Refuge

Rain Fell Within is a band that doesn't make much sense. At least, not in the context of the genre they're in. By the time the American atmospheric/symphonic metal outfit released their debut album Believe in 2000, the female-fronted gothic metal scene (as we define it now) in Europe had already been going strong for the better part of a decade, and in the two years it took for them to release their sophomore work Refuge the sound would only become a more prominent feature of the metal world. Bands from Scandinavia and the Netherlands dominated the landscape for years before acts from Germany, Italy, and France could get a word in edgewise. But here in the states, what did we have? There was Rain Fell Within, Aesma Daeva, and the less metallic Evanescence (who at the time released their Origin demo through Bigwig Enterprises) among a dozen or so little bands that amounted to nothing, and the three bands that did matter all came from different parts of the country. Suffice to say, this is not a very widespread or beloved genre of music in my home country.

While the rest of the United States was still in the throes of nu metal, and gearing up for a take over of metalcore and pop punk, Rain Fell Within took a very different approach. Instead opting for highly melodic, keyboard laden, almost dreamlike atmosphere. Though maybe following a similar structure to their European counterparts such as Tristania, Within Temptation, and Nightwish, there were some key differences. For one, Rain Fell Within wasn't nearly as dark and doomy, and they never dabbled in the defining beauty and the beast style aimed to balance the flowery soprano with a harsher foil; instead opting to let vocalist Dawn Desireé (and for "Passing Time", Laurie Ann Haus) handle all vocal duties in their banshee-esque operatic wails. But that doesn't mean that Rain Fell Within were pushovers, or that their sound was less intense or dramatic. With a nearly endless barrage of rolling drum beats intermingling with melodic guitar riffs and cascading synth parts, Rain Fell Within construct an enormous wall of sound that is as thick as it is ethereal.

Refuge is a record that starts strong and only gets better. Opening with "Torn Apart" and "In the Knowing of You", these songs are the most conventionally (turn of the century) gothic metal, though perhaps more aggressive than your doomier fare (I'm gonna call it agro-goth). This record is high energy, so much so that Rain Fell Within wouldn't sound particularly out of place next to something like Cradle of Filth, imagine a female-fronted Creulty-era CoF with fewer black metal tendencies. The opening songs bring a speedier energy and edge to the ephemeral atmosphere which serves to set the tone of the album before retreating back into the fairy tale aura utilized on the band's previous effort Believe without losing any of the kinesis for too long. This is the band's best material with the highest re-play potential. The formula is more or less unchanging throughout: beautiful elongated vocal melodies played on shimmery keyboard-strings and chunky riffage, songs like "Sirens" and "Burned Away" are on the more extreme side of this sound. But across the longer "In My Dreams" and "Into the Tower" there is a focus on cleaner guitar parts that rise and swell to create less dynamic, quiter parts that scream esoteric and unearthly. Furthermore, the addition of some odder, less conventional (even proggy in some places) slants here and there works to deepen the well of sound and showcase the band's ability as songwriters. "Save Your Soul" is probably the most off the wall song on the album. The main theme being a quick little drum beat at the beginning that is then layered with a simple and almost playful keyboard part before everything builds on top -- heavy, dark, and angry.

The perhaps not the best mixed and produced album, I would say that the production serves the sound pretty well. There's just enough fuzz to give a magical air of mystery to the already rich sound, but also sometimes flatten the sound rather than making it feel like a full ocean of layers and possibilities. But these are really the most minor of problems, what can be a little off-putting for the fans of pristine female soprano vocalists like Tarja Turunen, Sharon den Adel, and Simone Simons is the vocal delivery. Here, Dawn Desireé's vocal style is either one you love or you hate -- I, of course, have learned to really like it, but I didn't always think this way. Dawn's range is incredible, but she lacks control, and can come off as sloppy in places. The best example would be one of two ballads on the record, "The Child Beneath", where her higher backing vocals don't mesh well with the leads. The second ballad "Passing Time" is the only song written by and featuring the band's latest addition Laurie Ann Haus, who has a much breathier and folkier timbre. She doesn't get the chance to show off her capabilities as a front-woman so much as (from my understanding) the album was already largely completed when she and guitarist Jason Aaron Wood joined, but this song is a very tasteful and subdued way to close out the album, echoe-y and sentimental.

It doesn't surprise me that this band has had it's fair share of divisive criticism, even I have had my ons and offs with this band. As much as I really love Rain Fell Within now, it doesn't surprise me that they weren't all that big when they were active, either -- within their own country or even within the scene at large. But what does surprise me is that there isn't a movement of gothic and symphonic metal fans retroactively upholding Rain Fell Within as one of the greats of the genre. The fact that there isn't a following making up for the one they didn't really have when they were active is shocking to me, not only because the songwriting displayed across their short career is absolutely stellar and worthy of praise, but because this band has a lot of markers for success: unmoderated romanticism, epic and galloping riffs, a unique take on ethereal atmosphere (no one sounded like Rain Fell Within), and an operatic soprano that can be used as the band's face, an icon that the fan base can rally behind. Not to mention that they weren't modern enough for the sound to be muddied by the poppy sensibilities that would be incorporated into the sound in the years that followed is a plus, this is a metal record, no question about it.

