lukretion
Hailing from Milan, Italy, Macbeth are one of the dozen bands that in the second half of the 1990s found inspiration in the so called Norwegian gothic/doom metal sound heralded by acts like Theatre of Tragedy and Tristania. Released in 1998, their debut album Romantic Tragedy’s Crescendo is a relatively early example of this “beauty and the beast” aesthetic and ticks all the right boxes for fans of the genre.
The songwriting incorporates influences from doom, death/black metal, gothic and symphonic music. The songs’ duration is medium-long and their structure is complex, alternating fast-paced sections with slower atmospheric spells. The music centres on the interplay between ethereal female vocals and guttural growls, which is a trademark characteristic of this brand of gothic metal. The influence of Theatre of Tragedy looms large, especially in the vocal deliveries of singers Vittorio and Cristina, who often emulate the vocal styles of their respective Norwegian counterparts (feeble, soprano-like vocals for Cristina, cavernous growls and some half-spoken clean vocals for Vittorio). The blackened metal undertones and the reliance of slightly uptempo melodic numbers indicate that Tristania was another reference point for the album’s sound.
But Macbeth are not mere clone of the aforementioned bands. They also bring some fresh ideas to the table, particularly in the traditional heavy metal guitar work by lead guitarist and main songwriter Alex, and in the hyper-technical drumming of band leader Fabrizio. Listen for example to the blazing guitar solos in “Forever…” and “Sweet Endless Sleep”, or to the drum fireworks on “Black Heaven”. There are atypical elements for a traditional “beauty and the beast” band, whose instrumental work is usually more restrained and out of the limelight. Another aspect of this release that stands out relative to similar work in the genre is the heavy use of lush orchestrations and symphonic arrangements by keyboard player Andrea. The piano is instead used more sparingly compared to acts like Theatre of Tragedy, helping the band further differentiate themselves from the Norwegian genre-leaders.
The album flows away pleasantly enough and features a strong production, with excellent guitar and drum sound and clear separation between the instruments, which is remarkable for a new band on a relatively small budget. On a slightly less positive note, it should be said that the record does lack moments of epic greatness that remain seared in the listener’s psyche. The only track that stands out from the rest is the beautiful piano ballad “Moonlight Caress”, as it is the only one that showcases a truly inspired and memorable melody. The other tracks lack instead a strong melodic identity, which is particularly apparent if one focuses on the vocal parts.
Herein lies the other main pitfall of the record: Cristina’s vocals. Her delivery is pitchy and uncertain, especially when she uses her higher register. There are a few moments on the album where her performance is truly cringeworthy, like on the coda of “The Twilight Melancholy” or on “Black Heaven”. Vittorio’s growls, although a tad monotonous, are much more convincing. It does not surprise me, however, that the band decided to change both vocalists for their next release.
Despite these pitfalls, Romantic Tragedy’s Crescendo is a good example of the beauty and the beast sound that became so popular in Europe at the beginning of the new century. Although originality may not be the strongest suit here, Macbeth inject enough novels ideas into their sound to make things interesting for fans of the genre, to whom this album is lukewarmly recommended.