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THE REVIEW
Gothic Metal: a genre that has fascinated thousands of fans and that today unfortunately is going through a period of crisis. All the typical tropes of Gothic Metal (the covers adorned with romantic images, the melancholic lyrics, the decadent melodies, the sweet female voice) owe their existence to Theatre Of Tragedy, a band originating from Stavanger, Norway, formed in 1994.
If the band Third And The Mortal represented the embryonic state of the genre, Theatre Of Tragedy defined for the first time with their self-titled debut the stylistic features of the genre. The cover alone, a white and a red rose on a grayish background, is a true declaration of intent of their music and their themes. Their music derives from Doom, as shown by the slow tempos, heavy and claustrophobic riffs (which represent a transformation of Death), and dark and suffocating atmospheres. However, they add personal elements to their music that create the decadent and romantic sounds typical of the nascent genre: the enchanting piano notes of Lorentz Aspen and the alternation between the rough and deep growl of Raymond Rohonyi and the ethereal and captivating voice of Liv Kristine, thus creating "Beauty And The Beast Metal": I have never heard of another group where the alternation and overlap of the two voices is so magical and evocative. This duet is referred to as "Play," as it derives from Shakespearean theater. Even the lyrics are subject to arcane influences, being full of archaisms and addressing themes such as love and sadness.
The CD manages to recreate seductive and intense atmospheres: a mental trip where fairy-tale elements and medieval elements are evoked, transporting the listener to a new dimension, where during the listening they feel saddened by the gothic chiaroscuro and fascinated by this work in which roughness and delicacy meet.
The CD opens with the superb "A Hamlet for a Slothful Vassal," which is perhaps the least melancholic piece of the entire work. It opens with a very atmospheric piano and very incisive riffs. The entire piece is based on the alternation between feelings of romanticism and heaviness: the most aggressive riffs of the entire album and the growl alternate with atmospheres that rise from the earthly dimension and Liv's voice. A particularly beautiful gem, like the first flower that blooms during the thaw. "Cheerful dirge" is of an almost paranoid slowness, and it is quite close to the Doom standards. The sweet notes created by Liv's voice convey incredible oppression and unease. To complete the atmospheres, horrific keyboards enter. "To these Words I Beheld no Tongue" is based on a bass line that is then picked up with extreme pathos by the guitars. Liv's voice could not envy the voice of the most celestial angels. Throughout the piece, an incredible air of transcendence is breathed. A riff as heavy as a boulder opens another superb track: "Hollow-Hearted, Heart-Departed," in which a violin sporadically participates. The divine mid-track intervention by the piano and guitars, where Raymond participates.
The next song rightfully enters the history of the genre: it is the moving "…A Distance there Is…," no other piece of the genre can compare to this Artwork, light and full of pathos, that knows how to perfectly recreate typically winter atmospheres. Everything suddenly freezes, and the air becomes crystalline and pure like on the peak of a mountain. The piece in its long duration (nearly 9 minutes) boasts the presence of only Liv Kristine's voice, the violin, and especially the piano, intangible and delicate. Nothing knows how to recreate sensations of peace and serenity like this Masterpiece. "Sweet Art Thou" is another beautiful piece, boasting some of the most beautiful piano riffs of the album. About halfway through the track, the tranquility recreated by the track flows into a feeling of anguish and despair, and the two voices become lamenting and almost in need of help. "Mire" is introduced by slow piano notes, and then follows with interventions of acoustic guitar and real keyboards. The latter give the track an unsurpassed and high-flown touch. However, Raymond never intervenes with his growl. "Dying - I Only Feel Apathy" is one of the most energetic pieces of the CD, and it picks up a bit from the previous piece thanks to the acoustic guitars, although here we also have Raymond's participation, which gives the piece a greater retro touch. The album closes with "Monotone" with its relaxed tempos and keyboards, creating a very gothic sonic backdrop. The entire piece is based on the guitars, which at times are in dialogue with each other.
This is obviously a subjective view of this album, and the sensations and emotions can vary from listener to listener. However, its artistic and historical value is undeniable; indeed, dozens of bands with female voices will later be inspired by these sounds, but none of them in my opinion can compete with "TOT". I can only recommend it to everyone, although those not accustomed to these sounds might struggle quite a bit to get into the spirit of the album.
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Summary by Bot
This review praises Theatre Of Tragedy's 1995 self-titled debut as a pioneering gothic metal album. It highlights the band's signature blend of doom metal elements, contrasting vocals, and atmospheric piano. Key tracks are dissected for their emotional weight and musical innovation, underlining the album's timeless influence. The reviewer strongly recommends it, noting its artistic merit and genre-defining status.Tracklist Lyrics Videos
01 A Hamlet for a Slothful Vassal (04:05)
Behold a jocund morn indeed! -
Sun on high - birds in sky.
Yonder the whist eathing,
Fro where a gale erranteth.
[Ye beholdest but the shadow] That is a lie!
[Mayhap a tithe of trothplight] Lief I am not!
[I deem - e'er and anon!] My words are but a twist.
'Tis a feignéd lie through loathing, I say!
[To and fro, save hither, is thy love. ]
A dotard gaffer, I daresay...
[Not a loth! - But vying for my kinsmen! ]
...a sapling not!
[Beautiful tyrant! ]
[Fiend angelical! ]
[Dove-feathered raven! ]
[Wolvish-ravening lamb! ]
[A hamlet for a slothful vassal - ]
[Soothing ale for a parchèd sot. ]
[Hie to tell me ]
[What ye judgest as naught; ]
[I behold the shadow!]
