THEATRES DES VAMPIRES - "Moonlight Waltz" - REVIEWS
- Thread starter Emi
- Start date
http://www.flightofpegasus.gr/heavy_metal/
THEATRES DES VAMPIRES Moonlight Waltz (Aural)
theatres_des_vampires
Το νέο άλμπουμ του συγκροτήματος θα χαροποιήσει όλους όσους εμπνέονται από τις ταινίες του Τιμ Μπάρτον ή άλλες της ιταλικής σχολής του τρόμου. Σχήμα με εμπειρία στο χώρο του, παρουσιάζει υλικό στη βάση του γοτθικό, αναλόγως ρυθμικό, με σύγχρονο ήχο, που κλείνει το μάτι σε ένα ευρύτερο ακροατήριο. Εδώ θα προσέξετε τα με ωραίο τρόπο συντονισμένα φευδο-έγχορδα και τα δεύτερα φωνητικά, που τονίζουν το συμφωνικό στοιχείο της μουσικής τους, θα μείνετε και ικανοποιημένοι από την απόδοση της τραγουδίστριας Sonya Scarlet μάλλον προτιμάται όταν ακούγεται σαν ανιψιά της Siouxie. Δεν λείπουν τα ηλεκτρονικά στοιχεία, πράγμα που υποδηλώνει τη συνέπεια των δημιουργών στις σταθερές του είδους. Να σημειωθεί, επίσης, ότι έχουν διασκευάσει ωραία το Figlio Della Luna των Mecano και ότι σε ένα κομμάτι τους συμμετέχει ο Snowy Shaw. Πρόκειται για καλή κυκλοφορία, που θα εκτιμήσετε ανάλογα με το πόσο δεκτικοί είστε στα τερτίπια του ύφους αυτού.
THEATRES DES VAMPIRES Moonlight Waltz (Aural)
theatres_des_vampires
Το νέο άλμπουμ του συγκροτήματος θα χαροποιήσει όλους όσους εμπνέονται από τις ταινίες του Τιμ Μπάρτον ή άλλες της ιταλικής σχολής του τρόμου. Σχήμα με εμπειρία στο χώρο του, παρουσιάζει υλικό στη βάση του γοτθικό, αναλόγως ρυθμικό, με σύγχρονο ήχο, που κλείνει το μάτι σε ένα ευρύτερο ακροατήριο. Εδώ θα προσέξετε τα με ωραίο τρόπο συντονισμένα φευδο-έγχορδα και τα δεύτερα φωνητικά, που τονίζουν το συμφωνικό στοιχείο της μουσικής τους, θα μείνετε και ικανοποιημένοι από την απόδοση της τραγουδίστριας Sonya Scarlet μάλλον προτιμάται όταν ακούγεται σαν ανιψιά της Siouxie. Δεν λείπουν τα ηλεκτρονικά στοιχεία, πράγμα που υποδηλώνει τη συνέπεια των δημιουργών στις σταθερές του είδους. Να σημειωθεί, επίσης, ότι έχουν διασκευάσει ωραία το Figlio Della Luna των Mecano και ότι σε ένα κομμάτι τους συμμετέχει ο Snowy Shaw. Πρόκειται για καλή κυκλοφορία, που θα εκτιμήσετε ανάλογα με το πόσο δεκτικοί είστε στα τερτίπια του ύφους αυτού.
http://www.cackblabbath.co.uk/2010/11/15/theatres-des-vampires-moonlight-waltz/
Theatres Des Vampires : Moonlight Waltz
By admin
November 15, 2010Posted in: CD Reviews
The album opens strongly enough with Keeper Of Secrets, a decent slice of symphonic black metal with Sonyas voice giving it something a little different. Inspite of the band being labeled as symphonic black metal (most recently by me in the last sentence) this isnt extreme metal at all, being in places much more Sisters Of Mercy goth-ey than Cradle Of Filth.
The second track, Fly Away, again veers more towards the heavier end of the goth rock spectrum than black metal as you may know it. OK there are still layers of orchestration at work here but again its very listenable and accessible. I really like this track.
The title track, Moonlight Waltz, opens with a pretty piano part as the band continue to stay away from their assigned genre. If you remember Shakespears Sisters massive hit Stay, this reminds me of that more than anything else. Sonya really had an excellent voice and it is shown of to its full effect here.
Its not all light and fluffy though, with tracks like Sangue and Black Madonna showing a much darker, heavier side to Theatres Des Vampires, and its this variation in the songs that keeps this album flowing nicely.
I suspect that the problems with this band may be that theyre not Black Metal enough for the Black Metal fans, but too heavy (and possibly odd) for the classic rock crowd. Which is a pity because I really like this album and if you can get past the image thing I suspect you may too.
Theatres Des Vampires : Moonlight Waltz
By admin
November 15, 2010Posted in: CD Reviews
Theatres Des Vampires are an Italian symphonic black metal band who have been around in one form or another since the mid 1990s and Moonlight Waltz is their latest offering. So if you can stop looking at the picture of front woman Sonya Scarlet and well get on shall we
If you check out their videos, you may be forgiven for thinking that Theatres Des Vampires are an odd bunch. The gothic vampire thing they have going can tend to get in the way of the music, take a look at this and see what I mean..
You see, Writhing about, coffins, castles, implausible white dresses, impractical black corsets, theatrical, overblown and vaguely ridiculous. Just the way this sort of music should be, I mean if youre going to go for it you may as well go for it completely.The album opens strongly enough with Keeper Of Secrets, a decent slice of symphonic black metal with Sonyas voice giving it something a little different. Inspite of the band being labeled as symphonic black metal (most recently by me in the last sentence) this isnt extreme metal at all, being in places much more Sisters Of Mercy goth-ey than Cradle Of Filth.
The second track, Fly Away, again veers more towards the heavier end of the goth rock spectrum than black metal as you may know it. OK there are still layers of orchestration at work here but again its very listenable and accessible. I really like this track.
The title track, Moonlight Waltz, opens with a pretty piano part as the band continue to stay away from their assigned genre. If you remember Shakespears Sisters massive hit Stay, this reminds me of that more than anything else. Sonya really had an excellent voice and it is shown of to its full effect here.
Its not all light and fluffy though, with tracks like Sangue and Black Madonna showing a much darker, heavier side to Theatres Des Vampires, and its this variation in the songs that keeps this album flowing nicely.
I suspect that the problems with this band may be that theyre not Black Metal enough for the Black Metal fans, but too heavy (and possibly odd) for the classic rock crowd. Which is a pity because I really like this album and if you can get past the image thing I suspect you may too.
http://www.metalwave.it/viewrece.php?id=2778
Theatres des Vampires, ovvero sinonimo di gothic female metal made in Italy. Inutile dire che fa senzaltro piacere che una band italiana riesca a tirar fuori un gothic intrigante e così ben confezionato. Ormai da anni. Nello stesso tempo, cè da interrogarsi seriamente su quanto ci sia di notevole al di là della superficie e dei canini che grondano sangue.
La vampiresca Sonya con il resto della band hanno creato uno spazio consolidato intorno a loro, non solo musicale, ma anche riguardo la loro immagine: oltre la musica, suggestioni gotiche a gogò e un buon involucro sono fra gli ingredienti del succulento e truculento- prodotto. I vampiri consolidano in questa sede questimmagine vincente e sicuramente, vista una carriera cominciata nel 1995, si capisce anche che la sanno lunga.
Ed ecco che in questultima release, Moonlight Waltz, insieme a pezzi dalla grande orecchiabilità, si alternano episodi, pochi per la verità, più profondi e malinconici, che rendono un pò più originale e apprezzabile il tutto.
Per i primi si vedano tracce come Carmilla, da cui è stato prontamente tratto il videoclip, Keeper of secrets, The gates of hades o Le grand guignol, che non hanno nulla da invidiare ai singoli super catchy diffusi delle gothic bands più popolari. Su tutte la title track Moonlight waltz riesce a non farsi dimenticare facilmente, forse perché insieme a una grande facilità di ascolto, sembrano riecheggiare visioni gotiche danzanti fra le più classiche.
Ad alzare il livello di questa escalation gotica verso qualcosa di molto più appassionante, troviamo con piacere Obsession, dai ritmi così ansiosi, le voci ridondanti di echi spezzati e composta in veste quasi elettronica.
Ritengo particolarmente degna di nota Figlio della luna in cui il canto in italiano si fa eccezionale portatore di un risultato musicalmente molto riuscito: la vocalist tocca punte di espressività coinvolgenti, accompagnata da violini, tastiere, pianoforte e cori in una sorta di danza-ninna nanna tanto affascinante quanto struggente e infelice. Senza alcun dubbio, assalita dalla curiosità, mi sarebbe piaciuto sapere cosa sarebbe saltato fuori da un album tutto in italiano e di una simile poesia. Le immagini evocate non necessitano alcuna confezione: è bastata la musica. Tutto questo considerando che il pezzo originale... non è il loro. Naturalmente immancabili, nonché onnipresenti in tutto il disco, gli arrangiamenti di organo, violino e pianoforte, seguiti dai cori. Mentre Sonya generalmente si muove sempre su una tonalità di voce sofferta, che mi ha dato l'idea di rigidamente costruita, riproposta di continuo e generalmente uguale a se stessa.
In conclusione, Moonlight waltz è un prodotto altamente vendibile. Ma che non può soddisfare, ahimè, i palati più esigenti.
Giudizio Confezione
68
Theatres des Vampires, ovvero sinonimo di gothic female metal made in Italy. Inutile dire che fa senzaltro piacere che una band italiana riesca a tirar fuori un gothic intrigante e così ben confezionato. Ormai da anni. Nello stesso tempo, cè da interrogarsi seriamente su quanto ci sia di notevole al di là della superficie e dei canini che grondano sangue.
La vampiresca Sonya con il resto della band hanno creato uno spazio consolidato intorno a loro, non solo musicale, ma anche riguardo la loro immagine: oltre la musica, suggestioni gotiche a gogò e un buon involucro sono fra gli ingredienti del succulento e truculento- prodotto. I vampiri consolidano in questa sede questimmagine vincente e sicuramente, vista una carriera cominciata nel 1995, si capisce anche che la sanno lunga.
Ed ecco che in questultima release, Moonlight Waltz, insieme a pezzi dalla grande orecchiabilità, si alternano episodi, pochi per la verità, più profondi e malinconici, che rendono un pò più originale e apprezzabile il tutto.
