Lake Of Tears
Black Brick Road

Two years after the misstep of "The Neonai", Lake Of Tears return with this "Black Brick Road", and the difference is remarkable. The more ethereal Floydian echoes are here implemented with great mastery, combined with a solid gothic rock that is finally simple, pure, and flowing, far from the strange hybrid present in the previous album.

The album starts excellently with "The Greyman". Brennare's husky voice enchants with a chorus so easy listening yet so well done, supported by very 70s and atmospheric keyboards (far from the pompous ones in "The Neonai") and the guitars seem to have risen from their own ashes, engaged in fine solos and phrases that are sometimes sweet and lulling, at other times incisive, pounding, and solid. A great start then, that really leaves one hopeful.

Next up is another great piece, "Making Evenings", much darker than the previous one due to a lower-pitched singing and a slightly more complex and intricate melodic structure. Overall a well-crafted song, reminiscent of Sentenced and Charon, yet unlike them, it makes less use of the bombast of the former and the overly slick attitude of the latter (I don't mention H.I.M. because here we're in a completely different league).

The title track combines elements that are even Doors-like or at least 70s with a dustier progression typical of the decadence of gothic rock, remaining in the mood already described with previous tracks but adding another dark brick to the solid structure that the band is weaving, piece by piece.

"Dystopia" slightly clashes after so much grayness perceived so far: the electronics, certain keyboard and guitar parts, and the general pace of the entire track make me think back to "The Neonai", and that's not a compliment. However, it must be acknowledged for its greater variety, not present in the tracks of the other album, but that doesn't completely save it.

Fortunately, a thick Floydian haze breaks through, and the splendid "The Organ" welcomes us with its soft and dusty atmosphere. The Cambridge group is really tangible here, the guitars are relaxed and languid, the soft organ in the background sketches indecipherable ink strokes, and Brennare's singing is at its most inspired, melancholic and at times touching, especially in certain moments of the song, rich with pathos and elegantly refined melancholy.

The album gradually slides towards its final notes, and so far the impression has been good. The lively gothic (what a paradox!) "A Trip With The Moon" warms up the atmosphere after the sweet stupor into which we had fallen with "The Organ", and from there the step to the final, zany "Crazyman" is brief (I deliberately skip over the two songs placed between these, as they lack bite or personality). The last track truly surprises. The voice becomes acidic and corrosive (almost grind-like), the guitars more substantial, massive, and solid, and the whole progression becomes more aggressive, frenzied, and crazy, with drumming here truly driving and noteworthy. Despite such an unexpected change of course, the catchy standards followed so far are still present, and the track is a wonder to listen to.

The album ends here, and for the listener who previously heard "The Neonai", it might seem like two completely different bands. Yet Lake Of Tears are these, take it or leave it. Creative, crazy, capable of adhering to the strictest and most obvious market laws first and then producing a powerful album, easy to listen to and certainly more appreciable and lasting than the previous release. I cannot say it's their best production (I still have to listen to their older albums), but if the base quality is this, it's a real pity that this band is so little known.