Interview by Si Smith
Fateless Tears hail from New Mexico, and considering that their first release was in 2005, it is no mean feat to have released their FIFTH full-length in 2010. When you throw into the mix a number of successful singles and an active side project, the illustrious pairing of Richard and S.Lee proves to be a phenomenon of great substance in the metal world. Femme Metal stole some of their precious time to uncover more….
Having featured on our “Ferocity and Femininity” compilation, and been reviewed and interviewed by Femme Metal already, there must be still some more we need to know! For a start, it is clear from your back-catalogue that you both have great musicality. How did you both get involved in the music at the start? Did you always know that this was what you wanted to do?
Richard: I knew pretty early on that music was something I wanted to pursue. I have several relatives who have played guitar and sang. One of my uncles has released a few country music albums, while another co-wrote and played on a couple of country music hit singles back in the ’70s. I knew that I wanted to carry on their tradition, albeit doing it my own way in rock and metal instead of country.
S. Lee: I do not think that I have ever known a world without music and song. My mother sang to me, around me and with me. Wandering around singing little songs that I had heard, learned, or thought up are some of my earliest memories. As soon as I could write well, poems and lyrics as well as short stories and drawing became central focuses of my free time. I am not assured that any of these activities were truly separate from one another. I am told that I often sang in my sleep as a small child.
I believe that since we last spoke to you Paul has now joined you as a full member of the band. How has that affected the dynamic of the band, in the writing, recording and also the live setting?
Richard: Funny how that works… while Paul was a full member for “The Chaise”, he went back to being a guest artist on our albums shortly after its release. Unfortunately, due to his very busy schedule, he was unable to be part of FT full-time. He is one of my closest friends and he will continue to have guest spots on our albums. Regrettably, he doesn’t have the time to be more than a listening ear and helping hand. Chris from Amadeus & Demise of Gideon also guests on our albums covering vocal duties and some guitar. They are both very important to S.Lee and I, and we really appreciate their help on our music.
Richard, you have been active on The Demise of Gideon recently. Would you like to tell us about it? How does it relate to your work in Fateless Tears?
Well, one day I looked into my “Riffs” folder and I had a whole album worth of riffs that I felt were more in the vein of old school thrash metal. I didn’t feel that they worked well for FT. At the same time, Chris and I started talking about doing a project together. Four months later, the album was done. It ended up being sort of an old school thrash/prog/death album. “Twingence”, the 28 minute, seven-part epic, is one of my proudest moments as a composer/songwriter. Through it, S. Lee provided vocals on “Adagio”, “Rondo” and “Coda”. “Adagio” became part of the new album, because it is very much in the FT vein and we felt it would be a nice addition to the album.
The first song on the new album, “Primary” is a new song. Could you tell us a little about it?
Richard: “Primary” was originally written for the new FT album, on which we are currently working. When we signed with Blue Freya, Karl, S. Lee, and I wanted to get something new out there, especially out in digital shops like iTunes and Amazon. Consequently, we pulled “Primary” from the new album, as it was the song most completed and pushed it forward to HWYHBM.
S. Lee: The lyrics in “Primary” are very much a reflection on the dichotomy between the subconscious and conscious world within one’s mind, thoughts and actions. I hope that they convey the truth of pieces of ourselves that we must subsume and the duality of faces we must assume to cope with and navigate the pressures, uncertainties, and pitfalls in the waking world. For me, “Primary” captures the essence of our true self, an ideal self, that is only unrestrained and dominant in sleep wherein we reconnect with who we are and rejuvenate to face daily life challenges.
Label : Ravenheart Music
Review by Tony Cannella
It is rare when a band releases a “retrospective” compilation after only releasing one album. It’s unheard of in fact. Well, that is what U.K. based Gothic metal band Apparition has done with “Ghosts of the Past: The Story So Far”. In all fairness Apparition released their debut album “Drowned in Questions” in 2006, and I am not sure if this album still available. So, “Ghosts of the Past…” is an album that allows new fans to get up to speed and entices older fans with previously unreleased material. Ever since Apparition’s inception they have had many line-up changes with bassist David Homer being the only original member. It is good to see that the band soldiers on after a few years of silence following their debut. The first of three unreleased songs, “The Dream Where I Cannot Go” opens the album. I loved this song and it is easily my favorite of the new songs. Sure it’s a melancholic sort of love song – or maybe it’s a song about longing for love – in any event the female vocalist and newest member Samantha Smallwood sings her heart out on this song and it just gave me chills, she is amazing. Next is the pure metal-ness of “I Don’t Know” from the band’s debut “Drowned in Questions”. Next up is another heavy one, the ‘demo’ version of “Elysium”. Since “Elysium” isn’t on their first album, I am assuming it was on an earlier demo? But I could be wrong. Still, this song absolutely kills, and it also features some male Goth-like vocals near the end (sorta like Peter Steele). Another unreleased track “Salvation” follows and it is another forlorn ballad-ish type song, that also has some heavy parts but maintains a mid-tempo pace throughout and the orchestration only enhances the song. Four songs from the debut are next and are followed by the final unreleased song “The Path to Eternity”. This is a 9-minute epic that tends to drag a bit, but it is still a really good song. The demo version of “Traitors Gate” and the piano version “The Dream Where I Cannot Go” brings “Ghosts of the Past…” to its conclusion, although I think I prefer the electric version of “The Dream Where I Cannot Go”, but this track is still buoyed by Samantha’s great vocals.. I always have a difficult time grading albums, and this one was harder than most since half of it was material that has already been released, I decided to give “Ghosts of the Past…” a 90 based on the new material. Since this album was released in 2010 and very little has been heard from the Apparition camp I certainly hope that Apparition still exists because the new music and line-up certainly should give their fans some optimism about where the band is headed musically.