Per i primi si vedano tracce come Carmilla, da cui è stato prontamente tratto il videoclip, Keeper of secrets, The gates of hades o Le grand guignol, che non hanno nulla da invidiare ai singoli super catchy diffusi delle gothic bands più popolari. Su tutte la title track Moonlight waltz riesce a non farsi dimenticare facilmente, forse perché insieme a una grande facilità di ascolto, sembrano riecheggiare visioni gotiche danzanti fra le più classiche.
Ad alzare il livello di questa escalation gotica verso qualcosa di molto più appassionante, troviamo con piacere Obsession, dai ritmi così ansiosi, le voci ridondanti di echi spezzati e composta in veste quasi elettronica.
Ritengo particolarmente degna di nota Figlio della luna in cui il canto in italiano si fa eccezionale portatore di un risultato musicalmente molto riuscito: la vocalist tocca punte di espressività coinvolgenti, accompagnata da violini, tastiere, pianoforte e cori in una sorta di danza-ninna nanna tanto affascinante quanto struggente e infelice. Senza alcun dubbio, assalita dalla curiosità, mi sarebbe piaciuto sapere cosa sarebbe saltato fuori da un album tutto in italiano e di una simile poesia. Le immagini evocate non necessitano alcuna confezione: è bastata la musica. Tutto questo considerando che il pezzo originale... non è il loro. Naturalmente immancabili, nonché onnipresenti in tutto il disco, gli arrangiamenti di organo, violino e pianoforte, seguiti dai cori. Mentre Sonya generalmente si muove sempre su una tonalità di voce sofferta, che mi ha dato l'idea di rigidamente costruita, riproposta di continuo e generalmente uguale a se stessa.
In conclusione, Moonlight waltz è un prodotto altamente vendibile. Ma che non può soddisfare, ahimè, i palati più esigenti.
Giudizio Confezione
- Qualità Audio: 75
- Qualità Artwork: 70
- Originalità: 65
- Tecnica: 70
68
http://www.seaoftranquility.org/reviews.php?op=showcontent&id=9930
Theatre Des Vampires: Moonlight Waltz
There's precious little in life as fun as reading publicity material for bands. I've actually read that the Helloween spin-off Bassinvaders are worth listening to for instance. The bumph for the latest release from Italy's Theatre Des Vampires reads thus; "The brand new album from the Vampire Theatre - modern and refreshing Gothic Metal at his (sic) best, with a Bloody Touch. Their music represents a musical travelogue through a beautiful yet unspeakably grotesque realm of the imagination, that owes something to the cinematic vision of Gothic director par excellence Tim Burton, the stylish splatter of Italian horror, the symphonic excess of her opera, the blood-soaked allure of her long history - combine to make Theatres des Vampires one of the most elegantly dark, and eerily compelling gothic metal bands the world has to offer..." Clearly (and patronizingly we'll have to ignore the grammar mistakes.)
OK, let's have a look at the major claims shall we? "Modern and refreshing Gothic Metal at its best." Moonlight Waltz is fine but by no means the best thing since sliced bread. "One of the most elegantly dark and eerily compelling gothic metal bands the world has to offer..." Again, we're in hyperbole mode but that's not to denigrate the album in any way which has many fine qualities. Snowy Shaw shows up on the opening track "Keeper of the Secrets" and "Cadaveria" and Eva Breznicar from Laibach help out on "Le Grand Guignol" and "Medusa" respectively and these are suitably powerful and gothic.
One of the ways I like to score my reviews is by the tracks I give at least four stars to on my IPod and there are enough on Moonlight Waltz to keep the band's "near religious following" satisfied. One of the songs that I gave four stars to is "Illusion" which, as is often the case with Theatre Des Vampires sounds a little like Lacuna Coil and that's not necessarily a bad thing. Equally, as is generally the case, the real star here is lead vocalist Sonya Scarlet who at times is frightening and at others highly beguiling which again draws us back to the conclusion that Moonlight Waltz is a solid if not exactly ground breaking album.
Track Listing:
1. Keeper of Secrets" (feat. Snowy Shaw)
2. "Carmilla"
3. "Moonlight Waltz"
4. "Fly Away"
5. "Sangue"
6. "Figlio della Luna"
7. "An Illusion"
8. "Black Madonna"
9. "Le Grand Guignol" (feat. Cadaveria)
10. "Obsession"
11. "The Secret Gates of Hades"
12. "Medousa" (feat. Eva Breznikar)
Added: November 18th 2010
Reviewer: Simon Bray
Score:
Theatre Des Vampires: Moonlight Waltz
OK, let's have a look at the major claims shall we? "Modern and refreshing Gothic Metal at its best." Moonlight Waltz is fine but by no means the best thing since sliced bread. "One of the most elegantly dark and eerily compelling gothic metal bands the world has to offer..." Again, we're in hyperbole mode but that's not to denigrate the album in any way which has many fine qualities. Snowy Shaw shows up on the opening track "Keeper of the Secrets" and "Cadaveria" and Eva Breznicar from Laibach help out on "Le Grand Guignol" and "Medusa" respectively and these are suitably powerful and gothic.
One of the ways I like to score my reviews is by the tracks I give at least four stars to on my IPod and there are enough on Moonlight Waltz to keep the band's "near religious following" satisfied. One of the songs that I gave four stars to is "Illusion" which, as is often the case with Theatre Des Vampires sounds a little like Lacuna Coil and that's not necessarily a bad thing. Equally, as is generally the case, the real star here is lead vocalist Sonya Scarlet who at times is frightening and at others highly beguiling which again draws us back to the conclusion that Moonlight Waltz is a solid if not exactly ground breaking album.
Track Listing:
1. Keeper of Secrets" (feat. Snowy Shaw)
2. "Carmilla"
3. "Moonlight Waltz"
4. "Fly Away"
5. "Sangue"
6. "Figlio della Luna"
7. "An Illusion"
8. "Black Madonna"
9. "Le Grand Guignol" (feat. Cadaveria)
10. "Obsession"
11. "The Secret Gates of Hades"
12. "Medousa" (feat. Eva Breznikar)
Reviewer: Simon Bray
Score:
http://www.pavillon666.fr/chronique-metal-5488.php
8/10
Il y a parfois des étiquettes injustes qui vous collent à la peau. Le « gothic metal » par exemple nest pour un groupe, pas à proprement parler de réjouissance quand un chroniqueur colle cette appellation par toujours justifiée, et qui réuni en fait du metal avec des synthés, un chant féminin, et des ambiances parfois rococo. Theatre des vampires ont eux aussi fait les frais de cette étiquette, mais pour une fois, celle-ci est enfin justifiée. Les italiens ont un certains penchant pour le coté vampires et gothique, il ny a quà observer leurs tenues, pochette, et leur image pour sen faire une idée. Il est bien loin le temps de leurs débuts en 1994, avec de larges relents black metal.
Sonya Scarlet tient toujours le poste de chanteuse, avec une voix quasi parfaite pour le rôle, claire et très mélodieuse. Nous sommes ici dans un gothic-metal très accrocheur et douceâtre, il faut le dire proche de tubes « radio » et dont le coté technique nest pas le principal objectif. Par contre lémotion est présente, avec de beaux chants, de beaux refrains, de belles envolées de piano, et même parfois de belles orchestrations, et ce même si le son du synthé fait vraiment « too much ».. Certains guests stars se sont invités et donne un petit plus à lensemble, dont Snowy Shaw ou la terrible Cadaveria (ex-Opera IX) qui pousse sa voix black fort appréciable sur « Le Grand Guignol », titre énervé et assez rythmé (le meilleur ?). Parfois des accents electro viendront faire une apparition, bref, nous avons à faire à un album sympathique qui devrait ravir les fans de metal mélodique et les amateurs de goth, au sens « vrai » du terme car certains plans sont vraiment inspirés de la scène. Entre modernisme et inspiration romantique, on prend du plaisir, sans toucher au génie. A noter la reprise du groupe MECANO en italien « figlio della luna », qui napporte strictement rien, sinon le chant en italien et quelques violons en arrière plan et quelques riffs metal en fin de parcours, sorte de bouquet final. Titre inutile et anecdotique au bout du compte.
Vous aurez également droit à un bonus « video clip » avec le « Carmilla », réalisé par D.Bracci (qui avait travaillé auparavant avec Dario Argento) et qui joue la carte du groupe à fond : être le plus possible « cliché », en installant une batterie et les musiciens dans un vieux château (de vampire), bref pas franchement intéressant, voire risible.
Votre cur balance entre metal et gothique ? Approchez jeune indécis, ici la potion concoctée devrait ravir un (très) large panel avec un album pas franchement original, mais assez bon coté mélodies, cest tout ce quon leur demande après tout
Contact label
http://www.auralmusic.com/
Contact groupe
http://www.theatres-des-vampires.com
http://www.myspace.com/theatresdesvampires
8/10
Il y a parfois des étiquettes injustes qui vous collent à la peau. Le « gothic metal » par exemple nest pour un groupe, pas à proprement parler de réjouissance quand un chroniqueur colle cette appellation par toujours justifiée, et qui réuni en fait du metal avec des synthés, un chant féminin, et des ambiances parfois rococo. Theatre des vampires ont eux aussi fait les frais de cette étiquette, mais pour une fois, celle-ci est enfin justifiée. Les italiens ont un certains penchant pour le coté vampires et gothique, il ny a quà observer leurs tenues, pochette, et leur image pour sen faire une idée. Il est bien loin le temps de leurs débuts en 1994, avec de larges relents black metal.
Sonya Scarlet tient toujours le poste de chanteuse, avec une voix quasi parfaite pour le rôle, claire et très mélodieuse. Nous sommes ici dans un gothic-metal très accrocheur et douceâtre, il faut le dire proche de tubes « radio » et dont le coté technique nest pas le principal objectif. Par contre lémotion est présente, avec de beaux chants, de beaux refrains, de belles envolées de piano, et même parfois de belles orchestrations, et ce même si le son du synthé fait vraiment « too much ».. Certains guests stars se sont invités et donne un petit plus à lensemble, dont Snowy Shaw ou la terrible Cadaveria (ex-Opera IX) qui pousse sa voix black fort appréciable sur « Le Grand Guignol », titre énervé et assez rythmé (le meilleur ?). Parfois des accents electro viendront faire une apparition, bref, nous avons à faire à un album sympathique qui devrait ravir les fans de metal mélodique et les amateurs de goth, au sens « vrai » du terme car certains plans sont vraiment inspirés de la scène. Entre modernisme et inspiration romantique, on prend du plaisir, sans toucher au génie. A noter la reprise du groupe MECANO en italien « figlio della luna », qui napporte strictement rien, sinon le chant en italien et quelques violons en arrière plan et quelques riffs metal en fin de parcours, sorte de bouquet final. Titre inutile et anecdotique au bout du compte.
