Tristania
Widow's Weed

THE REVIEW

1998: The Tristania, a very young (the band members hadn't even turned twenty yet) Norwegian band, released their wonderful debut album: “Widow's Weed”. We are not talking about a good album, but it would be reductive to call it even a masterpiece; indeed, it is the definitive summary of everything that concerns Female-Fronted Gothic Metal. If some years ago fellow countrymen Theatre of Tragedy created the genre, popularly renamed by the more imaginative as “Beauty And The Beast” Metal due to the alternating dual vocals, Tristania takes much from these masters but adds new and fresh innovations.

Subsequently, many tried to recreate the superb atmospheres present in this CD, but the results are not even comparable to what was achieved by the Norwegians. In short, a must for the most romantic and decadent metal: already in the cover (a medieval castle with grayish tones) and the booklet (images from ancient manuscripts), the album’s atmospheres are conveyed. Additionally, the lyrics, with their retro touch thanks to archaisms, help to recreate the romance that emanates from their music. The latter is based on the alternation of Vibeke Stene’s ethereal and soaring voice, more lyrical and structured compared to her contemporaries, and Morten Veland's aggressive and intense growl, who is also the main composer of the band. Added to this are guitars with a clear death metal foundation, rough and at times almost buzzing, played by Veland himself and Anders H. Hidle. The bass (played by Rune Osterhus) and drums (played by Kenneth Olsson) do not take on particularly important roles, unlike the keyboards (played by Einar Moen), which have a soloistic and important role, creating atmospheres sometimes foggy, sometimes majestic. Completing the picture is the violin, played by Pete Johansen, who will become a regular guest of Norwegian Gothic albums.

The CD opens with an introduction, “Preludium” indeed. Chants and Gregorian with keyboards reproducing the organ sound give a very gothic touch to the introduction. “Evenfall” is the first actual piece, of medium-long duration just like all the tracks on the album: the duet between the two voices is absolutely striking, and the piece enjoys various tempo changes, in which, however, the underlying melancholy remains intact: towards the end, the atmosphere changes; the keyboards become more wicked and dark. “Pale Enchantress” is a piece with disarming sweetness and intensity, thanks to the enchanted and dreamy keyboards and the almost moving violin. “December Elegy” is not only the best track on the album, but also one of the highest moments in all of Gothic. It has a very slow and Doom-like cadence, with its granitic and monolithic riffs, and is pervaded by a malignant yet at the same time magical aura. Literally without words is the piece where you hear the flow of water, and while the violin and keyboards peek out, a graceful creature, Vibeke, recites dark words and emerges from the crystalline waters to give us a finale full of pathos and drama.

“Midwintertears” resumes the scheme and atmospheres of “Pale Enchantress” but with a more horrific and mystical outlook. The beautiful intimate interlude leaves Vibeke alone with just the accompaniment of the keyboards. Subsequently, the violin peeks in, and to give more emphasis to the song, a male narrating voice is added... but the apparent calm is broken in favor of something more distressing. “Angellore” is opened by a duet between nostalgic strings and the shrill laughter of a child. This piece stands apart from the other tracks on the platter, presenting a more flowing and rocking rhythm, akin to the songs of “Aegis” by Theatre Of Tragedy, released the same year, or even to pieces that will be performed by Sirena, the band founded by Morten Veland after leaving Tristania. It features a very catchy riff, which doesn't leave your mind. We also have the participation of Osten Bergoy and his clean voice. “My Lost Lenore” is another grand track; the keyboards create a soft and decadent melody, which will be revisited at the end imitating the sound of a Carillon. “Wassterland’s Caress” is the last true track of the album: claustrophobia and oppression prevail over all emotions, anticipating the path taken with the subsequent “Beyond The Veil”.

Finally, with its ecclesiastical bells and its choirs, “…Postludium” closes this wonderful album excellently.

“Angellore… revered of dusk/for thee I rose/ now descend… all alone/ rise for me… sothe my heart/so wide a sea/may I overcome… ”