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Tiamat In the caress of dreaming shadows seducing surrender to eternal sleep, Tiamat’s sound flows from the most enchanted waters of doom metal’s oceans, adopting the style’s crawl of despair in pace and tone, while injecting a celestial ambiance and mystical spirit through keyboards that haunt and tranquilize in parallel. Clouds offers an inner journey through the darkness of the spirit in search for ultimate Elysium. Tiamat songs are uncomplicated in their primary structure, relying on the stability of clearly defined verse/chorus arrangements, while weaving a ceremonial atmosphere through hovering keyboards, acoustic guitars, and transcendental guitar leads. Dense guitar riffs and powerful, elemental drum-work bring doom, using simplicity of execution as foundation over which obscure melodies stream in dark currents. Occasional increase in tempo occurs in some songs as sudden bursts of surging enthusiasm in reaching a destination, yet always brought back to the formally established rhythmic theme. "A Caress of
Stars Johan Edlund’s hoarse vocals, draped in weary desperation, lack a pleasing flavor in the traditional sense, even when considering the genre’s tradition in this area of sound, though his recognition of phrasal structure and spirited expression compensates. The strange manner of Edlund’s voice, along with the occultism at the core of the music, grant this work with an otherworldly dimension, the after-effect of which is unique in its quality of glowing darkness. The most sufficient evidence is presented in "Undressed", and "A Caress Of Stars", a cosmic escapade swathed in dreamworld ambiance, occupying the space between Celtic Frost and Pink Floyd. The band possess an uncanny ability to blend the psychedelic and the ominous within the framework of dark metal music, with moments during "The Scapegoat" and "Forever Burning Flames" showcasing this quality in exotic conception.
Exploring spiritual darkness through the lucidity of transcendental dreams, Clouds searches alternate measures of existence as an escape from the suffocating industrial construct of modernity which pollutes the spirit and shackles the mind. Through an experiential system of logic applied to the process of life, Tiamat succeeds in the temporary removal of the external world in favor of the heroic advance into inner dimensions that offer the discovery of true wisdom and mortal fearlessness. 4/19/06 Tracklsiting: 1. In A Dream Tiamat This disc documents a 1993 Tiamat live performance in Israel in support of Clouds. In all, five songs are delivered, three being from the band’s second album, The Astral Sleep, ("Ancient Entity", "Angels Far Beyond", and "Mountain Of Doom") and two from Clouds ("In A Dream" and "The Sleeping Beauty"). It’s a fairly standard set in terms of delivery and execution, yet the sound suffers from lack of clarity that interferes with the listening experience to the point that it is unnecessary to choose this version of the songs over their studio representations. Also, the brief duration of the performance calls into question the purpose of such a release. The recording fails to capture the alluring atmosphere of the band’s music, which misses the point of the entire experience of the band’s approach. The disc carries an appeal only to Tiamat enthusiasts, and even in this regard would only need to be heard once. It is a collector’s item at best, and does not serve the purpose of introducing or portraying the band in an appropriate light. 4/20/06 Tracklisting: 1. In A Dream Tiamat A landmark album in the evolution of Tiamat’s development, as well as atmospheric metal as a genre, Wildhoney opens doors into previously unexplored realms of ambiance in heavy metal music. Indeed, the album’s sequence of events reflects Tiamat’s departure from dark metal into pure ethereal, psychedelic, and gothic music that acts more as soundtrack to experience than traditional song-based approach. With this effort, the primary purpose of Tiamat becomes abundantly clear, as the disc flows in an uninterrupted stream of sound collages and atmospherics, adopting the approach to album construction formatted by progressive rock bands of the 1970s in which records were structured as an entire experience rather than a collection of individual songs. Tiamat aims to envelope the listener in dreamland atmosphere while manipulating emotional response and thought pattern. "As water
spins in circles twice Wildhoney’s first half displays the band’s dark metal foundation decorated with an array of sound effects mostly produced by keyboards, an instrument that has become of very high priority in Tiamat’s sound. Beautiful washes of serene keyboards, along with yearning guitar solos over a slow, patient and minimalist rhythmic foundation make "Gaia" one of the most gorgeous and moving compositions in the history of metal music. Angelic choirs haunt the rock-driven pace of "The Ar" while spaciousness of structure and tranquility of guitar melody provide "Visionaire" a vibrancy within dark expression the likes of which has never been achieved to this level by any band operating under the heavy metal label. "Whatever That Hurts" moves through brooding passages into powerful eruptions with a grace and intelligence of quite an astounding nature, and it is perhaps this particular track that best exemplifies the full spectrum of Tiamat’s approach. The album’s final half abandons the dark metal framework, drifting into acoustic guitars, ambient keyboards, and gentle singing. "Kaleidoscope" is a pensive acoustic instrumental with a backdrop of falling rain that bleeds into the acoustic etherealness of "Do You Dream Of Me?". Astral lead guitar guides the way towards an ocean of celestial keyboards in "Planets", creating an atmosphere of serenity and tranquil beauty. "A Pocket Size Sun" flows through hallucinatory passages of fragile guitars, slow percussion and Johan Edlund’s mellow singing accompanied by female vocals. The Pink Floyd inspirations of Tiamat rise highly through this part of the album, yet Tiamat inject their psychedelia with an experimental darkness and melancholy that reaches further into the woes of the spirit. "With a