Vous aurez également droit à un bonus « video clip » avec le « Carmilla », réalisé par D.Bracci (qui avait travaillé auparavant avec Dario Argento) et qui joue la carte du groupe à fond : être le plus possible « cliché », en installant une batterie et les musiciens dans un vieux château (de vampire), bref pas franchement intéressant, voire risible.
Votre cur balance entre metal et gothique ? Approchez jeune indécis, ici la potion concoctée devrait ravir un (très) large panel avec un album pas franchement original, mais assez bon coté mélodies, cest tout ce quon leur demande après tout
Contact label
http://www.auralmusic.com/
Contact groupe
http://www.theatres-des-vampires.com
http://www.myspace.com/theatresdesvampires
http://www.femmemetal.net/TDVMoonlightwaltzRev.htm
82/100
Theatres Des Vampires Official MySpace
Theatres Des Vampires Official Site
82/100
Label : Dreamcell11/Aural Music
Review By Andrea "Disgraced"
Theatres des Vampires are back and this time with full force! Ok, let's start from the beginning: being an old, huge fan of the band and having followed them since the beginning, loving almost every change in directions they had made, since most times they did it with both "brain & heart", maintaining a very high profile, musically speaking. Until that infamous "Anima Noir", which dates back to 2008 and that brought a lot of doubts to my mind. Don't get me wrong, I own it and enjoyed A LOT one gig of the promo tour here in Italy but after that period I didn't listen to it anymore; when I decided to have another go at it some months ago I suddenly realized all the flaws that back in 2008 the excitement of a die-hard fan didn't allow me to see. But this isn't a review of "Anima Noir" so I'll be brief, although it's a necessary prologue to understand my following statements. In few words, that was a bad album, with half of the songs that really didn't do any justice to such a band. There was a wonderful song, the ballad "From The Deep" and generally talking the first half of the album was more than decent, with some shivers then and there (no, that wasn't meant in a positive way!
). second half of the album was shamefully bad, bad songwriting, ridiculous keyboards-laden songs with that electro flavour that can appeal only to German goth dance clubs (no offense of any kind to anyone attached, be it clear). Only other wonderful song, the magnificent closing title-track couldn't save the album from drowning, in my personal and most humble opinion.
So I admit I feared not that TdV took a direction I wouldn't like or became even less metal or bullshit like that, but simply that they would've come back with a - in my personal and most humble opinion - bad written album. God! Satan! Whoever you want! I was So wrong! I'm consuming this promo, I think. The band decided somehow to dare, without losing its trademarks since countess Sonya Scarlet is the singer, and wrote a bunch of kickass songs that I refuse to call vampiric as if this review or the album where aimed at a teenie goth who thinks Stephenie Meyer invented gothic/vampiric literature.
The album starts with "Keeper Of Secrets", a good, heavy gothic metal song that perfectly opens to you the doors to what Theatres are today (and, I hope for several years to come). Aggressive guitars but never wannabe-aggressive, if you get my point: they don't try to be harder than they actually are and it's perfect this way. A catchy opener that will bring massacres during gigs! Last but not least, it introduces the first guest of the album, Mr. Snowy Shaw of Merciful Fate and Therion fame (let's not chat about the latest happenings around him I'm sure you all know of and that don't get him in the light so much hehe). Let me tell you something that I'm sure you all crave to know about. Sonya's performance is here probably her best EVER. It must be said that that is also due to a finally perfect production, able to give Sonya's different vocal nuances the right tone to be well expressed and recorded. Actually I think that her rockish vocals are quite interesting in the scene: unusual, sensual, with a lot of "recitato" (I take this word from the opera terminology to say that she really means what she sings, so to say). Not to mention that her opera-like singing, being it in the background or the leading vocal line, has improved so much and sounds now so incredibly good! Ok, not as powerful as the queens of "opera metal", but at least so clear, pure, crystalline you can't but love it. I dare to say even better than in those days in which she was merely a back-up singer and all (or nearly all) she had to do was to sing that way. Of course, throughout the whole opus we meet the usual male vocals - same speech here, sometimes they're just in the background, sometimes they duet with Sonya and sometimes they sing alone. Shame on me because I can't tell you who and when is doing them, since Fabian, Zimon and Gabriel, respectively keys, bass and drums are used to do those deep, male vocals, live too, so I guess you'll all have to attend a show!
"Fly Away" and title-track "Moonlight Waltz" will make you feel like you wanna throw away half of your (modern at least) gothic metal collection, since these two passionate songs are surely above an average rating and mark other two songs I'm craving to hear live as soon as possible! Let's arrive to the cover song of this album: beloved Hijo de la Luna by Mecano, here in an Italian version called "Figlio Della Luna". Now, I usually hate covers identical or almost identical to the original, I wonder what's the point in doing that... This is NOT identical to the original, but not even totally different, that must be said. You'd recognize it very easily. Nonetheless, it's a fucking masterpiece! Perhaps because Italian is after all my mother tongue and so it has a particular taste - the exotic one for non-italian speakers. Perhaps because the orchestration and the band's skills turned it into a perfect symphonic cover - lately the only similar example I've heard, of something not having anything to do with symphonic metal that became an awesome pièce of it is "Still Of The Night" by the goddess Tarja. Anyway this cover has it all: a heartfelt interpretation by Sonya, soaring orchestra and choirs and the right, fitting hitting of the band on the respective instruments. And if I can add, Sonya's performance has a nice feeling reminiscent of some classic (not classical) italian singers like Patty Pravo which is simply a point more in the whole thing.
Ninth track "Le Grand Guignol" displays the talent of one of the first and best extreme metal women of all times: Cadaveria. The production gives a good hint, when she growls, of how she sounded back in the past with her previous bands, always on the edge of symphonic black metal and thrash; besides, we can hear also how perfect and angelic her clean vocals can be. "Obsession" is a good example of how you can make a song with electronic elements with an orchestra and choirs (thanks to the Classical Music Academy of Rome directed by Luca Bellanova) that would make many symphonic metal bands quite envious. Of course that isn't something related to just this track, as beautiful violins act as a perfect side part in "Carmilla", chosen as first single and which you can see the video to .
When I first listened to "Medousa" and "Carmilla", the songs made available on myspace, I admit I prefrred the former, though now also the latter, after nine or ten listenings before writing this review, has started to grow on me. "Medousa" is the closing track of this album, which features the classy participation of Eva Breznicar from neofolk-industrial band Laibach. Unfortunately although I like the song in itself, I don't find it a good ending, too anonymous perhaps. And I expected something more in the veins of Laibach, with their singer collaborating but maybe it was just me thinking wrong, maybe she was just invited to sing and stop. I still think it would've been an interesting experiment.
On a negative note I can't help but pointing out that once again the English pronunciation isn't at its top at all; partly I think that's because of Sonya's particulasr style of singing: I mean, also when she sings in Italian I have problems in understanding the lyrics! And if it can be of any consolation that's a problem shared by 99,9% of Italian bands in any genre, apart from those so commercially big that I think are forced by their labels to sing as clear as possible. Pity, otherwise my final vote (even though it's a number that doesn't count anything without reading the whole review) would have been higher. So, welcome back, TdV!<br> <br>
p.s.The limited edition includes a bonus dvd with the video to "Carmilla", a "making of" of the album and other exclusive stuff.Rating: 82/100
Tracklist
Review By Andrea "Disgraced"
Theatres des Vampires are back and this time with full force! Ok, let's start from the beginning: being an old, huge fan of the band and having followed them since the beginning, loving almost every change in directions they had made, since most times they did it with both "brain & heart", maintaining a very high profile, musically speaking. Until that infamous "Anima Noir", which dates back to 2008 and that brought a lot of doubts to my mind. Don't get me wrong, I own it and enjoyed A LOT one gig of the promo tour here in Italy but after that period I didn't listen to it anymore; when I decided to have another go at it some months ago I suddenly realized all the flaws that back in 2008 the excitement of a die-hard fan didn't allow me to see. But this isn't a review of "Anima Noir" so I'll be brief, although it's a necessary prologue to understand my following statements. In few words, that was a bad album, with half of the songs that really didn't do any justice to such a band. There was a wonderful song, the ballad "From The Deep" and generally talking the first half of the album was more than decent, with some shivers then and there (no, that wasn't meant in a positive way!
). second half of the album was shamefully bad, bad songwriting, ridiculous keyboards-laden songs with that electro flavour that can appeal only to German goth dance clubs (no offense of any kind to anyone attached, be it clear). Only other wonderful song, the magnificent closing title-track couldn't save the album from drowning, in my personal and most humble opinion.So I admit I feared not that TdV took a direction I wouldn't like or became even less metal or bullshit like that, but simply that they would've come back with a - in my personal and most humble opinion - bad written album. God! Satan! Whoever you want! I was So wrong! I'm consuming this promo, I think.
