to contrast Giada angelic voice. In the “The Ever Changing”, the song leans more on the doom side with flute and violins, while Giada shows that she can be versatile, using her voice in a darker, semi-operatic way.There is a beautiful atmospheric bridge with violin in the second half of the song. “Meant to Stray” is maybe one of the heaviest on the album due to great presence of growl and guitar riffs matched by violin in background. “Summers End” is more rock oriented than metal, while “Reality Sad” is a shorther song that does not offer much more if compared to the previous songs. “The Cure” is an acoustic break of a minute and a half that will leave you relived after all that metal. Closing track is “For Happiness”, classic gothic metal, very guitar oriented. The album is perfect if you are a classic gothic-doom metal lover, if you are nostalgic of the early sound of this kind of music.
Rating – 65/100
- Devil in Disguise
- Only Ashes You Leave
- For The Heart, Soul and Mind
- The Ever Changing
- Meant to Stray
- Summers End
- Reality Sad
- The Cure
- For Happiness
- Giada Etro – Vocals
- Berislav “Bero” Poje – Guitars & Vocals
- Matija Rempešić – Guitars
- Ana Torić – Keyboards & Flute
- Marta Batinic – Violin
- Luka Petrovic – Bass & Vocals
- Saša Vukosav – Drums
Style switcher only on this demo version. Theme styles can be changed from Options page.
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- “The Power of Love” – Dutch metal for Serious Request 2014 | Red Cross is OUT NOW December 9, 2014
- Anckora – “Экстрим” EP (2014) December 9, 2014
- Paramore – “Paramore” (Deluxe Edition) (2014) December 9, 2014
- Aria Flame – “A World of Silence” EP (2014) December 9, 2014
- Coen Janssen – Epica December 2, 2014