| Track Listing 1. Automatic Lover 2. Universal Race 3. Episode 4. Play 5. Superdrive 6. Let You Down 7. Starlit 8. Envision 9. Flickerlight 10. Liquid Man 11. Motion Nuclear Blast/East West 2002 |
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THEATRE OF TRAGEDY
ASSEMBLY
| Track Listing 1. Automatic Lover 2. Universal Race 3. Episode 4. Play 5. Superdrive 6. Let You Down 7. Starlit 8. Envision 9. Flickerlight 10. Liquid Man 11. Motion Nuclear Blast/East West 2002 |
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| More Releases by TOT (after): Musique (2000) Aegis (1998) |
TOT (before): Velvet Darkness They Fear (1996) Theatre of Tragedy (1995) |
| Theatre of Tragedy started life as a doom metal
band, but a couple of albums back they traded allegiences and decided to do something
*gasp* different. As most that follow the world of metal closely already know, bands that
turn their back on what they began life as and morph into a new form are usually verbally
shredded to bits and left for dead. Most of the time, there is truth in the bashing. It is
just wrong for a tightly knit glam band to throw their fans a loop by trading fun times
music for whiney post Nirvana angst syndrome music. But turning doom and gloom into
electronic Euro-pop goth that is actually infectious and accessible for atleast some of
the masses is an achievement indeed. "Assembly" is the next in line of these albums being pumped out by the outfit, starting with the electro-romantic "Aegis" in 1998, and then slowly twisting down the deeper path that leads straight to their latest which assembles the various electronica sounds into some kind of goth melting pot. Whether its a success or not depends on the track and the listener's ability to welcome 'progress'. I know a few years ago I would have been appalled at being confronted with something like the track "Episode" that has little in the way of guitars and other traditional metal instruments and is wrapped up in a decidedly very non-rock package. The whole album requires a leap of faith like this, and an open mind to embrace what the band has created. Some of the songs have the illusion of being heavy but certainly they are in no danger of recieving love from the 'true metal' fans. Time has seemed to have seeped up the warmth TOT displayed on their early doom material and the first of the 'nu-breed' releases, instead they taking on a processed and sterile sound here that feels rather cold, perhaps even purposely. They say its cold in space, and this disc is definitely spacey. But would it all fly without Liv Kristine? She is like a demoness in disguise, her voice radiating with smooth seductive sensuality and a bit of a foreign tilt that could be traced back to their Norwegian roots. Her voice is like the butter on the biscuit, essential for flavour. Without her personality and just the other guy singing, Raymond, who sounds ridiculously silly and should be eliminated from the picture entirely, the music definitely would crash and burn without a leg to stand on. There is no one grunting in a death metal growl on this disc, although that would have been preferred to putting up with Raymond here, who's testosterone level lurks somewhere around the zero mark. Remove him, and "Assembly" would have been so much better, maybe next time we can dream right? Liv needs no backing, her voice is strong and unique enough to support herself without outside 'help'. Lyrically its sharp and biting, treading new ground in ways not quite used to when faced with metal, which of course this isn't (and I can't seem to stress that enough). You can feel the hackles bristling in a stripper's world on "Automatic Lover", the other side of humanity in "Starlit" or the urgency and humilation of "Superdrive". |
| Definitely not metal here at all but there's
plenty of tragedy to sink one's soul into. Preferring the boppy driven numbers to
the sloppy meandering ditties, some of the album is definitely not a cup of tea one wants
to sip from very often. The already mentioned "Episode" is foolish and
laughable, without the drive the music degenerates into a mush of hilarity. "Liquid
Man" is kind of plodding and sounds too much like well, everything else here with few
standout qualities. It just doesn't 'pop' or infect, which is essential for this type of
music. And where's all the guitar? It seems too sparse and far between for a
double axe slinger band. But oh yeah, we aren't in hard rocking doom metal land
anymore. "Motion" is more about mood than substance, and the processed
high pitched 'machine' voice is just way too weird. The last time that was
cool in memory was at the beginning of Def Leppard's "Love Bites" but even that
seems a little cheesy now. It plods and wanders around, Liv talking to herself and
never really picking up any kind of speed or touch into feeling, like a machine.
It's cold here, so cold, devoid of emotion. But when its good, the album is worthy of tripping the light fantastic. The
kick off track hits it out of the box with "Automatic Lover" that has a chilling
disjointed feel driven with fuzzy guitars and addictive vocal lines. Liv is almost
unfathomly fierce. "Universal Race" is reminiscent of Freezepop's "Science
Genius Girl". A very sci-fi, space age feel with almost monotone vocals and lots of
synthesizer sounds and effects. "Let You Down" trades softer sections, popping
with synth to the full on rockier areas, all wrapped in the varying sounds of techno-pop.
Quick n' dirty leaving little to the imagination. "Starlit" is quieter and
atmospheric like drifting through space wrapped in a reflective gauze with only stars to
light the way, Liv's voice comforting, probing layers of softness. "Play" and
"Superdrive" are the outstanding highlights, both swimming in a sea of
sensuality. "Play" with its delicate, fluttery moments and structuring that is
more like a traditional rock song is a breeze to listen to and worth a repeat.
"Superdrive" is the kind of track you crank to ten and leave your cares
somewhere behind. The vocals are sweet and sour, Liv being the sweet and Raymond hitting
the sour notes, but its internal addictive drive will win more fans than something like
the plodding "Liquid Man". Overall its just not really varied enough to break
away from averageness, and "Episode" (along with the ever wimpy sounding
Raymond) drive the score down. Ratings and Wrap Up: |