Wherefore call me such names;
Nay imp am I!
Thou art my aghast hart -
Grazing in the glade.
[E'er thou sayest aye!] That is a lie!
[Thief of a plot!] Lief I am not!
[Now go to thy tryst] My words are but a twist!
[Go, leave, totter!] Fare well! - with joy I came,
[Until ye dwindlest.] With rue I leave.
[A morsel, nay more,] Even the orb cannot
[For thy journey] Help me melt the ice?!
[Hither an thither!]
02 Cheerful Dirge (05:02)
Hap mirthfulness! - Oh joy of grand riddance;
Undress me my hauberk! - the wyvern hath errant'd.
-- Ire of yore - bard of e'eryears -
-- I deem the brood hath wan'd - foe'ermore?!
Fro the chasm of the bosom, I hand back.
Hark! my dove - henceforth I bulwark thee! -
Feathers of swans in my pillow - I cede my heart.
Make haste! - I pray - respond my plea!
-- Lo! - a sire of great awe - a knight of many battles!
...And of kinsmen weeping for the slain!
Please! - heed my words;
In thy sorrow I will kiss thy tears -
In the bliss I will take thee by thy hand -
The sapor of grapes thou shalt savor -
And harken the nightingale sing oh so blithely!
-- On his knees... A plea to harvest roses;
-- No heed for the thorns yon count!
-- Wherefore vow me?
-- Wherefor this gild�d proffer?
-- Wherefore not pay court to a maid more fair? -
-- Morn of a joyous day! Flower 'twixt weed!
-- Fertile desert! Cheerful dirge!
-- Misery me not! - man nor beast; envy me;
-- Lest 'tis an act of wont!
-- Many are the drapes that my past bury -
-- Ineffable feeling indulgeth in battles!
Tisn't what thou vambrace'st thy words with!!;
I bethink dotingly only thy weal -
Therein abdiding with thee
Is for me the grandest boon!
-- Forgive me for deeming thee direfully -
-- Yet I was a triffle daunt'd.
05 ...A Distance There Is... (08:51)
Come in out of the rain thou sayest —
But thou ne'er step'st aside;
And I am trapp'd, I'm trapp'd
A distance there is...
None, save me and the bodkin —
Pitter-patter on the roof:
Behold! — 'tis not the rain;
Thence me it hath to be —
I will not drink thy vintage wine, my dear;
Thou hast heed'd that I am of innocence,
Yet thou let'st thy lass into peril —
Thou let'st me be parch'd;
My heart, my heart, my heart
My heart, my heart, my heart
My heart is of frailthy, my pale skin is hued damask.
When thou thy tears hast hidden,
"Come back!", thou sayest —
There I soon am to be —
But how am I to run when my bones, my heart
Thou hast me bereaft —
But run thou sayest;
I run, I run, I run
I run, I run, I run
I run, I run, I run
I run, I run, I run
I run, I run, I run
And there and then I behold that a time will come
When I again dead will be.
Thou tell'st me to leave without delay —
I leave, I leave, I leave, I leave.
I leave with my bodkin and my tears in my hands;
Lo! — the shadows, the sky descending;
So by a dint of smite I gait there
Before I run and melt together with dusk.
In my mind in which is this event,
But it seems as if naught is to change anyway?!
After all these years thou left'st me down
In the emotional depths —
The sombre soak'd velvet drape is hung upon me,
Turning my feelings, turning my feelings away from our so ignorant world:
All the beautiful moments shared, deliberately push'd aside —
After all these years thou left'st me down
In the emotional depths —
The sombre soak'd velvet drape is hung upon me,
Turning my feelings away from our so ignorant world:
All the beautiful moments shared, deliberately push'd aside —
...a distance there is...
...a distance there is...
06 Sweet Art Thou (03:58)
- Stay still patient; wilt thou my sister of merciful troth be?
- I shall attempt the halterof thy life make less tighten'd!
-- I shall climb the yew,
-- Will it subdue me or not!
-- Swooning emotions smite my bosom -
-- I have an aptness depriev'd thy eyrie
Oh! - ne'er alas; -- Fro many another a lass -
Lodge here fore'ermore. -- Dodge thither sable of yore!
- A narrow dell hath now for me turn'd into a broad land;
- A land rich with fields of the Simbelmyn�.
-- Sonorous to my ears are the words form'd by thy tongue
-- Conquer me! - Waylay me! - Swathe me 'twixt thy arms!
-- Make me sense the wine which is drunk by queens,
Make me sense the wine which is drunk by kings,
-- And let it flow white and full in tast o'er my lips.
And let it flow red and full in taste o'er my lips.
-- A dais'd bridge o'er the ghyll,
-- In which a river bottomless -
-- I would have drown�d,
-- Yet thou drewest me out soaking!
Save thou art not yet all parch�d -
Eavesdroppest ye: A wee drop, -- I can hear it! - I can feel it!
Whence it comes I can only deem, -- Yet I will not tarry idly!
Lest this for me is a gay dream: -- Let it adamant be -
A dream that will sojourn eternally - -- Empty the flagon in me!
In which theatre I will act!
Theatre of Tragedy
Theatre of Tragedy were a Norwegian band formed in Stavanger in 1994, widely associated with early gothic/doom metal and the “beauty and the beast” vocal contrast. Their catalogue is frequently discussed for its major stylistic shifts, from doom-tinged gothic metal into more electronic and industrial/pop-leaning territory, and later releases featuring a new female vocalist after Liv Kristine’s departure.13 Reviews
