Theatre of Tragedy
['mju:zik]

THE REVIEW

To understand what drives the Stavanger combo to compose this theater of extravagance named "Musique", one must go back a full six years before its release (the summer of 2000), reaching that debut album "Theatre Of Tragedy", so fundamental for the subsequent development of a genre, the metal-based gothic, which today is nothing but a faded copy of that wonderful masterpiece.

Indeed, having abandoned the magical medieval and melancholic atmospheres of their early works, our band fiercely separates from the myriad of clones they created to embrace the futuristic sounds of the new millennium, creating a bold work, far from the romantic clichés so much in vogue, entirely devoted to experimentation among elements of rock, pop, electronics, dark, and metal (albeit in small doses). Thus presents itself this puzzle of sound madness, unpredictable but exciting, skillfully combining many genres distant from each other but, while largely disappointing many old fans, once again outlining the coordinates of a trend that will be copied (with better sales, unfortunately...) by many latecomer imitators.

The opening is of excellent quality, entrusted to "Machine", driven by enveloping keyboards towards a verse between sampled drumming and the unrecognizable timbre of a Rohonyi increasingly hypnotized by electro-dark plots. Liv's intervention in the chorus is wonderful, also launched into a new dimension akin to techno-pop, while Aspen skillfully navigates between loops and seductive melodies where the guitars nevertheless contribute, engaged in creating an impactful soundscape. Great piece.

Continuing the listening, one encounters the melancholic escapes of "Fragment"; here too, keys with futuristic tones duet with a bizarre yet emotionally charged vocal approach. The six-string leads by Claussen are brilliant, and the chorus, full of emotion and nostalgia in Espenaes' voice, is excellent. Allow me a slight comparison with the melodic choices of certain Katatonia in the riffing, albeit distantly.

Passing the electronic digressions of the title track, truly the riskiest episode of the platter, we arrive at the atmospheric "Radio". The techno-dance samplers play the leading role in the initial part, with the inspired vocal support of the singer carried away by the sweetness of the dreamy female vocals' response, supported by guitars distorted in a very original and quirky manner.

The hit song is reached with the irresistible immediacy of "Image", an effective, no-frills track supported by powerful riffing that dialogues with fast keyboards and the histrionic Liv's voice, increasingly reaching far-off shores from the soprano tones of the past. This is called talent, being able to double oneself and measure up with different approaches, truly commendable on her part when considering recent generations that, with her and Rueslåtten, are soundly outclassed.

Among the concluding pieces, I highlight the abrasive "Crash/Concrete", modern and powerful, perhaps the most aggressive piece ever composed by the band, benefiting from very seductive female vocals and going straight to the point without frills. Also, "Retrospect" is pleasing for the combination of experimental sounds and the immediacy of a chorus between metal (guitars) and pop (voice) while the closing instrumental track takes us to distant and abandoned shores, dominated by ambient sounds and suggestive sonic atmospheres where the melodic loops of the versatile Lorentz paint extravagant harmonies.

In short, an intricate album for the audience it was entrusted to, too far from the patterns of a genre they invented, full of risky choices that led the Norwegians to lose a large portion of their devoted fans. For the writer, however, after moments of bewilderment at first listening, "Musique" brought a breath of fresh air and new ideas, proving that the ability to write emotional pieces, quality songs, can be maintained regardless of what is played. I still enjoy listening to it today and recommend it to those who want to experiment with a varied and emotional work but endowed with the impact/immediacy binomial that will also characterize upcoming works.

In closing, there's a lingering bitterness for a band that could have "broken through" and is instead relegated to the role of a cult-act by most, where other artists fill store shelves and their pockets. Perhaps, though, it's better this way...