The band decided somehow to dare, without losing its trademarks since countess Sonya Scarlet is the singer, and wrote a bunch of kickass songs that I refuse to call vampiric as if this review or the album where aimed at a teenie goth who thinks Stephenie Meyer invented gothic/vampiric literature.The album starts with "Keeper Of Secrets", a good, heavy gothic metal song that perfectly opens to you the doors to what Theatres are today (and, I hope for several years to come). Aggressive guitars but never wannabe-aggressive, if you get my point: they don't try to be harder than they actually are and it's perfect this way. A catchy opener that will bring massacres during gigs! Last but not least, it introduces the first guest of the album, Mr. Snowy Shaw of Merciful Fate and Therion fame (let's not chat about the latest happenings around him I'm sure you all know of and that don't get him in the light so much hehe
). Let me tell you something that I'm sure you all crave to know about. Sonya's performance is here probably her best EVER. It must be said that that is also due to a finally perfect production, able to give Sonya's different vocal nuances the right tone to be well expressed and recorded. Actually I think that her rockish vocals are quite interesting in the scene: unusual, sensual, with a lot of "recitato" (I take this word from the opera terminology to say that she really means what she sings, so to say). Not to mention that her opera-like singing, being it in the background or the leading vocal line, has improved so much and sounds now so incredibly good! Ok, not as powerful as the queens of "opera metal", but at least so clear, pure, crystalline you can't but love it. I dare to say even better than in those days in which she was merely a back-up singer and all (or nearly all) she had to do was to sing that way. Of course, throughout the whole opus we meet the usual male vocals - same speech here, sometimes they're just in the background, sometimes they duet with Sonya and sometimes they sing alone. Shame on me because I can't tell you who and when is doing them, since Fabian, Zimon and Gabriel, respectively keys, bass and drums are used to do those deep, male vocals, live too, so I guess you'll all have to attend a show!"Fly Away" and title-track "Moonlight Waltz" will make you feel like you wanna throw away half of your (modern at least) gothic metal collection, since these two passionate songs are surely above an average rating and mark other two songs I'm craving to hear live as soon as possible! Let's arrive to the cover song of this album: beloved Hijo de la Luna by Mecano, here in an Italian version called "Figlio Della Luna". Now, I usually hate covers identical or almost identical to the original, I wonder what's the point in doing that... This is NOT identical to the original, but not even totally different, that must be said. You'd recognize it very easily. Nonetheless, it's a fucking masterpiece! Perhaps because Italian is after all my mother tongue and so it has a particular taste - the exotic one for non-italian speakers. Perhaps because the orchestration and the band's skills turned it into a perfect symphonic cover - lately the only similar example I've heard, of something not having anything to do with symphonic metal that became an awesome pièce of it is "Still Of The Night" by the goddess Tarja. Anyway this cover has it all: a heartfelt interpretation by Sonya, soaring orchestra and choirs and the right, fitting hitting of the band on the respective instruments. And if I can add, Sonya's performance has a nice feeling reminiscent of some classic (not classical) italian singers like Patty Pravo which is simply a point more in the whole thing.
Ninth track "Le Grand Guignol" displays the talent of one of the first and best extreme metal women of all times: Cadaveria. The production gives a good hint, when she growls, of how she sounded back in the past with her previous bands, always on the edge of symphonic black metal and thrash; besides, we can hear also how perfect and angelic her clean vocals can be. "Obsession" is a good example of how you can make a song with electronic elements with an orchestra and choirs (thanks to the Classical Music Academy of Rome directed by Luca Bellanova) that would make many symphonic metal bands quite envious. Of course that isn't something related to just this track, as beautiful violins act as a perfect side part in "Carmilla", chosen as first single and which you can see the video to .
When I first listened to "Medousa" and "Carmilla", the songs made available on myspace, I admit I prefrred the former, though now also the latter, after nine or ten listenings before writing this review, has started to grow on me. "Medousa" is the closing track of this album, which features the classy participation of Eva Breznicar from neofolk-industrial band Laibach. Unfortunately although I like the song in itself, I don't find it a good ending, too anonymous perhaps. And I expected something more in the veins of Laibach, with their singer collaborating but maybe it was just me thinking wrong, maybe she was just invited to sing and stop. I still think it would've been an interesting experiment.
On a negative note I can't help but pointing out that once again the English pronunciation isn't at its top at all; partly I think that's because of Sonya's particulasr style of singing: I mean, also when she sings in Italian I have problems in understanding the lyrics!
And if it can be of any consolation that's a problem shared by 99,9% of Italian bands in any genre, apart from those so commercially big that I think are forced by their labels to sing as clear as possible. Pity, otherwise my final vote (even though it's a number that doesn't count anything without reading the whole review) would have been higher. So, welcome back, TdV!<br> <br> p.s.The limited edition includes a bonus dvd with the video to "Carmilla", a "making of" of the album and other exclusive stuff.Rating: 82/100
Tracklist
- Keeper of Secrets
- Carmilla
- Moonlight Waltz
- Fly Away
- Sangue
- Figlio Della Luna (Mecano cover)
- An Illusion
- Black Madonna
- Le Grand Guignol
- Obsession
- The Secret Gates of Hades
- Medousa
Line Up
- Sonya Scarlet - Vocals
- Stephan Benfante - Guitars
- Necros - Keyboards, Backing Vocals
- Blutsauger - Bass, Backing Vocals
- Blasfemator - Drums, Backing Vocals
Theatres Des Vampires Official MySpace
Theatres Des Vampires Official Site
Last edited by a moderator:
http://www.wingsofdeath.nu/content/36,10667/Theatres des Vampires - Moonlight Waltz
Al vrijwel vanaf de oprichting in 1994 hebben de Italiaanse (tegenwoordig gothic) metallers van Theatres Des Vampires het nodige aan kritiek te verduren gekregen. Is het niet vanwege de muzikale wispelturigheid, dan wel vanwege de twijfelachtige verschijning en het gedrag van de band, en dan met name zangeres Sonya Scarlet. Het vampierenthema dat de band al vanaf het begin heeft omarmd wordt door haar bij vlagen wel erg serieus genomen, met als gevolg dat haar bloed regelmatig behoorlijk letterlijk vloeit, bij voorkeur in het openbaar. Een wel hele extreme vorm van interactie met je publiek als je het mij vraagt. Ook aan haar mentale gesteldheid in het algemeen wordt nog al eens getwijfeld, de rest van de band uit regelmatig de bezorgdheid over Sonya's toestand. Het klinkt mij dan ook niet vreemd in de oren dat zij erg goed schijnt te weten hoe bepaalde klinieken voor geesteszieken er van binnen uitzien. De band begon oorspronkelijk als melodieuze black metalband, maar met het verstrijken van de jaren en het wisselen van bandleden is de stijl steeds meer opgeschoven richting gothic rock/metal. Er zit dan ook geen enkele van de originele leden/oprichters meer in de band. Zeker sinds Sonya als enige nog de leadvocalen verzorgt is het geluid van Theatres Des Vampires aardig wat toegankelijker geworden.
Moonlight Waltz is inmiddels, verzamelaars en EP's buiten beschouwing gelaten, de negende cd van dit gezelschap. Enige ervaring is de band dus niet te ontzeggen, zou je denken. Maar wat is dat waard wanneer je per cd een andere muzikale koers inzet. Nou ken ik lang niet al het voorgaande werk van deze vampieren, maar die koers lijkt momenteel redelijk stabiel. De meest extreme metal invloeden zijn tegenwoordig helemaal uit de muziek verdwenen. De band richt zich in 2010 volledig op de heersende female fronted metal richting, compleet met de gothic aankleding en mainstream geluid. Daar wou ik het verder qua thematiek en verschijning bij laten, nu over naar de muziek.
Keeper of Secrets is een lekkere vlotte cd opener, een swingend uptempo nummer dat lekker wegluistert. Door het tempo en het aanwezige gitaarwerk vind ik dit prima te behappen. Wat wel meteen opvalt is de wat ik zou willen noemen aanstellerige manier van zingen van Sonya. Het lijkt soms wel erg kreunerig en hijgerig. Dit nummer wordt dan ook nog behoorlijk gered door de mannelijke achtergrondvocalen (onder anderen een gastbijdrage van Snowy Shaw). Wanneer in de volgende tracks het tempo wat lager ligt en de zangeres echt alle ruimte krijgt vind ik het niveau dan ook enigszins dalen. Bij de echt langzame, ballad-achtige tracks, schuift het geluid van de band helemaal op naar poppy muziek, zonder enige metalinvloeden. In deze tracks (bijvoorbeeld het titelnummer) zijn de hoofdrollen voor zang en toetsen en lijkt er nauwelijks een rol weggelegd voor enig gitaarwerk. Uptempo tracks als Carmilla en Le Grand Guignol zijn daarentegen al weer wat beter te behappen. Laatstgenoemd nummer krijgt trouwens behalve door het gitaarwerk ook nog een aardige oppepper door de wat grovere vocale bijdrage van landgenote Cadaveria.
Speciale vermelding verdient ook nog de traditionele cover, waar Theatres Des Vampires al cd's lang een gewoonte van maakt. Het van oorsprong Spaanstalige zigeunersprookje Hijo de la Luna waarmee Mecano in 1990 een wereldhit scoorde, wordt hier verbasterd tot Figlio Della Luna. Van dit mooie luisterliedje is een gothisch aandoend monster gemaakt, alle subtiliteit uit het origineel is verdwenen en vervangen door een pathetisch klinkend, zeurende klaagzang. Al met al lijkt het er dus op dat Sonya Scarlet een zwaar stempel drukt op Theatres Des Vampires, en dan helaas vaak niet in positieve zin. Toch wil ik wel benadrukken dat Moonlight Waltz in muzikaal opzicht geen slechte cd is. Er wordt goed gemusiceerd, er staan een paar hele leuke tracks op en de produktie voldoet volledig aan de eisen van deze tijd. Liefhebbers van het melodieuze/gothic metal genre kunnen het met een gerust hart eens uitproberen.
Al vrijwel vanaf de oprichting in 1994 hebben de Italiaanse (tegenwoordig gothic) metallers van Theatres Des Vampires het nodige aan kritiek te verduren gekregen. Is het niet vanwege de muzikale wispelturigheid, dan wel vanwege de twijfelachtige verschijning en het gedrag van de band, en dan met name zangeres Sonya Scarlet. Het vampierenthema dat de band al vanaf het begin heeft omarmd wordt door haar bij vlagen wel erg serieus genomen, met als gevolg dat haar bloed regelmatig behoorlijk letterlijk vloeit, bij voorkeur in het openbaar. Een wel hele extreme vorm van interactie met je publiek als je het mij vraagt. Ook aan haar mentale gesteldheid in het algemeen wordt nog al eens getwijfeld, de rest van de band uit regelmatig de bezorgdheid over Sonya's toestand. Het klinkt mij dan ook niet vreemd in de oren dat zij erg goed schijnt te weten hoe bepaalde klinieken voor geesteszieken er van binnen uitzien. De band begon oorspronkelijk als melodieuze black metalband, maar met het verstrijken van de jaren en het wisselen van bandleden is de stijl steeds meer opgeschoven richting gothic rock/metal. Er zit dan ook geen enkele van de originele leden/oprichters meer in de band. Zeker sinds Sonya als enige nog de leadvocalen verzorgt is het geluid van Theatres Des Vampires aardig wat toegankelijker geworden.
