lukretion
Theatre of Tragedy are a band I have a lot of respect for. They kickstarted the whole female-fronted doom/gothic metal scene with their 1995, self-titled debut album. They followed that up one year later with Velvet Darkness They Fear, which is perhaps the quintessential “beauty and the beast” album of the period, laying the blueprints of this specific brand of gothic metal for countless bands to follow. And, no doubt, many bands did follow, as the late 1990s saw an explosion of albums owing more than one debt to Theatre of Tragedy’s early catalogue. Commercially, the sensible thing to do for the band would have been to keep milking the same cow by releasing one or two more albums in the style of the self-title debut and Velvet Darkness They Fear. Instead, in 1998 the band released Aégis, dropping almost altogether the doom influences and the cavernous death growls of their previous albums, and veering instead towards a more energetic and accessible form of gothic metal that is closer to the 1980s darkwave and goth rock scene than the doom/death metal scene that the band came out of.
It’s a bold change, but not one that was totally unforeseeable. Already Velvet Darkness They Fear contained a couple of tracks, most noticeably the groovy “Der Tanz der Schatten”, that had a more marked gothic flavor. These influences are greatly magnified on Aégis. The guitar work, in particular, is very different from the death/doom sound of the band’s earlier albums. The change was probably facilitated by the departure of guitarist and founding member Tommy Lindal, who is here replaced by Frank Claussen and Tommy Olsson. Olsson in particular was likely a big influence on the band’s new sound direction, as he was previously the guitarist of Norwegian gothic rock band The Morendoes. However, the guitars on Aégis are heavier than what one would find on a typical gothic rock album, although they do have that downstroke, palm-muted chugging playing style that is typical of the genre. Clean arpeggios and effects are also used frequently, in stark contrast with the doomy, long-winding riffing style of the earlier albums.
Also differently from previous albums, Aégis presents a mixture of energetic up-tempo tracks as well as more subdued mid-tempos and ballads, but it almost always escapes the sluggish slowness of doom metal (“Siren” is perhaps the only track that gets closer to the band’s earlier doomy style). The drums are groovy and tight and, combined with pulsating bass lines, frequently conjure up the feel of late nights in dark goth clubs (“Lorelei”, “Aoede”, “Poppea”). The use of keyboards has also changed. On Aégis the clean guitars play the part that on earlier albums was reserved to the piano. Indeed, the piano is much less prominent here, as Lorentz Aspen more frequently uses synths and samplers instead.
The song structure is also leaner and more direct compared to the band’s previous two records, with abundant repetitions of the choruses and fewer middle-eights and instrumental detours. The vocal arrangements are also quite different. The dualism between Raymond Rohonyi and Liv Kristine Espenæs is still present. However, Raymond almost completely abandoned his cavernous growling style, embracing instead the spoken/crooning style he had already experimented with in some of the songs of Velvet Darkness They Fear. The growls only feature briefly on a handful of tracks (“Angélique”, “Venus” and “Bacchante”). Most of the time, Raymond resorts to a low-register, half-sung/half-spoken singing style that accompanies quite well the high-pitched vocals of Liv Kristine Espenæs. Her singing style is also somewhat different from previous albums, as she substituted her ethereal operatic style with a warmer and poppier approach. These changes, combined with the leaner and more energetic musical approach and simplified song structures, make the music much more accessible and agreeable, turning tracks like “Cassandra”, “Venus” and “Poppea” into irresistible gothic hits.
The album flows well from start to finish and it has a cohesive atmosphere that is dark and dramatic without being excessively morose and oppressive. A few songs stand out from the rest because they have particularly strong melodic hooks. The single “Cassandra” is one of those. Raymond’s vocal performance is top-notch as he manages to give the song a groovy, memorable chorus. Liv’s interjection in the second half of the song acts as perfect complement to Raymond’s dark crooning, showcasing the strengths of the new vocal approach. “Lorelei” is another memorable piece, moving between floor-dance gothic grooves, spoken vocal parts and ethereal female singing. “Aoede” and “Poppea” are two other groovy goth pieces, while “Venus” stands out for Liv’s beautiful vocal melodies and the lyrics in Latin. “Bacchante” is also worth mentioning as it is a slightly more experimental track than the rest, showcasing some vaguely industrial influences that foretell the imminent turn the band will take on their next album, the shockingly electrogoth / industrial Musique.
Overall, Aégis is a thoroughly enjoyable gothic metal album that is often regarded one of the best records released by Theatre of Tragedy. Personally, I believe their previous album, Velvet Darkness They Fear, is the true apex of the band’s catalogue, but Aégis comes close second. Groovy, energetic, and catchy, it presents a natural evolution of the band’s sound that is here perfectly suspended between the doom/death of the origins and the electrogoth of the next two albums, Musique and Assembly. Bursting with strong tracks and memorable hooks, the album is a treasure-trove of delights for those who like their metal dark, groovy and laced with fishnets and leather.