BaraHime
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- Nov 30, 2011
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^ "you" me? Or was that just a universal "you?" 
I, personally was expecting them to have Tommy sing lower than he does for SW, that was hardly a shock to me. So I pretty much expected what I got, in terms of Sacrimony, anyway.
I think the reason people are being funny about how similar/dissimilar he can be to Roy is because Kamelot specifically said they DIDN'T want a Roy clone when they were looking for a new guy. Now, Tommy is certainly not just some clone, dear god. But the similarities are still strong enough that some people are in a tizzy because they had gotten all set for a big shift and then got - the same freaking thing - after all that fuss... Others are annoyed because, yes, they were expecting him to sing more like he does in SW. But, that is just not Kamelot's sound, it never has been. And it certainly isn't the sound of The Black Halo, an album Thomas said Silverthorn will resemble in terms of overall mood/sound. So expecting to hear those belted high notes from Tommy on an album pegged as similar to one where we only got a few stray falsettos from Roy, who's comfort zone is much lower than where Tommy's seems to be, is silliness. I, personally, HATE high notes, so I like the more mellow range he used for Sacrimony. But then, that's part of why I always loved Kamelot so much - they never got too high, the highs were used to accent bits of a song (with the exception of DYC, but that song is beautiful beyond reproach.) rather than being shrieked the whole way through. Which isn't to say he seems shrill in SW or anything. It's odd, but somehow Tommy doesn't ever manage to annoy me when he sings (too) high, but still, I'd rather Kamelot remain primarily in the butter zone and leave the somehow-not-infuriating highs to SW, whom I trust handle them. I've been missing those low notes from back on WitW, so I'm very happy to see - err, hear - Tommy using some nice lower notes again. At the same time though, again, I'm glad it's with Kamelot and not SW. Somehow I really like SW more with the highs than with the lows, even though the notes themselves were lovely, I just like their sound more with Tommy singing high. So, quite frankly I'm feeling pretty perky about the whole thing. 
I, personally was expecting them to have Tommy sing lower than he does for SW, that was hardly a shock to me. So I pretty much expected what I got, in terms of Sacrimony, anyway. I think the reason people are being funny about how similar/dissimilar he can be to Roy is because Kamelot specifically said they DIDN'T want a Roy clone when they were looking for a new guy. Now, Tommy is certainly not just some clone, dear god.
But the similarities are still strong enough that some people are in a tizzy because they had gotten all set for a big shift and then got - the same freaking thing - after all that fuss... Others are annoyed because, yes, they were expecting him to sing more like he does in SW. But, that is just not Kamelot's sound, it never has been. And it certainly isn't the sound of The Black Halo, an album Thomas said Silverthorn will resemble in terms of overall mood/sound. So expecting to hear those belted high notes from Tommy on an album pegged as similar to one where we only got a few stray falsettos from Roy, who's comfort zone is much lower than where Tommy's seems to be, is silliness. I, personally, HATE high notes, so I like the more mellow range he used for Sacrimony. But then, that's part of why I always loved Kamelot so much - they never got too high, the highs were used to accent bits of a song (with the exception of DYC, but that song is beautiful beyond reproach.) rather than being shrieked the whole way through. Which isn't to say he seems shrill in SW or anything. It's odd, but somehow Tommy doesn't ever manage to annoy me when he sings (too) high, but still, I'd rather Kamelot remain primarily in the butter zone and leave the somehow-not-infuriating highs to SW, whom I trust handle them. I've been missing those low notes from back on WitW, so I'm very happy to see - err, hear - Tommy using some nice lower notes again. At the same time though, again, I'm glad it's with Kamelot and not SW. Somehow I really like SW more with the highs than with the lows, even though the notes themselves were lovely, I just like their sound more with Tommy singing high. So, quite frankly I'm feeling pretty perky about the whole thing. 
I think A Sailorman's Hymn might have finally been dethroned as my favorite Kamelot ballad. It sounds almost Seventh Wondery. 