Moonlight Waltz is inmiddels, verzamelaars en EP's buiten beschouwing gelaten, de negende cd van dit gezelschap. Enige ervaring is de band dus niet te ontzeggen, zou je denken. Maar wat is dat waard wanneer je per cd een andere muzikale koers inzet. Nou ken ik lang niet al het voorgaande werk van deze vampieren, maar die koers lijkt momenteel redelijk stabiel. De meest extreme metal invloeden zijn tegenwoordig helemaal uit de muziek verdwenen. De band richt zich in 2010 volledig op de heersende female fronted metal richting, compleet met de gothic aankleding en mainstream geluid. Daar wou ik het verder qua thematiek en verschijning bij laten, nu over naar de muziek.
Keeper of Secrets is een lekkere vlotte cd opener, een swingend uptempo nummer dat lekker wegluistert. Door het tempo en het aanwezige gitaarwerk vind ik dit prima te behappen. Wat wel meteen opvalt is de wat ik zou willen noemen aanstellerige manier van zingen van Sonya. Het lijkt soms wel erg kreunerig en hijgerig. Dit nummer wordt dan ook nog behoorlijk gered door de mannelijke achtergrondvocalen (onder anderen een gastbijdrage van Snowy Shaw). Wanneer in de volgende tracks het tempo wat lager ligt en de zangeres echt alle ruimte krijgt vind ik het niveau dan ook enigszins dalen. Bij de echt langzame, ballad-achtige tracks, schuift het geluid van de band helemaal op naar poppy muziek, zonder enige metalinvloeden. In deze tracks (bijvoorbeeld het titelnummer) zijn de hoofdrollen voor zang en toetsen en lijkt er nauwelijks een rol weggelegd voor enig gitaarwerk. Uptempo tracks als Carmilla en Le Grand Guignol zijn daarentegen al weer wat beter te behappen. Laatstgenoemd nummer krijgt trouwens behalve door het gitaarwerk ook nog een aardige oppepper door de wat grovere vocale bijdrage van landgenote Cadaveria.
Speciale vermelding verdient ook nog de traditionele cover, waar Theatres Des Vampires al cd's lang een gewoonte van maakt. Het van oorsprong Spaanstalige zigeunersprookje Hijo de la Luna waarmee Mecano in 1990 een wereldhit scoorde, wordt hier verbasterd tot Figlio Della Luna. Van dit mooie luisterliedje is een gothisch aandoend monster gemaakt, alle subtiliteit uit het origineel is verdwenen en vervangen door een pathetisch klinkend, zeurende klaagzang. Al met al lijkt het er dus op dat Sonya Scarlet een zwaar stempel drukt op Theatres Des Vampires, en dan helaas vaak niet in positieve zin. Toch wil ik wel benadrukken dat Moonlight Waltz in muzikaal opzicht geen slechte cd is. Er wordt goed gemusiceerd, er staan een paar hele leuke tracks op en de produktie voldoet volledig aan de eisen van deze tijd. Liefhebbers van het melodieuze/gothic metal genre kunnen het met een gerust hart eens uitproberen.
http://www.musikreviews.de/reviews/2010/Theatres-des-Vampires/Moonlight-Waltz/
Man könnte es sich leicht machen mit den Italienern THEATRES DES VAMPIRES. Man könnte ihnen beispielsweise vorwerfen, so plakativ vorzugehen, dass sie wie eine Parodie ihrer selbst wirken: der selten einfallslose Bandname, die Optik von Sängerin Sonya Scarlet im sexy Gothic-Vampir-Stil, die größtenteils schwülstigen Arrangements, die keinerlei Angst vor den Blutsaugern aufkommen lassen. Allenfalls vor einem Blutzuckerschock.
Aber lassen wir doch mal das Naheliegende außer Acht. Beschäftigt man sich etwas eingehender mit den zwölf Songs auf Moonlight Waltz, dann hat man eine knappe Stunde lang doch ganz ordentlich Spaß. Vorausgesetzt, man stört sich nicht an opulenten Songstrukturen, an dominanten Keyboards, immer wieder eingestreuten modernen Soundpassagen oder an dem gesamten Female-Gothic-Spektrum von zart gehaucht über sanft geschmachtet bis hin zum Tarja-Turunen-Gedächtnis-Ho-Ho-Hoooooo.
Klar, das Ganze hat ungefähr die Härte von Marmelade, ist so heavy wie Geschenkpapier und so böse wie Süßstoff mit Zucker, aber muss denn das immer die einzige Messlatte sein? Carmilla beispielsweise ist ein flotter Rocker, zu dem die Gruppe auch einen Videoclip abgedreht hat (auf der limitierten CD/DVD-Edition enthalten), ebenso erwischt bei sich bei Le Grand Guignol beim automatischen Fuß-Mitwippen. Figlio della luna ist eine einfühlsame Ballade, Illusion überzeugt durch laut-leise-Wechseleien im instrumentalen und vokalen Bereich das geht alles schon in Ordnung. Zum Glück haben THEATRES DES VAMPIRES ihre am Anfang ihrer Karriere die Band gibts schon seit mehr als 15 Jahren und kann auf mehr als zehn reguläre Veröffentlichungen zurück blicken noch stärker vorhandenen Black-Metal-Vorlieben fast nahezu außer Acht gelassen, bis auf ein, zwei Keifeinlagen gibt es hier nichts zu befürchten.
FAZIT: Irgendwo zwischen italienischem Horrorfilm-Soundtrack und Gothic Metal mit starkem sinfonischen Einschlag sind THEATRES DES VAMPIRES zuhause. Und sie haben ihr Haus ganz schön modern eingerichtet. Aber nett haben sie es sich gemacht, die Italiener. Doch, doch: in diesem Vampirtheater lässt es sich aushalten.
10/15
Man könnte es sich leicht machen mit den Italienern THEATRES DES VAMPIRES. Man könnte ihnen beispielsweise vorwerfen, so plakativ vorzugehen, dass sie wie eine Parodie ihrer selbst wirken: der selten einfallslose Bandname, die Optik von Sängerin Sonya Scarlet im sexy Gothic-Vampir-Stil, die größtenteils schwülstigen Arrangements, die keinerlei Angst vor den Blutsaugern aufkommen lassen. Allenfalls vor einem Blutzuckerschock.
Aber lassen wir doch mal das Naheliegende außer Acht. Beschäftigt man sich etwas eingehender mit den zwölf Songs auf Moonlight Waltz, dann hat man eine knappe Stunde lang doch ganz ordentlich Spaß. Vorausgesetzt, man stört sich nicht an opulenten Songstrukturen, an dominanten Keyboards, immer wieder eingestreuten modernen Soundpassagen oder an dem gesamten Female-Gothic-Spektrum von zart gehaucht über sanft geschmachtet bis hin zum Tarja-Turunen-Gedächtnis-Ho-Ho-Hoooooo.
Klar, das Ganze hat ungefähr die Härte von Marmelade, ist so heavy wie Geschenkpapier und so böse wie Süßstoff mit Zucker, aber muss denn das immer die einzige Messlatte sein? Carmilla beispielsweise ist ein flotter Rocker, zu dem die Gruppe auch einen Videoclip abgedreht hat (auf der limitierten CD/DVD-Edition enthalten), ebenso erwischt bei sich bei Le Grand Guignol beim automatischen Fuß-Mitwippen. Figlio della luna ist eine einfühlsame Ballade, Illusion überzeugt durch laut-leise-Wechseleien im instrumentalen und vokalen Bereich das geht alles schon in Ordnung. Zum Glück haben THEATRES DES VAMPIRES ihre am Anfang ihrer Karriere die Band gibts schon seit mehr als 15 Jahren und kann auf mehr als zehn reguläre Veröffentlichungen zurück blicken noch stärker vorhandenen Black-Metal-Vorlieben fast nahezu außer Acht gelassen, bis auf ein, zwei Keifeinlagen gibt es hier nichts zu befürchten.
FAZIT: Irgendwo zwischen italienischem Horrorfilm-Soundtrack und Gothic Metal mit starkem sinfonischen Einschlag sind THEATRES DES VAMPIRES zuhause. Und sie haben ihr Haus ganz schön modern eingerichtet. Aber nett haben sie es sich gemacht, die Italiener. Doch, doch: in diesem Vampirtheater lässt es sich aushalten.
10/15
http://cosucce.blogspot.com/2010/12/theatres-des-vampires-moonlight-waltz.html
Hard to find something that has not yet said and wrote about Theatres Des Vampires. Started as a clone of Cradle Of Filth now they are a mature female-fronted gothic (a chromed version of Sister Of Mercy and Bauhaus) metal band that winks to dark/gothic literature for lyrical inspiration and to vampires scene for the look.
'Moonlight Waltz' is the new album for Dreamcell11, a very symphonic, dynamic, somewhat polite and incredibly catchy collection of tunes that shows improvements since the previous release 'Anima Noir'. It keeps the listener constantly on the track, pampered by the operatic voice of the singer Sonya Scalet from the beginning to the end ("Figlio Della Luna") and by eerie and majestic keyboards. Unfortunately there is a minor problem to fix: I definitely think TDV should need a second guitarist once again, to give more boost to the songs, just because 'Moonlight Waltz' sounds infact too soft to be considered appealable by the "average" heavy metal crowd, being dangerously winking at dark/emo rock world (Note: I labeled it as minor, just because I believe in music with no borderlines: if you like something, you do like it independently by the genre...)
Being anyway a strong, melodic and dark album, 'Moonlight Waltz' by Theatres Des Vampires will be ready to be purchased on 14/01/2011
Hard to find something that has not yet said and wrote about Theatres Des Vampires. Started as a clone of Cradle Of Filth now they are a mature female-fronted gothic (a chromed version of Sister Of Mercy and Bauhaus) metal band that winks to dark/gothic literature for lyrical inspiration and to vampires scene for the look.
'Moonlight Waltz' is the new album for Dreamcell11, a very symphonic, dynamic, somewhat polite and incredibly catchy collection of tunes that shows improvements since the previous release 'Anima Noir'. It keeps the listener constantly on the track, pampered by the operatic voice of the singer Sonya Scalet from the beginning to the end ("Figlio Della Luna") and by eerie and majestic keyboards. Unfortunately there is a minor problem to fix: I definitely think TDV should need a second guitarist once again, to give more boost to the songs, just because 'Moonlight Waltz' sounds infact too soft to be considered appealable by the "average" heavy metal crowd, being dangerously winking at dark/emo rock world (Note: I labeled it as minor, just because I believe in music with no borderlines: if you like something, you do like it independently by the genre...)