What can be said about a American band playing European gothic metal? A lot, really! The best part of the album is the guitar sound. It's a dirge heaven of mud. A very dense, full, and warm tone sets a strong foundation for this album. I can see some saying it's a bit unclear, but that's what I like so much about it.

Dawn's vocals are soprano operatic. They are absolutely breathtaking. I was never a fan of operatic vocals prior to hearing this band, but that all changed when I became blown away with a performance I saw in 1998. Dawn somehow combines a huge amount of somber emotion not heard by most singers in this genre. As she sings her own lyrics, you can picture her fighting for her life and what she believes in. With every word you can feel the deeply scarred pain life has left on her and she sure does know how to show it.

Tim, the drummer, is just as amazing. Very unique. Most drummers in this genre fail to keep the drums interesting, but this is not the case with his style. The drum production sounds fantastic as well.

Charles playing the fret-less bass and really gives the chords a drearily deep tone that really shows off how bad ass of a bassist he is. Also, he's a true bassist playing with his fingers as well.

Kevin, the guitarist, brings the dirge and doom I had mentioned above. The use of clean and distorted guitars brings a nice balance to the feel of the album. Not overused and never really expecting the changes between them, nor ever feeling contrived.

Jason, the guitarist, and Laurie did play a small part on this album as well. I am assuming they joined the band during the recording of Refuge perhaps? I am not a huge fan of the way she sings on "Passing Time". She is a good singer, but I think Dawn's voice is a much better fit for RFW, although I am sure most of you will enjoy Laurie's vocals just fine. Jason did play on one track, but I'm not sure if it's all him, but it sure fits right in with the masterpiece Refuge.

What was nice about RWF was that the members seemed very down to earth and genuine about themselves and the music they were creating. I admit I am very biased to them because I know some of them very well. Having played my band's first few shows opening for them was an honor. If you can find this cd, please don't hesitate and buy it.

A SHORT MESSAGE TO GRIMDOOM: Dawn was NEVER married to the owner of the label! Lol.

Self-indulgent, pompous and somewhat different more than sum up the Gothic Metal mess that is/was Rain Fell Within. This is more of a love letter to the singer by the singer, but you would expect no less when her husband is the owner of the label that released this album.

While it's plain to see (or hear rather) that Dawn is a talented singer and that her chops (whether scholastically learned are not) are well honed, they go to the point of ridiculousness drowning the rest of the music out. Her constant and over blown high to low vocal tandems go far beyond bad taste causing the listener to get annoyed, quickly.

The production is alright for the most part, though the guitars are a little muddy in a few places. There is a good amount of chugging riffage and some alright leads but no solos. The bass is very standard and uninspired however.

The drums are tight but dull. Either he didn't want to push himself or he was not that talented. In any event, the rhythm section is sub par for the bulk of the album. There are some piano/keyboard parts that add a sickening amount of "pretty" where its not needed. If they wanted this to be a half-assed Classical romp they should've put more effort into it.

The songs are about love and loss, etc...which is yet another fault of this bland recording. As far as the bands actual sound, they don't really sound like anyone. There are hints of Thrash, Prog and even a little Power sprinkled throughout, but over all most of the songs don't really go anywhere. The first two songs are the best tracks and that’s not saying very much. They really should've pushed their ideas farther and expanded on what they were apparently trying to do.

Again, had the toned the vocals down this would've been more enjoyable. The piano's "pretty" would've made more sense and actually fit. This is just too much fluff and not enough substance. Thankfully they disbanded after this album as too much of this self gratifying, patting of one's self on the back gets old really, really fast.

Are you a Nightwish Fan? Do you like After Forever or maybe even Within Temptation perhaps? Well if you answered yes, or are interested in female fronted metal, Rain Fell Within is for You. There are no musical comparisons between the bands mentioned and Rain Fell Within, the music is hardely similar aside from a female vocalist. Musically, the band uses a lot of melodic and harmonic riffs, incorporating both heavy and clean guitar when needed. The atmosphere on this disc is that of a very dark album, from start to finish. Some of the songs, while sometimes very somber, can also be beautiful. There are a couple songs with just keyboards and vocals (The Child Beneath and Passing Time) but this is definitely a guitar album. Vocalist Dawn deserves the credit for giving the band their unique charm, even though the rest of the band is qualified enough to create an opus of atmospheric metal. The production is clear, the whole album flows fittingly, and the music really shines. I definitely think you should give this a listen if only for Dawn's wonderful voice, but I also recommend this one to anyone who would like to hear tranquilizing, non agressive metal.

Its a damn shame that this is Rain Fell Within's final release.