Storm

After releasing their fifth album Assembly in 2002, Theatre of Tragedy parted ways with their long-time singer and founding member Liv Kristine Espenæs in 2003. It could have been a fatal blow for the band, as Liv was a central figure for Theatre of Tragedy, her duets with growler-turned-crooner Raymond Rohonyi being at the heart of the “beauty and the beast” aesthetics the band heralded since the second half of the 1990s. But Theatre of Tragedy bounced back. In 2004 new singer Nell Sigland joined the band from gothic metal act The Crest, and Theatre of Tragedy released their new album Storm in 2006 via AFM Records.

Storm is often described as the missing link between the sophisticated gothic metal of the band’s third album Aégis and the more energetic and poppier electro-gothic rock of their fourth album Musique. Listening to Storm, I can see why. The album marks a return to a more guitar-driven sound after two records (Musique and Assembly) where electronic loops and keyboards had been the dominant element of the music. The piano, which had played a major part in Theatre of Tragedy’s early records, also makes a comeback on Storm. As a consequence, the album feels closer to the standard gothic metal canon both in terms of instrumentation and songwriting, than the glitchy, 3-minute electropop songs of Musique and Assembly. At the same time, Storm retains several elements in common with those two albums too. The music is poppy and energetic, with choruses filled with ear-candy melodies that are catchy and immediate (listen to the opening lines of the title-track “Storm”). The guitar work is predominantly rhythmic and has an industrial flavor that harks back to songs like “Automatic Lover” from Assembly. Electronic loops surface here and there in the music (“Silence”, “Senseless”, “Exile”), and Raymond Rohonyi keeps using his robotic, half-spoken vocal style that he had inaugurated on Musique.

The formula works well for the most part, placing Storm in a similar camp as the albums that bands like The Gathering and Lacuna Coil were releasing around that time. There is also a touch of cinematic, atmospheric rock/metal in the spirit of the 2010s releases of Anathema that can be heard in some of the tracks of the album, like “Fade” which could have easily been lifted off Anathema's We Are Here Because We Are Here or Weather Systems.

The album’s ten songs flow away pleasantly, with enough melodic hooks and rhythmic verve to keep the listener engaged all the way through. Not all tracks are equally strong, though, and some of weaker tracks can almost be labelled as fillers. “Storm” is a fantastic opener, containing probably the best melody of the album. “Ashes and Dreams” and “Voices” are also good tracks, perfectly suspended between electro-goth/industrial influences and melodic gothic metal. “Fade” is a beautiful ballad, bursting with big, cinematic melodies and an outstanding performance by new singer Nell Sigland. Nell also shines on “Senseless”, which is perhaps the song here where Theatre of Tragedy remind me the most of The Gathering. Its odd metric (in 7/8) and dark, oblique melodies make this one of the most interesting moments of the album. “Disintegration” is another strong song, featuring a good contrast between Raymond’s robotic delivery and Nell’s soaring vocals. Other tracks are weaker, particularly the anonymous “Begin and End” and “Exile” and the somewhat corny closer “Debris”.

The production is excellent. The album sounds warm, lush and deep. The guitars have a slick, powerful tone. The keyboards are used in a clever, not overpowering way, complementing well the rest of the instrumentation. I particularly like how the piano sits in the mix, just below the guitars but loud enough to drive the songs’ melodies.

The biggest limit of the album is perhaps the lack of variation in the songwriting. Most songs are cut out of the same cloth. Some are stronger, some are weaker, but the songwriting formula stays pretty much the same, playing on the contrast between subdued verses with Raymond robotic vocals and restrained instrumentation, and bombastic choruses with big melodies and Nell’s soaring vocals. Moments where the band try something different are rare and far in between (“Fade”, “Senseless”). Storm would need more episodes like these, to inject more dynamism and diversity into the tracklist and transform the album from a mere collection of ear-pleasing songs into a more substantial sonic journey with ebbs and flows.

Nevertheless, Storm is a strong comeback for a band whose future could have been at risk, after two brave but controversial albums like Musique and Assembly and a split from their iconic singer Liv Kristine. Storm may not be as bold as Musique and Assembly, nor does it reach the level of sophistication and mastery of Aégis, but it nevertheless shows that Theatre of Tragedy are alive and well. Moreover, the album shows that the band has found in Nell Sigland a strong replacement for Liv Kristine. She has a warm, powerful voice that, while less elfin and ethereal than Liv’s, fits well with the album’s sound. It seems that Theatre of Tragedy may have weathered the storm, after all.

