Trail Of Tears A New Dimension Of Might
Napalm records NPR 108 September 16th 2002
By Russell Garwood
Originally known as Natt upon their formation in 1994, Trail Of Tears change in moniker was not the bands only drastic transformation. The music was initially death/thrash (evident on a five track demo released in 1996), but with multiple line up changes both the bands handle and style changed. Following a second demo and two albums released through DFSA Records (Disclosure In Red and Profoundemonium) the band signed with Napalm records in 2001, leading to the release of this, their latest opus.
The line up on A New Dimension Of Might features two vocalists; Ronny Thorsen and Catherine Paulsen. The other members are Runer Hansen (both lead and acoustic guitars), guitarist Terje Heiseldal, Kjell Rune Hagen on bass, Frank Roald Hagen is responsible for synths, and drummer Jonathan Perez. The seven piece play strongly gothic and symphonic black-influenced metal; there are a plethora of synths, industrial and classical influences, passages that could easily belong in an opera and a progressive complexity that ensures you dont tire of the album too quickly. Despite the diversity of influences, not only does the album clearly stem from a single creative source, it flows cohesively through the different styles.
The vocals range from operatic female singing to male screeches through clean male singing. Despite the duo avoiding a traditional beauty and the beast feel, the vox still have question and answer sections, and myriad dual melodies. The guitars are often simple, acting as a support for the other instruments, but the rare guitar solos prove that Runar is a competent player. Straightforward drums drive the music well, while the bass is further back in the mix but still helps build a competent rhythm section. The synths take a lead role, adding texture to the music and providing much of the melody.
My favourite tracks on A New Dimension Of Might are numerous. A Fate Sealed In Red has dramatic synths, several time changes and some very impressive operatic vocals, while Crashing Down builds on the previous tracks theatrical feel. Obedience In The Absence Of Logic has excellent operatic question and answer vocal sections and at over six minutes is one of the longer songs with many changes in character. Denial And Pride has memorable quieter sections and industrial influences come to the forefront in The Call Of Lust.
The strictly limited first edition of A New Dimension Of Might also features a slipcase and a cover of Faith No Mores Caffeine as a bonus track. Trail Of Tears maintain a high standard throughout this album, with few poor songs. While the music is varied the band stick to a similar formula which can, at times, drag. This is rarely a problem, however, and while some may deem this overly commercial, the band are proficient songwriters and their output unusual.
Napalm records NPR 108 September 16th 2002
By Russell Garwood
Originally known as Natt upon their formation in 1994, Trail Of Tears change in moniker was not the bands only drastic transformation. The music was initially death/thrash (evident on a five track demo released in 1996), but with multiple line up changes both the bands handle and style changed. Following a second demo and two albums released through DFSA Records (Disclosure In Red and Profoundemonium) the band signed with Napalm records in 2001, leading to the release of this, their latest opus.
The line up on A New Dimension Of Might features two vocalists; Ronny Thorsen and Catherine Paulsen. The other members are Runer Hansen (both lead and acoustic guitars), guitarist Terje Heiseldal, Kjell Rune Hagen on bass, Frank Roald Hagen is responsible for synths, and drummer Jonathan Perez. The seven piece play strongly gothic and symphonic black-influenced metal; there are a plethora of synths, industrial and classical influences, passages that could easily belong in an opera and a progressive complexity that ensures you dont tire of the album too quickly. Despite the diversity of influences, not only does the album clearly stem from a single creative source, it flows cohesively through the different styles.
The vocals range from operatic female singing to male screeches through clean male singing. Despite the duo avoiding a traditional beauty and the beast feel, the vox still have question and answer sections, and myriad dual melodies. The guitars are often simple, acting as a support for the other instruments, but the rare guitar solos prove that Runar is a competent player. Straightforward drums drive the music well, while the bass is further back in the mix but still helps build a competent rhythm section. The synths take a lead role, adding texture to the music and providing much of the melody.
My favourite tracks on A New Dimension Of Might are numerous. A Fate Sealed In Red has dramatic synths, several time changes and some very impressive operatic vocals, while Crashing Down builds on the previous tracks theatrical feel. Obedience In The Absence Of Logic has excellent operatic question and answer vocal sections and at over six minutes is one of the longer songs with many changes in character. Denial And Pride has memorable quieter sections and industrial influences come to the forefront in The Call Of Lust.
The strictly limited first edition of A New Dimension Of Might also features a slipcase and a cover of Faith No Mores Caffeine as a bonus track. Trail Of Tears maintain a high standard throughout this album, with few poor songs. While the music is varied the band stick to a similar formula which can, at times, drag. This is rarely a problem, however, and while some may deem this overly commercial, the band are proficient songwriters and their output unusual.
