|
|
||||||||||||
|
||
|
It is often taken as fact that whenever a band switches singers, that it will lose something in the transition. That it will not sound as good as before. Flowing Tears has proved with their new release, Razorbliss that there are exceptions to every rule, and they are one of them. When it was announced in early ’03 that singer Stefanie Duchene had left the band for personal reasons, it was the second singer that Flowing Tears had gone through at that point, the first being guitarist Benjamin Buss, who sang lead vocals on their very first album Swansongs. Stefanie had been the voice of the band from ’97 onward, and as with any other band that announces a change in vocals, there was speculation and uncertainty as to how the future of Flowing Tears would sound. A few months later it was announced that one Helen Vogt would be the new voice of Flowing Tears, and promptly thereafter a show for a summer festival in Europe followed. There was also a concert towards the end of that year in England, but for the most part not very many people had heard the band with Helen. The March 22nd release of Razorbliss would change all that.  For those who were Flowing Tears fans from before, they were used to the overall sound being the slow, hypnotic darkness that is likened to bands such as Lacuna Coil. Razorbliss has taken that sound, given it a kick in the pants, and a new chapter of the Flowing Tears saga has officially opened. The songs are not only catchier, but they are considerably faster as well. They have not strayed completely from the rhythmic enchantment of past works, but needless to say, this album is much more capable of keeping your attention throughout than the older albums. If you have never heard older Flowing Tears album, the songs have a capability to blend into one another and at some point (if you’re not completely focusing on the music) can keep you from identifying one from the other. Not that this is to say, by any means, that their music is boring or repetitive. There is a skill to crafting songs that can accompany one another into woven pattern that holds the listener in such a way. However, it seems that the goal of Razorbliss is quite different from this.
The opening track (which is also the title track) begins in a light fade-in, but doesn’t stay that way for long as the drums and keyboard kick in, and then Helen’s voice. Think the deep pitch of Stefanie, but much more trained. Dare I say even better? Slow, sensual, yet able to keep up with the tempo that the band provides. A blistering guitar solo in the middle, more of Helen’s mesmerizing lyrics, and the song wraps it up in a little more than 3 ½ minutes. A radical departure from the 12-minute epics of the past. “Believe”, the second track, also keeps true to this new rule of dreamy keyboards, faster guitars, and the welcoming vocals of Helen. This also features a sort of duet between Helen’s soft voice, and Benjamin’s more aggressive vocals. Those who are fans of the new-goth template of male-female duet/dueling will most certainly enjoy this song. The dictionary describes “Virago” as a “bold, quarrelsome woman”. So needless to say, when the song titles were listed on the band’s website, the song with this title was the one I was most curious about. Another fade intro, this time guitar, and then some eerie-sounding keyboard work. Gentle vocals by Helen at first accompanied by some simple drum work, then some whispers by Helen that become more forceful as the song goes on. Another nice guitar solo layered over the keyboard parts. A quiet break in the middle with just the drums and soft keyboards, then kicking back in to the foundational sound before the end. “Undying”, the fourth track, is one of the songs that really grabbed me. Velvety singing by Helen in the beginning with simple keyboards and drums in the back. The chorus is simple and sweet, but one of those ones that stick in your head long after you have listened to it. I like the keyboards in this song, reminds me of a dripping faucet or something similar. The fifth track, “Radium Angel” also features some strong guitar riffs, and to me is most reminiscent of the older sound. Sounds like something that could have easily been on Serpentine. A little techno influence there but hardly enough to cover up the so-far rock-dominant sound of the album. “Firedream” starts off as one of those dark keyboard intros, but soon wipes that clean with a kicking guitar/drum combo that paves the way for Helen’s assertive vocals. There is one of those “Helen-bots” in the part before the chorus, and though I’m normally not fond of technical voice tweaking, it seems fitting for this song. Nonetheless I think the song still could have been as great without it. Some of Helen’s best vocals on this song is in the way she sings “see me flying, see me dying” (?) (Author’s note: I don’t have the lyrics to this album so if anyone has the proper verse feel free to give me a figurative whack on the head and proceed to correct me!)
“Ballad of a Lonely God” is reminiscent to me of the song “Comalies” by Lacuna Coil, in the slow start with the keyboards, and similar sound of the drums and guitar. But that only lasts for a brief moment, until Helen starts singing. Some goth-esque chants throughout the song and more whispers from Helen, partnered with the gloomy keyboard sounds. Definitely the most gothic of all the songs and will secure their place among fans as a gothic band.
Track eight, “Snakes of Grey”, gives a bit of a Middle-Eastern/Indian feel with the intro. Slow and deliberate in the beginning, then the chorus brings the song to life, showing how Helen can be soothing and placid at one moment, firm and self-confident in the next. Tight guitar work in the middle, proves that Flowing Tears is a band and not just a group of musicians with a female singer---they are all the sum of their parts and show you as much. “Mine is the Ocean”…definitely the most catchy song on this CD! This is one of the songs that just grabbed me and stayed in my mind long after the initial listen. Futuristic-sounding keyboards and layered vocals by Helen in the chorus (meaning she does her own background vocals!). Guitars and drums continue to showcase the heaviness of the band as on all the other songs. Another blistering solo, some whispering by Helen before coming back around again to the memorable chorus and end. The next song, “Maladine”, has a nice groove to it that gives way to Helen’s magnetic vocals, providing chilling keyboards and crunchy guitars. Some more of the Indian/Middle-Eastern sound with the guitar part in the middle (could be a sitar, not really sure). Were it not for that part the song would not be as unforgettable, which is good because it ends shortly after. The keyboard parts on track eleven, “Unspoken” are somewhat similar to that on “Virago”. A bit of a fast-paced beat and Helen singing softly in the beginning. The chorus is not that impressive, and the last two songs start to make you aware that the album is winding down. Not that either of these songs are bad, but they do begin trailing off from the up-tempo songs of the first half of the album. Still, this song does not lack in impressive keyboards and a nice drum part towards the end of the song. The twelfth and final song, “Pitch Black Water”, is true to its title and is likely the darkest song on the album. A fitting closer to a body of work that was predominantly upbeat. I especially like the drum work on this song. “See how I dive in your water”, Helen sings in a most shadowy way. In the middle is a moving guitar solo, probably the most passionate of all the solos. Equally zealous vocals by Helen in the chorus towards the end before the song drifts off into two keyboard sounds: one crackling and the other lilting before giving its prominent end.
Overall opinion: This is Flowing Tears’ best album yet. They took the potential that they had with Serpentine, ran with it, made a kick-ass album and now have the ability to be one of the best female-fronted bands around. It seems like it took them a long time to find their sound, each album presented those gems that made you stick with them because you knew they had it, but until now have not really polished it enough to present you with an album that could confirm this with emphasis. They have found their niche with Helen and if she is as good with the new songs in a live show she will probably bring a kick to the older songs that’s never been heard before. If you have never listened to Flowing Tears or are only vaguely aware of them, this is an album to finally get you acquainted. I have no intention of taking anything away from the greatness of their older works by praising this album so highly, but it seems to me they have worked in the lab long enough trying to find the right formula, and with Razorbliss they have found it. May this CD be only the beginning of more rocking albums with this line-up! Reviewer: C.
|
||