Tell me how it feels being out there…

I never expected post Liv Kristin Theatre of Tragedy would be this good. I certainly have bouts of insecurities after learning the fact that they decided to kick the band’s trademark siren for whatever reasons behind it. Although I never truly have any problem when the band decided to encroach the industrial / synthpop territory with Musique and Assembly because with Liv, Theatre of Tragedy are still awesome regardless of what directions they are taking.

Though I am not that entirely familiar with Nell’s works with The Crest and The Convent but her stint with ToT is something that diehard fans can truly cherish. She takes on the vocal duties in place of our beloved Liv Kristin. I mean, what the hell, Nell sounds just perfect for this album! The very first title track sort of welcomes you to the new singer like she just came out from the shower; all fresh and fragranced. In all honesty, the palette of this record is rich with variety. This is something that I dread at first, knowing that a band with new singer can either suck, or the new vocalist might as well be a worthy replacement for the previous one. Yes. This part seems to revolve around Nell Sigland’s magical yodel. Why not? Her voice is beautiful on its own without having to compare with Liv’s because I see both as a separate entity independent from each other. Evidently, Nell is not trying to outdo her predecessor but it does not mean she undersold fans’ expectations.

There are way too many good tracks on this version so trying to single out one or two tracks does not do justice to this stunning record. Fortunately enough, the band returns to form is a laudable one; you can definitely hear honesty in each song radiating outward from your stereo. There is not a single moment where the band let their fans down, me in particular. The riffing is no longer electronically sodomised as in ‘Musique’ although Raymond still employs the spoken vocal style reminiscent of ‘Assembly’. However, this does not spell disappointment; he has Nell to complement his flatly spoken lines. Surprisingly, I found myself enjoying Raymond’s vocals especially on the second track ‘Silence’. His singing is better structured and timed, almost like subtle rapping. There is also a reference to the band’s previous effort (Flickerlight is written in the lyric) which should give you a pretty clear idea that ToT are still retaining elements from their past works albeit blended with twist anew. The piano on this song is also mesmerizing to say the least.

Instrument wise, Storm is a record that stands in humility compared to the rest of their discography. The keyboard and piano sound significantly active and organic compared to the noisy static in Musique that interferes a lot to even actually enjoy some songs from that release. The overall arrangement is, like I said before, refreshing. It is the standard stuff you get from this type of band but fear not, it is not the overly glossy offerings like post Comalies Lacuna Coil. The music has more weight and substance and the band performed on top of their game here. I think they realized that their previous two efforts have polarized long time fans so it is wise to just go back to the roots while spicing up things with some new surprises.

‘Ashes and Dreams’ and ‘Voices’ are two of my favorite tracks from this record. ‘Voices’ kicked in with jarring electric guitar driven by mid-tempo beats while draped in transparent keyboard that sounds all the more entertaining. The chorus section is perhaps the most memorable part from the entire album. It’s a bit clichéd for a chorus, you know, catchy and all, but again this is not blasphemously negative, nor does it affect my appreciation for good music that ToT crafted.

“Subdue these sounds forever”
“Someone visited my mind in wonder”
“Somewhere behind walls and halls another sight surrounds me”
“Voices say; if you could set me free?”

That part is especially lovely and comprises an integral part of the song. I can’t imagine what it would be like had the band decided to change the chorus with different style or words. Let’s face it; ToT are no longer writing lyrics in Old English like in their first three major outputs. Apparently, fans like me often revered the sophomore ‘Velvet Darkness They Fear’ for its unique ingenuity that capable of balancing between death / doom metal and Gothic with complex poems and elegies. After Aegis, they dropped the literary theatrics in favor of more straightforward yet euphemistic lyrics. The above excerpt pretty much gives you the idea of how this band fares thus far in term of poetic expressions.

