Lake Of Tears
Headstones

Lake Of Tears represent one of the most underrated realities (unjustly) of the international metal scene, and with this "Headstones," dated 1995, they presented one of the most successful examples of gothic-metal with a Northern European influence.

Formed in the early nineties, the Swedes released their debut "Greater Art," a solid and melancholic album brimming with British influences (Paradise Lost above all) and that touch of decadence typical of Scandinavian acts, which was so trendy during the golden age of the genre. This work broadens their horizons, embracing the use of copious but unobtrusive keyboards, a more refined and melodic vocal style, and above all, those epic, very evocative atmospheres that would take a strong hold in the following, rock-driven "A Crimson Cosmos."

The dance opens with the anthemic and solid "A Foreign Road," guided through the foggy forest meanders by an excellent Sabbath-like riff, slow and stony like few others, to which is added the hoarse and vibrant voice of Daniel Brennare (mastermind and rhythm guitarist) adept at painting the sad and decadent landscapes that come to mind when admiring the splendid cover artwork by the genius Kristian Whålin.

We delve into the more harmonious side of the band with the following "Raven Land," truly expressive in its delicate introductory keyboards dueting with the six-strings with marvelous acoustic distortions. In this context, we appreciate velvety and majestic vocals that touch on growling in the epic, sweetly nocturnal chorus. A true gem that will serve as a source of inspiration for many after skiers in the years to come!

After moving on from the rock'n'roll twists of the catchy and original "Sweetwater," the band delights us with the true qualitative peak of this work, the ballad "Headstones," imbued with irresistible Anglo-Scandinavian romanticism, marking it as one of the best testimonies of a certain way of making music typical of the last wave of original artists of this movement. The acoustic riff softly weeps, the voice stands solitary on a symphonic and apocalyptic ivory carpet, declaiming "aesthetically" very pessimistic lyrics, a true journey through the silent paths of the wooded hills of Northern Europe.

As we proceed, we find the exciting combination of pop atmospheres and doom-metal guitar grunts in the varied "Twilight" before returning to the classic aggressive and acidic riffing of "Burn Fire Burn," dominated by leads that hark back to a certain hard-rock approach with extravagant dissonances. Worth noting are the effective mini-solos of the axemen, loaded with melodic ideas and never redundant.

A grand finale awaits us with the mega-suite "The Path Of The Gods (Upon The Highest Mountain Part 2)," long and engaging in its over 13 minutes of doom-gothic and dreamy psychedelia. The intro is wonderfully laid on truly majestic keys, leading to a succession of slumberous yet deep and penetrating Candlemass-like riffs. Brilliant piano inserts also find their place, touching narrations of barren autumn landscapes, for a perfectly successful whole that makes the track seem quite immediate despite its length.

We must highlight the perfect production from Ulf Pettersson's Wavestation Studios, a crystal-clear sound in which instruments are sharp and skillfully blended, demonstrating our professionals' expertise despite the minuscule budgets of the period. Ultimately, a work that deserves your rediscovery, even to appreciate those who, in silence, laid the foundations for a genre born with significant prospects and which today lives solely on the works of old bands (Tiamat teaches, luckily).