Being anyway a strong, melodic and dark album, 'Moonlight Waltz' by Theatres Des Vampires will be ready to be purchased on 14/01/2011
http://www.metal-glory.de/reviews.php?nr=20462
Anfang des neuen Jahres fallen die Vampire von Theatres Des Vampires mit Album Nummer 9 über die Fangemeinde her. Nicht ganz drei Jahre nach ihrem letzten, bei mir nicht ganz so gut weg gekommenen, Album Anima Noir haben die Italiener nun mit Moonlight Waltz eine Scheibe am Start welche wieder mehr in Richtung der alten TdV geht. Gleich der Opener Keeper Of Secrets(mit Snowy Shaw[Therion/ King Diamond]) lässt meine Hoffnung auf ein gutes Album wachsen. Die Grundstimmung ist dunkel und der Song wird von Gitarren getragen, die dunklen männlichen Vocals bilden einen ausgezeichneten Gegenpart zur Stimme Sonyas. Gegen Ende versprüht Keeper sogar ein wenig Helloween Feeling(wie passend) zu The Dark Ride Zeiten. Meine Erwartung wird auch im Verlauf des Albums nicht gedämpft, ob Fly Away oder der Balladeske Titelsong Moonlight Walz, welcher mit schönem Piano und Streichern daher kommt. Die Instrumente sind hier sehr gut aufeinander abgestimmt und der Gesang mimt das Tüpfelchen auf dem i. Ebenso überzeugend gehts mit Carmilla(in der ltd. Edition gibt es ne DVD mit dem dazugehörigen Video, mit Dracula Attitüde) weiter, hier gibt es gegen Ende einen schönen Geiger Part. Sangue ist dann sogar ein Song der mich so richtig an die alten Tage der Band erinnert, hier gibt es hartes treibendes Gitarrenspiel welchen dem Song gut steht. Allerdings glaube ich dass der Song noch besser funktionieren würde wenn man den einen oder anderen Keyboard Ton weg gelassen hätte. Die Cover Version von Mecanos Figlio Della Luna ist zwar recht nett vorgetragen, hätte man aber auch weglassen können. Black Madonna erinnert mich zu Beginn sofort an Die Laughings Queen Of Swords, nur mit männlichen Vocals. Auf diesem Album hat jeder Song seine eigene Note aber alles steht dennoch als Einheit da. Beim wohl schnellsten Song Le Grand Guignol hat man sogar ein paar raue weibliche Vocals mit eingebaut, gefällt mir sehr gut.
Auch das abschließende Medousa hat wieder fette Gitarren zu bieten und bildet einen guten Abschluss fürs Album.
Fazit: Theatres Des Vampires haben aus den Fehlern des letzten Albums gelernt und gehen wieder mehr in Richtung ihrer früheren Werke. Die elektronische Seite ist fast völlig verschwunden, das Keyboard steht nicht mehr so im Vordergrund, ohne jedoch vernachlässigt zu werden, und die Stimmung ist wieder deutlich dunkler und passender als auf Anima Noir. Zusätzlich hat man sich diverse Gastmusiker, wie Snowy Shaw(Therion, King Diamond), Cadaveria(OperaIX, Cadaveria) und Eva Breznicar(Laibach) ins Boot geholt. Die Produktion des Albums ist wiederum ziemlich weit oben anzusiedeln und verleiht der Platte den nötigen Sound. Eine fabelhafte Vampir Geschichte!
8,5/10 Punkte
Anspieltipp: Keeper Of Secrets, Moonlight Waltz, Carmilla, Le Grand Guignol
Band Website: http://www.theatres-des-vampires.com , http://myspace.com/theatresdesvampires
Diskografie:
Nosferatu - Eine Symphonie des Grauens demo - 1995
Vampyrìsme, Nècrophilie, Nècrosadisme, Nècrophagie - 1996
The Vampire Chronicles - 1999
Bloody Lunatic Asylum - 2001
Lubilaeum Anno Dracula MCD - 2001
Suicide Vampire - 2002
Vampyrìsme... - 2003
Nightbreed of Macabria - 2004
Pleasure and Pain - 2005
Anima Noir - 2008
Moonlight Waltz - 2011
Tracklist:
Lineup: 01. Keeper Of Secrets *
02. Fly Away
03. Moonlight Waltz
04. Carmilla
05. Sangue
06. Figlio Della Luna
07. Black Madonna
08. Illusion
09. Le Grand Guignol **
10. Obsession
11. The Gates Of Hades
12. Medousa***
* feat. Snowy Shaw(Therion, King Diamond)
** feat. Cadaveria(OperaIX, Cadaveria)
*** feat. Eva Breznicar(Laibach)
Vocals: "Scarlet" Sonya
Guitar: Stephan Benfante
Keyboard: Fabiano "Necros" Varesi
Bass: Zimon "Blutsauger" Lijoi
Drums: Gabriele "Blasfemator" Valerio
8.5 Punkte von gelal (am 16.12.2010)
Anfang des neuen Jahres fallen die Vampire von Theatres Des Vampires mit Album Nummer 9 über die Fangemeinde her. Nicht ganz drei Jahre nach ihrem letzten, bei mir nicht ganz so gut weg gekommenen, Album Anima Noir haben die Italiener nun mit Moonlight Waltz eine Scheibe am Start welche wieder mehr in Richtung der alten TdV geht. Gleich der Opener Keeper Of Secrets(mit Snowy Shaw[Therion/ King Diamond]) lässt meine Hoffnung auf ein gutes Album wachsen. Die Grundstimmung ist dunkel und der Song wird von Gitarren getragen, die dunklen männlichen Vocals bilden einen ausgezeichneten Gegenpart zur Stimme Sonyas. Gegen Ende versprüht Keeper sogar ein wenig Helloween Feeling(wie passend) zu The Dark Ride Zeiten. Meine Erwartung wird auch im Verlauf des Albums nicht gedämpft, ob Fly Away oder der Balladeske Titelsong Moonlight Walz, welcher mit schönem Piano und Streichern daher kommt. Die Instrumente sind hier sehr gut aufeinander abgestimmt und der Gesang mimt das Tüpfelchen auf dem i. Ebenso überzeugend gehts mit Carmilla(in der ltd. Edition gibt es ne DVD mit dem dazugehörigen Video, mit Dracula Attitüde) weiter, hier gibt es gegen Ende einen schönen Geiger Part. Sangue ist dann sogar ein Song der mich so richtig an die alten Tage der Band erinnert, hier gibt es hartes treibendes Gitarrenspiel welchen dem Song gut steht. Allerdings glaube ich dass der Song noch besser funktionieren würde wenn man den einen oder anderen Keyboard Ton weg gelassen hätte. Die Cover Version von Mecanos Figlio Della Luna ist zwar recht nett vorgetragen, hätte man aber auch weglassen können. Black Madonna erinnert mich zu Beginn sofort an Die Laughings Queen Of Swords, nur mit männlichen Vocals. Auf diesem Album hat jeder Song seine eigene Note aber alles steht dennoch als Einheit da. Beim wohl schnellsten Song Le Grand Guignol hat man sogar ein paar raue weibliche Vocals mit eingebaut, gefällt mir sehr gut.
Auch das abschließende Medousa hat wieder fette Gitarren zu bieten und bildet einen guten Abschluss fürs Album.
Fazit: Theatres Des Vampires haben aus den Fehlern des letzten Albums gelernt und gehen wieder mehr in Richtung ihrer früheren Werke. Die elektronische Seite ist fast völlig verschwunden, das Keyboard steht nicht mehr so im Vordergrund, ohne jedoch vernachlässigt zu werden, und die Stimmung ist wieder deutlich dunkler und passender als auf Anima Noir. Zusätzlich hat man sich diverse Gastmusiker, wie Snowy Shaw(Therion, King Diamond), Cadaveria(OperaIX, Cadaveria) und Eva Breznicar(Laibach) ins Boot geholt. Die Produktion des Albums ist wiederum ziemlich weit oben anzusiedeln und verleiht der Platte den nötigen Sound. Eine fabelhafte Vampir Geschichte!