Moving on, drums are strong and competent without being too overwhelming, so does the bass guitar although the latter often fades in and out throughout the album. The bonus track “Highlights” is also a good listen. I don’t exactly know how to describe the effects at the beginning of the song but somehow it reminds me of ‘Lorelei’ from Aegis. The remaining three tracks ‘Exile’, ‘Disintegration’ and ‘Debris’ also brilliant and no less enjoyable than the ones primarily highlighted in this review, with ‘Disintegration’ reminds me of Haunted by Evanescence. It’s lame, I know but hey, my taste is not strictly limited to metal only. At least I am able to appreciate good music. The chorus part of ‘Debris’ is melancholic despite Nell singing in high note which exemplifies the optimum capacity at which Nell is able to perform.

It is sad to see them go. The last farewell concert in Stavanger (Last Curtain Call) is a moving experience, especially with the final track ‘Forever is the World’. Storm on the other hand is another great album by Theatre of Tragedy that, prior to the band calling it quits, is a solid epitome of what the band has stood for years into their career. I got this album yesterday (the digipak version) along with the last record. One thing for sure, I’m going to spin this CD inside my stereo again and again and see if I can grow tired of it. Definitely a great comeback prior to their sorrowful dissolution. There is nothing more awesome than to hear your favorite band doing something great one last time before they go on to pursue each of their interests.

Starting their life the way many Goth Metal bands do, as a Doomdeath act, Theatre of Tragedy raised the bar a bit higher than many of their contemporaries with the addition of a female singer. This in and of itself isn't revolutionary, however, the fact that she had just as much if not more time singing than the male is.

Shortly after their third recording the bands leader decided to shed their metallic skin for a far more trendy/radio friendly synth-pop sound. A few albums later the female singer departed for heavier wears and Theatre was left with a decision. Thankfully they made the right one and returned to a more Metal sound.

On 'Strom' we hear an excellent Gothic Metal release with more than a few passing nods to 'One Second' era Paradise Lost (specifically in the Keyboards). The production is very good, and overall there is little to get upset about. The worst part of this is male vocals which are nothing more than spoken word parts.

The guitars sound is if they are nothing more than amp overdrive. The bass is clean and drums are competent. The keyboards, while not as brilliant as on prior releases certainly hold their own, but they add an underlying pop feel to many of the songs (not a terrible thing mind you, but not necessarily what you would expect to hear).

New comer Nell has well honed chops of her own. She has a very different voice but it fits the music well. She certainly has a wide range that is a mid to high (almost child like at times) that adds an ethereal quality to the music at large.

The songs are in the verse chorus verse format and are mostly energetic love anthems. There are slight dirges of sorrow that are accented by Nell’s unique vocals. There honestly aren't any weak links here; this is a pretty solid release from these prodigal children. Here's to hoping they keep it up.

Theatre of Tragedy began with two of the finest, purest examples of gothic metal there are. With Aegis came a softer but equally gothic sound and then in the minds of most of their fans, it all went wrong. Musique brought with it the horror suggested by their previous terrible remixes: The lords of gothic metal turned to electropop. Bad electropop. The lyrics abandoned olde english in favor of computer terms, the crunching guitars and classic drums were exchanged for synth bubblegum and the vocals left behind the operatic and beastly poetry for... I can't even say it. But with a new vocalist came a sort of renaissance: They did not return to their roots, but they remembered them.

Storm sounds directly between Aegis and Musique. There are electronic elements but they do not take over the album, they subtly enter the gothic foundation of the work to enhance it, to augment it. The lyrics are modern but the subjects are smarter and more heartfelt than computers and cities of the future. The new vocalist sounds little different from the former, and most importantly- The quality of their early years is back.

There is not a great deal of variety, there are some highs and lows but I imagine which songs are which varies from listener to listener. Instruments sound the same throughout and tonality shifts little from the softer to the harder works. So what does this sound like as a whole? It sounds like Aegis's younger, quirkier sister. It's not as dark or somber, it's more playfull and lighter. Keyboards interweave in a Smashing Pumpkins sort of way, that Adore era folksy sad tune that fits in so well with it's electronic counterpoint that you would think 1850s Norwegians had a copy of ProTools. There are no rough vocals, or truly operatic ones, but all the words are cleanly sung in the Aegis style, both relaxing and soothing, but strangely ominous.

