L'Ame Immortelle
Dann Habe Ich Umsonst Gelebt

It's 1996. The entity L'Ame Immortelle is born from the collaboration between singer Thomas Rainer and keyboardist Hannes Medwenitsch; later on, they recruit singer Sonja Kraushofer: in 1997, their debut album, the acclaimed "Lieder die Wie Wunden Bluten", is released, instantly launching the Austrian trio among the big names in the electro-goth scene.

At the crossroads between EBM, dance, electro-pop, and dark-gothic, L'Ame Immortelle represents the most melodic and elegant fringe of the scene.

This "Dann Habe Ich Umsonst Gelebt", their fourth effort from 2001, marks a further evolution of their sound: now seasoned musicians and experienced experts in the field, without giving up the dance and electro temptations that have always characterized their music, the three decide to surround themselves with an impressive entourage of musicians (including two guitarists, a live drummer, and a chamber ensemble), enriching their decadent visions with lavish arrangements and grand orchestrations.

The formal perfection of the thirteen tracks here, the crystalline sounds, the alluring melodies, the variety of adopted solutions, make it the best introduction for anyone wanting to get to know them.

Perhaps a little too sugary, the compositions are definitely well-crafted, excellently arranged, and splendidly performed.

From the first touch of the delicate piano in "Erinnerung", the instrumental opener, we are immediately prompted to have the handkerchief ready for the most tragic occasions.

The first part of the album reveals a strict alternation of sophisticated electro-pop tracks, masterfully performed by the ever-inspired Kraushofer (like the opener "Judgement" and the sweet "Rearranging"), and more intense tracks, decidedly closer to the EBM world, sung by the excellent Rainer (such as "Epitaph", which seems to come from an album by the seminal Covenant, and the more aggressive "Slut"). I must say, my preferences lean heavily toward the latter: because while our Sonja is indeed talented and expressive, her voice reminds me too much of Madonna (yes, that Miss Louise Veronica Ciccone!), and her laments sound too similar to what we will later be flooded with by bands like Evanescence, who certainly do not rank among my favorite artists. You understand, all this quite unsettles me. While Rainer, who skillfully alternates between a clean singing style reminiscent of Dave Gahan and a more typically EBM vitriolic tone, is less off-putting to me. As they say in these cases: it's all a matter of taste.

Far more interesting, in my opinion, is the second part, where the two voices intertwine, finding greater cohesion, providing us with spine-chilling duets. As happens, for instance, in "Licht und Schatten", a tear-jerking ballad that plays on the contrast between the red-haired singer's crystalline voice and Rainer's incursions in his more aggressive and menacing tone. Or in "Voiceless", where the game repeats itself, this time, however, to the driving rhythm of tense and dramatic dance beats. In "Was Halt Mich Noch Hier", which features an electric guitar and powerful orchestrations, we see a repetition of vocal patterns that, for intensity and poignant romanticism, we thought possible only for the esteemed pair Tilo Wolff/Anne Nurmi of the unsurpassable Lacrimosa.

Finale with fireworks: preceding the sunset, we find an engaging "Forgive Me", entirely sung by a Rainer in a state of grace (a piece that takes us back to the best of Depeche Mode), and the epic "Leaving", which once again sees the clash-collaboration between Kraushofer's heavenly (yet incredibly powerful) voice and Rainer's lycanthropic snarl. As a grand finale, the slow piano piece (the heart-wrenching "Dead Actor's Requiem") is a must. But it's not over yet, there's still time for an agreeable surprise: the remake of the beautiful "Life Will Never Be the Same Again", a big hit already featured on the debut album, here reintroduced as a bonus track, enriched by elegant string arrangements, acoustic and electric guitars (anticipating the band's less convincing future metal-goth turn), and the passionate voice of Sean Brennan, directly from London After Midnight, invited to duet with the hostess.

An impeccable album, indispensable for those who can't do without elegance, melancholy, and poignant romanticism. A warning, though: those suffering from diabetes should keep well away!