8,5/10 Punkte
Anspieltipp: Keeper Of Secrets, Moonlight Waltz, Carmilla, Le Grand Guignol
Band Website: http://www.theatres-des-vampires.com , http://myspace.com/theatresdesvampires
Diskografie:
Nosferatu - Eine Symphonie des Grauens demo - 1995
Vampyrìsme, Nècrophilie, Nècrosadisme, Nècrophagie - 1996
The Vampire Chronicles - 1999
Bloody Lunatic Asylum - 2001
Lubilaeum Anno Dracula MCD - 2001
Suicide Vampire - 2002
Vampyrìsme... - 2003
Nightbreed of Macabria - 2004
Pleasure and Pain - 2005
Anima Noir - 2008
Moonlight Waltz - 2011
Tracklist:
Lineup: 01. Keeper Of Secrets *
02. Fly Away
03. Moonlight Waltz
04. Carmilla
05. Sangue
06. Figlio Della Luna
07. Black Madonna
08. Illusion
09. Le Grand Guignol **
10. Obsession
11. The Gates Of Hades
12. Medousa***
* feat. Snowy Shaw(Therion, King Diamond)
** feat. Cadaveria(OperaIX, Cadaveria)
*** feat. Eva Breznicar(Laibach)
Vocals: "Scarlet" Sonya
Guitar: Stephan Benfante
Keyboard: Fabiano "Necros" Varesi
Bass: Zimon "Blutsauger" Lijoi
Drums: Gabriele "Blasfemator" Valerio
8.5 Punkte von gelal (am 16.12.2010)
http://www.ravenheartmusic.com/products-group-52.html
rate: 9/10
THEATRES DES VAMPIRES..'MOONLIGHT WALTZ'
(Dreamcell11/Aural Music) Reviewed 1st December 2010
Theartres Des Vampires return with another Gothic Metal opus. All their past releases have been very enjoyable to my ears, and although I feel that their last record, 'Anima Noir' took a slightly more commercial an indeed an electro direction, 'Moonlight Waltz' sees the band return with a vengeance, while still retaining an accessible feel to their music. The opening salvo of 'Keeper of Secrets' and 'Fly Away' I think confirm those opinions. Third track in is the title track, and is totally awesome assuring the listener that this band is top drawer within the Gothic Metal genre, and not only that, vocalist Sonya is in top form too! 'Carmilla' and 'Sangue' bounce along quite nicely, while 'Figlio Della Luna' is the album's cover version (an Italian version of Hijo de la Luna by Mecano). There are further highlights galore on this record including 'Illusion', the at times haunting 'Obsession', and the upbeat and catchy 'The Gates of Hades'. The final track meanwhile, 'Medousa' kinda in a strange sort of way reminds me of a heavier Evanescence (but with Sonya at the helm ). 'Moonlight Waltz' confirms that Theatres Des Vampires are back and firing on all four cylinders. The album gets released in January and will sure be worth checking out. Great stuff and worthy of 9/10 (Reviewed by Dave)
rate: 9/10
THEATRES DES VAMPIRES..'MOONLIGHT WALTZ'
(Dreamcell11/Aural Music) Reviewed 1st December 2010
Theartres Des Vampires return with another Gothic Metal opus. All their past releases have been very enjoyable to my ears, and although I feel that their last record, 'Anima Noir' took a slightly more commercial an indeed an electro direction, 'Moonlight Waltz' sees the band return with a vengeance, while still retaining an accessible feel to their music. The opening salvo of 'Keeper of Secrets' and 'Fly Away' I think confirm those opinions. Third track in is the title track, and is totally awesome assuring the listener that this band is top drawer within the Gothic Metal genre, and not only that, vocalist Sonya is in top form too! 'Carmilla' and 'Sangue' bounce along quite nicely, while 'Figlio Della Luna' is the album's cover version (an Italian version of Hijo de la Luna by Mecano). There are further highlights galore on this record including 'Illusion', the at times haunting 'Obsession', and the upbeat and catchy 'The Gates of Hades'. The final track meanwhile, 'Medousa' kinda in a strange sort of way reminds me of a heavier Evanescence (but with Sonya at the helm
). 'Moonlight Waltz' confirms that Theatres Des Vampires are back and firing on all four cylinders. The album gets released in January and will sure be worth checking out. Great stuff and worthy of 9/10 (Reviewed by Dave)
http://www.metalteamuk.net/dec10reviews/cdreviews-tdv.htm
This coven slowed down a bit as far as gaps between the last couple of albums were concerned and perhaps this has helped things coagulate a bit, as far as Moonlight Waltz, album nine for this Italian cult is concerned, there is a real energy about it. Plenty has changed over the years. When they formed TDV were more of a black metal entity and since then have gradually morphed, shaking off past collaborators on the way into a different beast but one whose fangs are just as sharply honed as before. Suicide Vampire was described as extreme gothic metal and their mid-life output as death rock and gothic but without extreme elements, now they are referred as being electronic and industrial with EBM and darkwave elements. I personally think people have looked into this a bit too anally (and that is coming from a music reviewer). After the first few albums they have always adopted most of these styles into their range which has simply progressed along the way.
What you do notice as the incredibly strong opener Keeper Of Secrets unravels cleverly around a melodic musical box is that the orchestration and symphonic effects have very much gone up a notch. This is no doubt due to the fact that they have worked here with Luca Bellanova and the Classical Music Academy of Rome and the result is that the dramatic level of the compositions are really in your face. That is not all as far as guests are concerned, Snowy Shaw adds his voice to Sonya Scarlets on this particular track and as we progress a couple of others are going to pop up. The band have always been good at ballads and the gentler Fly Away augmented by soothing strings is perfect in that respect. There has to be some piano really at the start of Moonlight Waltz and this is another gentle number on the whole allowing Sonya to enchant as the spiky insistent cinematic stabbing part of the melody gets its hooks in, its a bit like Herrmanns well known Psycho theme or something by Goblin, although toned down to match the mood of the song. Carmilla is much more tempestuous and also has resulted in a David Bracci helmed video which you can find online. This oozes mystery and romance just like a vampire film as well as a providing musical accompaniment to Sheridan La Fanus literary muse. The violin particularly drives this one along on a wild jig. Every song has a real character there is a bouncy almost synth-pop feel leading into Sangue but the real surprise comes on the cover of Italian band Mecanos Figlio Della Luna. Like me reading the title and band name you may not have a clue but I think once you hear it you will recognise this one instantly and it is a gorgeous cover. I absolutely love the piano work on Black Madonna again it reminds of a sinister Italian horror film, speaking of which there is Le Grand Guignol which has none other than Cadaveria joining in on vocals.
One thing I should mention is that vocally this is not all about Scarlet. Fabian Varesi adds his backing tones to much of the album and providing quite a lot of depth in doing so. His compositional work and keyboard playing should get quite a bit of the praise here as well. Its hard not mentioning every single number, as I stated they all have something unique going on. Skipping to the oddly titled closer Medousa though, I have to mention the final guest vocalist who is Eva Breznikar multi talented instrumentalist and singer of Laibach fame, which to me is a match made in heaven (perhaps that should be hell but you get the point).
Its all too easy making puns about this being a bloody good album but it is the one I have enjoyed the most in recent years from TDV. Hopefully there will be some live dates to go with it too and if you are after something darkly gothic as we go into 2011 you cant really go wrong here.
http://www.myspace.com/theatresdesvampires
Pete Woods
This coven slowed down a bit as far as gaps between the last couple of albums were concerned and perhaps this has helped things coagulate a bit, as far as Moonlight Waltz, album nine for this Italian cult is concerned, there is a real energy about it. Plenty has changed over the years. When they formed TDV were more of a black metal entity and since then have gradually morphed, shaking off past collaborators on the way into a different beast but one whose fangs are just as sharply honed as before. Suicide Vampire was described as extreme gothic metal and their mid-life output as death rock and gothic but without extreme elements, now they are referred as being electronic and industrial with EBM and darkwave elements. I personally think people have looked into this a bit too anally (and that is coming from a music reviewer). After the first few albums they have always adopted most of these styles into their range which has simply progressed along the way.
What you do notice as the incredibly strong opener Keeper Of Secrets unravels cleverly around a melodic musical box is that the orchestration and symphonic effects have very much gone up a notch. This is no doubt due to the fact that they have worked here with Luca Bellanova and the Classical Music Academy of Rome and the result is that the dramatic level of the compositions are really in your face. That is not all as far as guests are concerned, Snowy Shaw adds his voice to Sonya Scarlets on this particular track and as we progress a couple of others are going to pop up. The band have always been good at ballads and the gentler Fly Away augmented by soothing strings is perfect in that respect. There has to be some piano really at the start of Moonlight Waltz and this is another gentle number on the whole allowing Sonya to enchant as the spiky insistent cinematic stabbing part of the melody gets its hooks in, its a bit like Herrmanns well known Psycho theme or something by Goblin, although toned down to match the mood of the song. Carmilla is much more tempestuous and also has resulted in a David Bracci helmed video which you can find online. This oozes mystery and romance just like a vampire film as well as a providing musical accompaniment to Sheridan La Fanus literary muse. The violin particularly drives this one along on a wild jig. Every song has a real character there is a bouncy almost synth-pop feel leading into Sangue but the real surprise comes on the cover of Italian band Mecanos Figlio Della Luna. Like me reading the title and band name you may not have a clue but I think once you hear it you will recognise this one instantly and it is a gorgeous cover. I absolutely love the piano work on Black Madonna again it reminds of a sinister Italian horror film, speaking of which there is Le Grand Guignol which has none other than Cadaveria joining in on vocals.
One thing I should mention is that vocally this is not all about Scarlet. Fabian Varesi adds his backing tones to much of the album and providing quite a lot of depth in doing so. His compositional work and keyboard playing should get quite a bit of the praise here as well. Its hard not mentioning every single number, as I stated they all have something unique going on. Skipping to the oddly titled closer Medousa though, I have to mention the final guest vocalist who is Eva Breznikar multi talented instrumentalist and singer of Laibach fame, which to me is a match made in heaven (perhaps that should be hell but you get the point).
Its all too easy making puns about this being a bloody good album but it is the one I have enjoyed the most in recent years from TDV. Hopefully there will be some live dates to go with it too and if you are after something darkly gothic as we go into 2011 you cant really go wrong here.
http://www.myspace.com/theatresdesvampires
Pete Woods
http://www.powermetal.it/album_detail.php?id=01604
A dispetto dei detrattori, bisogna ammetterlo, i Theatres des Vampires sono uno dei gruppi italiani più famosi al mondo, ovviamente in ambito metal. Fino a non molto tempo fa, questa band era più famosa in Inghilterra, ché in Italia, ma oggi è tutto diverso: i vampiri sono tornati di moda.
Moonlight Waltz esce proprio nel momento giusto; quando le ragazzine impazziscono per gli eroi della saga Twilight e nel metal è più che mai forte il genere gothic.
Sono passati i tempi in cui questi ragazzi erano una creatura di Lord Vampyr (il vero fondatore, uscito nel 2004) e suonavano un black metal che molto doveva ai Cradle of Filth. Sonya Scarlet, inizialmente comprimaria, con un ruolo di corista, è oggi divenuta carismatica front girl: è lei che ha dato limpulso decisivo per la virata melodica che ha preso lo stile della band, ormai lontana dal black degli esordi. Si definiscono Vampiric Gothic Metal ed in effetti è unetichetta adatta per descrivere uno stile fortemente incentrato, come al solito, su storie vampiresche.
Non è difficile definire lo stile di questi musicisti, che hanno mantenuto un suono aggressivo nel riffing di chitarra (i Moonspell sono stati precursori in questo senso), ma hanno rafforzato il lato sinfonico, con lintroduzione di pompose parti di sintetizzatore, sommate ad un deciso uso di orchestrazioni. A questo proposito, gli Within Temptation sono sicuramente unaltra forte influenza nella musica di questo disco: Figlio della Luna (interamente cantata in italiano) si può considerare un tributo ai succitati olandesi.
In generale le canzoni sono molto sempliciotte ed orecchiabili, nei ritornelli: si tratta quindi di un disco piuttosto commerciale e di facile assimilazione, ma a tratti è troppo ruffiano, tanto da cadere un po nello scontato. La fragilità che hanno poi alcuni testi, molto stereotipati, contribuiscono a far perdere di credibilità pezzi come Sangue (che in discoteca andrà molto bene) o la sintetizzata Obsession.
Dallaltra parte però, la voce di Sonya, con il suo caratteristico aspirato, riesce a dare la giusta dimensione vampiresca ai pezzi, che sembrano cantati davvero da un essere assetato di sangue.
Con ragione quindi, i Theatres des Vampires, hanno puntato tutto su questa cantante su cui hanno cucito dei pezzi che indubbiamente funzionano come Keeper of Secrets; Carmilla e Le Grand Guignol (dove compare come ospite la mitica Cadaveria).