No it's not Velvet Darkness, but what else is? (Tristania and Darkwell, thats what is) Had Storm come between Aegis and Musique chronologically the descent might have made more sense. Storm is not an album that apologizes for the techno years, and it's not a full return to the true gothic metal origins of a true gothic metal band, but it is as good as we can hope for, and on it's own merits Storm is a good catchy fun dark gothic metal album that warrants several spins, and a hunt for the bonus tracks and b-sides.

Mediocre at Best
65%

Storm marks yet another stylistic change for Theatre of Tragedy. Long gone are the days of eerie gothic metal with stunning piano leads and ethereal vocals marked by their debut album and Velvet Darkness They Fear. No more are the quite unpopular electro pop influenced productions Musique and Assembly. What stands in place is a ridiculously commonplace and accessible offering to trendy crowds who decide good “metal” is what the radio tells them it is.

This album is marked by crossfade after crossfade, the same vocal style utilized by Ray in the band’s previous two releases, and songs chock full of hooks and admittedly catchy melodies. Once again, a duet of sorts is forged between Ray and Theatre’s new vocalist Nell. Nell is quite talented at what she does and creates a soothing atmosphere in every track. Musically, I found Storm to sound like a cross between a crappier version of Musique and Aegis. There’s a lot of polished guitar work here, and while the electro influences have passed for the most part, the keyboards still play a large role in shaping the ambient structure of the songs.

Unfortunately, however, the songs pretty much all sound the same. Ray mumbling some stuff as a lead into a chorus, then Nell and the rest of the band kicking it up, playing some catchy hooks before letting Ray murmur some more lyrics. Tracks are usually completed by choral repetitions, then rinse and repeat. This formula quickly wears thin as there is virtually no variation between songs in terms of tone or composition. Within this mire of mediocrity a couple songs stood out to me. The title track is a strong opening and no doubt a favorite by many who appreciate this album. Debris is an excellent closer that still strikes a chord or two in me. Other than that, there’s not much to see here. After hearing one song you get the sense you’ve heard them all before.

While I can admit that there are some very catchy elements to this CD and some good melodies, I still can’t get over the fact that Theatre of Tragedy can’t seem to nail down a style they want to keep playing. Long time fans like me are no doubt going to be disappointed by yet another musical shift. We just can’t stop yearning for another Velvety injection of gothic metal goodness. But to those who are just beginning to know the band or the genre, then it’s a pretty safe bet you’ll enjoy Storm. Just don’t expect it to carry you away.

THEATRE OF TRAGEDY : Storm : AFM Records

Its a sad but true fact that you can't actually review this album without comparing Theatre Of Tragedy to both Within Temptation and Evernescence. Not that there is anything wrong with the former comparison (we reserve our judgement on the latter), in fact many a band would consider it an honour to be alined to such a strong outfit. The sad fact comes into play when you realise that Theatre Of Tragedy have been around for longer that either comparison and making head strong Gothic tinged Metal for a good few years.
As is always the case though, its never genre forefathers that reep reward, just the bands that follow in their footsteps.

By now you'll have a pretty good idea of how Theatre.... sound, but don't think they are a reinvented identakit offering. This is a band that have been pouring their collective hearts out for far to many years to suddenly start bandwagon free rides. The similarities are obvious in that the sound is full of hooks, polished production and a rather attractive front woman with a set of lungs that will undoutably seduce you into their world of big hitting choruses and hooks that will simply capture your very soul.

The album kicks off in fine style with the title track which sees a strong trade off of vocals between long standing member Raymond I.Rhonya and new girl Nell Sigland, who although having been in the band for some years makes her recording debut replacing Liv Kristine. Again comparisons are going to happen, but its fair to say that although Nell doesn't sound to different to Liv, she has added another dimension to the overall sound, making it all feel a lot warmer.

The vocal trade off's continue between Nell and Raymon throughout with neither overpowering each other, only succeeding in complimenting each other and of course the underling music which in itself is rich and full of flavour. The guitar work is strong and perfectly matched to an orchestrated keyboard set up that displays at times some supreme touches.

The pace is varied throughout, with only one power ballad which is practically obligatory in this day and age. All in all this is a very strong album and one that sort of took me by surprise. In saying that though with a pedigree such as the one that Theatre Of Tragedy display no one should have expected anything different.