Very very good! Amazing!

Elegant, Excellent...and Dying

Continuing the discussion from the Sombre Romantic thread...

Written by X-Ray Rod on 21.09.2022 at 21:30

"A Poet's Tears Of Porcelain" in particular is a perfect way into their next work for its grand, "epic", feeling is the main basis for "Elegant... And Dying" as a whole. In particular the soaring guitars and gorgeous melodies.

The erratic, near schizophrenic, aspect of the debut is fairly gone though. The Sophomore album is, like I said, fairly epic in its structure with very long songs and a lot of classical elements. Would even call it "progressive". Other adjective would be "ritualistic" as the religious themes are more upfront. I really enjoy the riffs on it though as Samantha became more inventive (The last two songs are God-tier on that album). One thing that always improved was Rowan's vocals. At the time of Sombre Romantic's release he was just beginning his professional training if I recall correctly and you can clearly hear his progress on every album! His clean vocals still have that "about to break" mad undertone. His screams are less insane but more painful and depressive.

You were totally right, man! This is an epic masterpiece! Different, but fantastic like the debut. I find it incredible how an Australian vocalist can pull off these operatic vocals that sound like a monk recanting Latin lamentations. Add to that beautiful piano playing, cello, choirs, and the occasional mesmerizing riffing and you get exactly the type of gothic metal that I want!

I also find it awesome that all the band members are part of the choir!

You're right about those sweet guitar solos being the icing on the cake for the last two songs. A great way to end an entrancing journey.

The song that stood out to me the most is "The Everlasting": a 20-minute song that flows so well and has such captivating musicianship that I didn't even realise 20 whole minutes had already passed the first time I listened to it. The song has absolutely phenomenal diverse vocals throughout and even a section that's straight up black metal riffing!

Written by F3ynman on 24.09.2022 at 19:14
You were totally right, man! This is an epic masterpiece! Different, but fantastic like the debut. I find it incredible how an Australian vocalist can pull off these operatic vocals that sound like a monk recanting Latin lamentations. Add to that beautiful piano playing, cello, choirs, and the occasional mesmerizing riffing and you get exactly the type of gothic metal that I want!

Happy that you loved it as much as I did! I do understand those who may have problems with the large shift in structure and tone but I think they pulled it off and kept enough elements from the debut. And yes, Rowan's vocals are unreal. I think one of the moments that most shocked me on this album is on Velvet Tongue at the 2:10 mark and onward. He sounds like a distraught mad monk, indeed.
"Look at my face! Look at God in my EEEEEEEYEEEEEESSSS!!!".

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I also find it awesome that all the band members are part of the choir!

Wait till you hear the Death choir (sounds exactly as it reads).

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You're right about those sweet guitar solos being the icing on the cake for the last two songs. A great way to end an entrancing journey.

Yeah, I tend to repeat those two songs (plus "Velvet Tongue") a lot when I play the album. "Beloved" is deliciously doomy and tragic.
And the last cry at the end of "Our Wings Are Burning" is simply *chef's kiss*.

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The song that stood out to me the most is "The Everlasting": a 20-minute song that flows so well and has such captivating musicianship that I didn't even realise 20 whole minutes had already passed the first time I listened to it. The song has absolutely phenomenal diverse vocals throughout and even a section that's straight up black metal riffing!

"The Everlasting" was one of the first really long songs I listened to while I was a teenager (Along with Opeth's "Black Rose Immortal"). I took my a long time to get into it and somehow I still find it hard to grasp. It might be because of how surprisingly unnerving it gets in the beginning with 3 minutes of really slow strings, piano and creepy whispers. But then it gets all bombastic all of a sudden with Rowan giving his all at 5:30 mark before returning to that disturbing piano once again. It is quite the ride!

The middle portion of the album (Renaissance, The Everlasting and Cult Of Crucifixion) are a tough cookie to crack. Those songs have the most out-there influences and off-beat structures. But I think the band's sense of experimentation from the debut worked in their favour. The album seems to be heavily carried by Rowan's vocals making the album seem like a true, highly dramatic, theatrical piece. Also credits to the drumming as well. It's easy to forget how imposing it is, specially in that middle section.