Rating – 90/100
- The Dream Where I Cannot Go (Unreleased)
- I Don’t Know
- Elysium (Demo)
- Salvation (Unreleased)
- Frozen Roses
- Forever Guilty
- The Pain Lives On
- Defenders of the Faith
- The Path to Eternity (Unreleased)
- Traitors Gate (Demo)
- The Dream Where I Cannot Go (Piano Version)
- Samantha Smallwood – Vocals
- Owen Hill – Guitar
- John Yates – Guitar
- David Homer – Bass
- Adam Challice – Keyoards
- Ian Bently – Keyboards
- Paul Collins – Drums
- Rob Swinnerton – Drums
Label : BlueFreya Media
Review by Tony Cannella
New Mexico’s female fronted Gothic Progressive Metal duo Fateless Tears has been plying their trade since 2005. In the span of 5-years Fateless Tears has managed to release four albums. For fans who may be new to Fateless Tears, the band has just issued an 8-song retrospective CD titled “Hear, What You’ve Been Missing”. “Hear, What You’ve Been Missing” begins with the one new song included on this collection. “Primary” is a pretty good track to start things, it is centered around a infectious riff and a killer melody. After that it’s a stroll down memory lane as each album is represented. “Cages” from “My Doom Box” is one of the stronger tracks, as Fateless Tears display their knack for writing a powerful, melodic tune. “Inner Sanctum” from “NightBorn” is next and is a solid ballad that gives the listener a change of pace. “Flicker” and “Cycles” both from the last Fateless Tears album “The Chaise” are up next, “Flicker” in particular, is a huge favorite and one of the very best songs this collection has to offer. Other highlights include: “My Endarkened Self”, “Mesmerized” (both from “My Doom Box”) and the closer “Adagio” from “The Demise of Gideon”. At only 37-minutes long “Hear, What You’ve Been Missing” is a brief retrospective look into the career (so far) of this talented duo.
Rating – 75/100
- Inner Sanctum
- My Endarkened Self
- S. Lee Baysinger – Vocals
- Richard J. Baysinger – Vocals & Instruments
- Paul Evans – Lead Guitars (Guest Member)
- Chris Riggins – Melody Guitar on “Adagio” & backing vocals
Style switcher only on this demo version. Theme styles can be changed from Options page.
- Kari Rueslåtten – “Time to Tell” (2014)
- Nervosa – “Victim of Yourself” (2014)
- Noora Federley – Seremonia
- Delain – “The Human Contradiction” (2014)
- Anette Olzon – “Shine” (2014)
- Destrose – “Destrose” (2013)
- Destrose – “Destrose” (2013) JAP version
- Rainover – “Transcending the Blue and Drifting Into Rebirth” (2014)
- Leaves – “This is the Time” EP (2013)
- Tuomas Holopainen
- Jody Quine
- Grace Solero – “Hundred Years Apart” (2013)
- Agharti – “Change” (2013)
- Mental Defect – “Longplayer” (2011)
- MandragorA Scream – “Luciferland” (2012)
- La Strange – “Queen of Disguise” (2012)
- La Luz – “It’s Alive” (2013)
- Meg Myers – “Make a Shadow” EP (2014)
- Madness of the Night – “The Asgarda” (2013)
- Morena Rozzi – Macbeth (ITA)
- Morena Rozzi – Macbeth (ENG)
- Macbeth – “Neo Gothic Propaganda” (2014)
- Mariangela Demurtas – Tristania
- Anna Beliva – “Fire” (2013)
- Valkyre – “Our Glorious Demise” (2014)
- Inga Scharf – Van Canto
- Van Canto – “Dawn of the Brave” (2014)
- Adna – “Night” (2014)
- Birgit Muggenthaler-Schmack – Schandmaul