A spark of light among the ashes.
Winter may be relinquishing its grip but the evenings are still dark, dreary and bitterly cold, the nights sky crisp and clear. During these times there is nothing better to do then to curl up and reflect on a sofa and put on some music that reflects the oddly melancholic mood of the atmosphere and what better to do this with then with the music of a female fronted gothic metal band?
The success of Nightwish, Lacuna Coil and Evanescence has shed an opportunity for a whole host of beautiful voices and musical talents to shine in the world and none have taken advantage of this more then Norwegian band Tristania, whose success has been growing phenomenally ever since their supporting role on Nightwish's 2005 'Once' tour. However, they are quite different from the sound you might associate with this brand of metal, while Tristania do still share the same gothic and symphonic leanings as their greater known peers, their sound is a more progressive cocktail of atmospheric doom and black metal dressed up in the elegance and romanticism of true Scandinavian metal. Tristania certainly stand out above the rest with their distinctive sound and while Vibeke Stene's unique and luscious voice creates a soundscape of haunting, poetic imagery her male counterpart Osten Bergoy coarse and forbidding voice contrasts beautifully. With the curious choral backdrop and bleak sound of the driving, distorted guitars, a perfect symphony of winter's decadence and melancholic beauty is born, the true essence of gothic metal.
One thing that is an evident improvement on 'Illumination' from the previous album 'Ashes' is the improved balance between the vocal parts. Vibeke has a lot more freedom to sing throughout 'Illumination' and it brings a sense of sheer elegance to the sound as her velvet voice graces the driving guitars and provides a haunting ghost-like echo behind the growling of guest vocalist Vorph of Samael. It is, however, at its most beautiful on its own where the full texture of her soprano angelic voice can be appreciated. Vibeke Stene is perfectly able to carry her voice above the loud emotive outpour of the music and compliment them too. It is an utmost joy to be able to hear talent expressed at its most triumphant on 'Illumination' as opposed to 'Ashes' which saw minimal solo work from Vibeke, her voice pushed behind the choral section and only momentarily offering a glimpse of her voices charm and flexibility. In general the whole album is a vast improvement, with more progressive solos, the addition of a string quartet and much more powerful and evocative choruses all perfectly blended to create a spellbinding sound that just oozes sensuality.
A true highlight of the album can be found in the sixth track named 'Down'. Kicking off with Vibeke as a solo vocalist accompanied by a rolling yet sharp and bitter guitar riff that works wonderfully to create the kind of tension that even the sharpest of knives cannot cut through. Vibeke truly shines here as her silky smooth and wonderfully expressive voice pours desolation and despair, a texture only heightened and enhanced by the entrance of her male vocal counterpart, their voices entwining and almost dancing amongst the bitter and yet beautiful melodies. The chorus sees a brief takeover by Osten Bergoy in a wonderful whirlwind of guitar riffs and ferociously dynamic percussion; here the full extent of Tristania's black/doom metal influences can be felt as the heavy backdrop of whispering lead guitars, driving rhythm and bass and roaring yet strangely passionate percussion envelope you in its melancholic black cloak of sound. A brief vocal interlude so typical of the symphonic female fronted band sound is beautifully sung by Vibeke and provides a lovely contrast as it glides over the moody storm of emotions portrayed by the metal.
'Fate' and 'Sacrilege' follow this strong example; although 'Fate' is one of the rare tracks on this album that is solely sung by Osten, save for a few atmospheric 'oohs'. It is delightfully mournful and gothic and continues to show of Tristania's classic blend of doom/symphonic metal that makes them so special.
The luscious 'Sanguine Sky' sees a more ballad like form of music take shape and the vocals are handed back to the leading lady who shapes and moulds the captivating lyrics with unrivalled precision and talent. The song itself is a perfect showcase for the amazing and eloquent songwriting talents of the band, who have an extremely strong gift for writing metaphorical and emotive lyrics that really do send shivers down the spine. Blending fantastically chilling lyrics with eerie and intriguing guitar work, this intricate track is one that really highlights the amazing progression of Tristania's music and most importantly Vibeke's voice over the period of time between 'Ashes' and this stunning new album. Considering it has only been three years, she has really improved a hell of a lot, as have the band, but it is clear that even long after the album has finished playing that it is Vibeke Stene's silky voice that leaves the real lasting impression.
'Illumination' most certainly is Tristania's most expressive and accomplished work and there is no doubt it will both please current fans and entice more into their enchanting world of sound.