Di Carmilla la band ha girato un video, che potrete vedere nelledizione limitata: un bel video, girato con professionalità, anche se impera un immaginario plastificato.
I Theatres des Vampires sono un gruppo molto soggettivo: nel senso che sanno essere odiosi con le loro melodie ruffiane e la loro immagine pacchiana, ma francamente sono anche abili nel creare canzoni che difficilmente escono di mente.
Moonlight Waltz è un disco perfetto per i tempi in cui siamo ed è quello che si merita la società di oggi, basata su certi stereotipi, anche nella musica. Non mi esprimo oltre, perché non voglio scadere sul personale. I Theatres des Vampires sono oggi una band ancora forte, che a volte eccede un po troppo nel commercializzarsi, ma che ha il talento per creare canzoni che certamente piaceranno a gran parte dei giovani metallari.
Voto: 6,5/10
A dispetto dei detrattori, bisogna ammetterlo, i Theatres des Vampires sono uno dei gruppi italiani più famosi al mondo, ovviamente in ambito metal. Fino a non molto tempo fa, questa band era più famosa in Inghilterra, ché in Italia, ma oggi è tutto diverso: i vampiri sono tornati di moda.
Moonlight Waltz esce proprio nel momento giusto; quando le ragazzine impazziscono per gli eroi della saga Twilight e nel metal è più che mai forte il genere gothic.
Sono passati i tempi in cui questi ragazzi erano una creatura di Lord Vampyr (il vero fondatore, uscito nel 2004) e suonavano un black metal che molto doveva ai Cradle of Filth. Sonya Scarlet, inizialmente comprimaria, con un ruolo di corista, è oggi divenuta carismatica front girl: è lei che ha dato limpulso decisivo per la virata melodica che ha preso lo stile della band, ormai lontana dal black degli esordi. Si definiscono Vampiric Gothic Metal ed in effetti è unetichetta adatta per descrivere uno stile fortemente incentrato, come al solito, su storie vampiresche.
Non è difficile definire lo stile di questi musicisti, che hanno mantenuto un suono aggressivo nel riffing di chitarra (i Moonspell sono stati precursori in questo senso), ma hanno rafforzato il lato sinfonico, con lintroduzione di pompose parti di sintetizzatore, sommate ad un deciso uso di orchestrazioni. A questo proposito, gli Within Temptation sono sicuramente unaltra forte influenza nella musica di questo disco: Figlio della Luna (interamente cantata in italiano) si può considerare un tributo ai succitati olandesi.
In generale le canzoni sono molto sempliciotte ed orecchiabili, nei ritornelli: si tratta quindi di un disco piuttosto commerciale e di facile assimilazione, ma a tratti è troppo ruffiano, tanto da cadere un po nello scontato. La fragilità che hanno poi alcuni testi, molto stereotipati, contribuiscono a far perdere di credibilità pezzi come Sangue (che in discoteca andrà molto bene) o la sintetizzata Obsession.
Dallaltra parte però, la voce di Sonya, con il suo caratteristico aspirato, riesce a dare la giusta dimensione vampiresca ai pezzi, che sembrano cantati davvero da un essere assetato di sangue.
Con ragione quindi, i Theatres des Vampires, hanno puntato tutto su questa cantante su cui hanno cucito dei pezzi che indubbiamente funzionano come Keeper of Secrets; Carmilla e Le Grand Guignol (dove compare come ospite la mitica Cadaveria).
Di Carmilla la band ha girato un video, che potrete vedere nelledizione limitata: un bel video, girato con professionalità, anche se impera un immaginario plastificato.
I Theatres des Vampires sono un gruppo molto soggettivo: nel senso che sanno essere odiosi con le loro melodie ruffiane e la loro immagine pacchiana, ma francamente sono anche abili nel creare canzoni che difficilmente escono di mente.
Moonlight Waltz è un disco perfetto per i tempi in cui siamo ed è quello che si merita la società di oggi, basata su certi stereotipi, anche nella musica. Non mi esprimo oltre, perché non voglio scadere sul personale. I Theatres des Vampires sono oggi una band ancora forte, che a volte eccede un po troppo nel commercializzarsi, ma che ha il talento per creare canzoni che certamente piaceranno a gran parte dei giovani metallari.
Voto: 6,5/10
Metal Mirror
http://www.metal-mirror.de/magazin/2011/2011_01/49/2011_01_49.pdf
THEATRES DES VAMPIRES
Moonlight Waltz
12 Songs (68:26) / VÖ: 14.1.
(Dreamcell11)
Zwar geben sich Theatres des Vampires auf Moonlight Waltz Mühe, die Anhänger aus vergangenen Tagen wieder etwas mehr zu bedienen, dass die Italiener mittlerweile jedoch viel mehr Gothic als Black Metal offerieren, ist mit Album Nummer Neun endgültig besiegelt. Weniger elektronisch als noch auf Anima Noir kommen die Songs heuer daher. Düsterer zwar, aber nicht unbedingt härter. Diese neue Gothic-Passion ist durchaus schön mit anzuhören, auch wenn ich mir wieder einmal gewünscht hätte, Sonya würde ihren Sopran häufiger nutzen. Ganz oben weiß sie einfach sehr viel besser zu gefallen. Sieht man von der allzu kitschig geratenen Interpretation von Figlio Della Luna ab, sind die Songs allesamt gelungen und glänzen besonders erneut durch die symphonischen Arrangements.
7 / 10 (Miriam Görge)
http://www.metal-mirror.de/magazin/2011/2011_01/49/2011_01_49.pdf
THEATRES DES VAMPIRES
Moonlight Waltz
12 Songs (68:26) / VÖ: 14.1.
(Dreamcell11)
Zwar geben sich Theatres des Vampires auf Moonlight Waltz Mühe, die Anhänger aus vergangenen Tagen wieder etwas mehr zu bedienen, dass die Italiener mittlerweile jedoch viel mehr Gothic als Black Metal offerieren, ist mit Album Nummer Neun endgültig besiegelt. Weniger elektronisch als noch auf Anima Noir kommen die Songs heuer daher. Düsterer zwar, aber nicht unbedingt härter. Diese neue Gothic-Passion ist durchaus schön mit anzuhören, auch wenn ich mir wieder einmal gewünscht hätte, Sonya würde ihren Sopran häufiger nutzen. Ganz oben weiß sie einfach sehr viel besser zu gefallen. Sieht man von der allzu kitschig geratenen Interpretation von Figlio Della Luna ab, sind die Songs allesamt gelungen und glänzen besonders erneut durch die symphonischen Arrangements.
7 / 10 (Miriam Görge)
http://informazionemetal.blogspot.com/2010/12/theatres-des-vampires-moonlight-waltz.html
THEATRES DES VAMPIRES - Moonlight Waltz
I nostrani Theatres Des Vampires sono ormai un punto fermo del metallo italiano. Attivi praticamente da oltre quindici anni, giungono con questo nuovissimo "Moonlight Waltz", edito per la Aural Music, alla pubblicazione del loro nono album in studio, facendo ritorno sul mercato discografico a due anni di distanza dal precedente "Anima Noir". Musicalmente i Theatres Des Vampires delle origini non ci sono più. Il loro black metal di matrice melodica è un lontano ricordo, anche piacevole se vogliamo, ma oggi la band si è notevolmene evoluta e questo non significa certo aver rinnegato le proprie origini, perché l'intensità, l'approccio e l'impatto della musica sono rimasti praticamente immutati. La differenza è tutta nel fatto che la loro musica si è raffinata ed è diventata notevolmente più nobile. Ecco che quindi oggi trova spazio una sorta di dark / gothic metal melodico ed a volte sinfonico, che certamente non strizza l'occhio a sonorità commerciali, ma che risulta sempre e comunque accomodante, a volte anche orecchiabile fino all'eccesso, con momenti sensuali ed ipnotizzanti, affascinanti e seducenti. Questo grazie all'incantevole voce di Sonya Scarlet, davvero impeccabile in questo disco. "Moonlight Waltz" ha il sapore della consacrazione. E' la fotografia perfetta di quello che sono i Theatres Des Vampires oggi, una band matura, che sa bene quello che vuole e sa come ottenerelo, puntando sempre sulla passione e sull'ispirazione. Il lavoro immenso, è poi stato effettuato dal punto di vista della produzione. Il suono è pulito, ma anche molto moderno ed attuale. Ottimo il lavoro delle tastiere, forse il reale fiore all'occhiello del disco. Gran bel lavoro.
Voto: 8/10
Maurizio Mazzarella
THEATRES DES VAMPIRES - Moonlight Waltz
I nostrani Theatres Des Vampires sono ormai un punto fermo del metallo italiano. Attivi praticamente da oltre quindici anni, giungono con questo nuovissimo "Moonlight Waltz", edito per la Aural Music, alla pubblicazione del loro nono album in studio, facendo ritorno sul mercato discografico a due anni di distanza dal precedente "Anima Noir". Musicalmente i Theatres Des Vampires delle origini non ci sono più. Il loro black metal di matrice melodica è un lontano ricordo, anche piacevole se vogliamo, ma oggi la band si è notevolmene evoluta e questo non significa certo aver rinnegato le proprie origini, perché l'intensità, l'approccio e l'impatto della musica sono rimasti praticamente immutati. La differenza è tutta nel fatto che la loro musica si è raffinata ed è diventata notevolmente più nobile. Ecco che quindi oggi trova spazio una sorta di dark / gothic metal melodico ed a volte sinfonico, che certamente non strizza l'occhio a sonorità commerciali, ma che risulta sempre e comunque accomodante, a volte anche orecchiabile fino all'eccesso, con momenti sensuali ed ipnotizzanti, affascinanti e seducenti. Questo grazie all'incantevole voce di Sonya Scarlet, davvero impeccabile in questo disco. "Moonlight Waltz" ha il sapore della consacrazione. E' la fotografia perfetta di quello che sono i Theatres Des Vampires oggi, una band matura, che sa bene quello che vuole e sa come ottenerelo, puntando sempre sulla passione e sull'ispirazione. Il lavoro immenso, è poi stato effettuato dal punto di vista della produzione. Il suono è pulito, ma anche molto moderno ed attuale. Ottimo il lavoro delle tastiere, forse il reale fiore all'occhiello del disco. Gran bel lavoro.
Voto: 8/10
Maurizio Mazzarella
Similar threads