solar knife I split the sky Wildhoney is an album unlike any before it in the realm of heavy metal. Never before has a band from the metal realm achieved such an overwhelming atmospheric presence through psychedelic darkness. The drift into mellow sounds towards the album’s end develops in a natural sequence, thematically logical through each movement, creating a dream-world melancholia and contemplative aura. With Wildhoney, Tiamat achieve their creative height and offer an abundance of inspiration towards atmospheric possibilities within heavy metal. 4/21/06 Tracklisting: 1. Wildhoney Tiamat Venturing further away from their dark metal origins, Tiamat explore the realms of dark electronica, trance, and new-age psychedelia within the framework of ambient rock. This revision in sound does not forsake the essence of Tiamat music, which is a manipulation of consciousness and intensification of awareness of emotional and mental sensitivity through structural intelligence and beautiful melody. However, Tiamat have become more experimental in the process of expression leading to increased usage of keyboards, electronic percussion, and spacious composition allowing atmosphere to sustain for extended durations within a given track. Each song becomes a miniature sequence in a journey through an elaborate dreamscape. "Now stones
are falling from my hands Apart from the uptempo surge of opener "Cold Seed" and moments within "Alteration X 10", all traces of metal are now absent from Tiamat’s approach. Tiamat create vast soundscapes that range from the emotionally disturbing to seas of tranquility, yet always with a flow of motion that gives the listener a sensation of awakening within dreams. The band possess an exceptional gift of intoxicating ambience in music, and A Deeper Kind Of Slumber is the ultimate realization of this ability, as it forms the core of every song. The entirety of the album flows as an inner voyage through otherworldly dimensions where darkness and serenity are one. The artistic sonority of this music reaches levels of spiritual euphoria, even in the darkest and strangest moments. Johan Edlund’s hoarse vocals are gone. In their place, he vocalizes in a nonpersonal tone of singing that manages to appropriately convey the feeling of a given song. His delivery is often cold and alien, which enhances the overall effect of "Teonanacatl", "The Whores Of Babylon", and provides a strange quality of passionate emptiness to the title track. Beautiful atmospheric keyboards and emotional lead guitars enrich "Atlantis As A Lover", "Phantasma De Luxe" and "Only In My Tears It Lasts", while barren landscapes and introspect make the ten-minute "Mount Marilyn"an exotic trip through inward corridors. Instrumentals "Trillion Zillion Centipedes", "Four Leary Biscuits" and "Kite" guide the listener through myriad sound collages, reflecting the effervescent sadness, abstract longing, and spiritual struggle of life. "What heals
our snowblind weary eyes A Deeper Kind Of Slumber is the soundtrack to rise within dreams in deep sleep, in the spell of seasonal mystery. It is easily the most experimental work of Tiamat’s career, and represents the band while enjoying their richest inspiration towards explorative art. This is a departure from heavy metal for Tiamat, a genre that the band had already successfully communicated atmospheric alteration of emotional, mental, and spiritual processes, and an immersion into contemplative ambience through trance-inducing approaches to musical expression. This is a masterful display of mood alteration through atmospheric music, and Tiamat’s final statement of essentiality. 4/22/06 Tracklisting: 1. Cold Seed Tiamat After two sensational albums during which Tiamat reinvented themselves through boldly experimental music that pioneered the incorporation of previously unexplored tactics of atmospheric expression in heavy metal, the band deliver a collection of songs that follow a simplistic, straightforward direction in structure and expression on Skeleton Skeletron. This is a popular path for a band to take following an exhaustive and adventurous release, and a path that, in theory, is not necessarily a negative one, though very often results in disappointing listening experiences for listeners who have grown to expect a certain courageousness from the artist. In such instances, the band’s ability to create compelling songs no matter what the format is ordinarily the deciding factor in success or failure, and in Tiamat’s case, this means mostly success, since band leader Johan Edlund possesses an undeniable gift for engaging songcraft, yet the overall result falls very far from Wildhoney and A Deeper Kind Of Slumber. At its very core, Skeleton Skeletron is essentially a goth-rock album. Indeed, the material on display reminds of Sisters Of Mercy and Fields Of The Nephilim, though Tiamat’s metal roots provide an immediacy beyond that of either band. Things are very song-based here, with no ambient soundscapes or trance-inducing shifts to be encountered. The individual song is king on this album, and Edlund’s talent as a composer is what ultimately fuels the disc throughout. Keyboards remain prominent in the sound, though their utilization has been minimized to serve as atmospheric enhancement of a song, never drifting off into new dimensions of sound exploration. Simple rhythms support each track, and guitars churn out rock riffs with just enough distortion to remind listeners of the band’s metal origins. Edlund’s vocals are brooding and alien, deeply sung in whispered/hoarse tones. Anything to be heard is there for the good of the song, and while this firmly establishes individuality of each track, the band’s transcendent quality of emotion and atmosphere is suppressed. "I can take
all your blasphemy There is a decidedly more urban feel to this new Tiamat. Even the lyrics represent a shift in thematic inspiration towards matters of a more modern interest. The astral dreaminess of the band’s past music is discarded in favor of a stripped-down, accessible format. A number of songs are uptempo rock tunes shrouded in gloomy darkness that is empty of the serious and penetrating quality of earlier material. "Brighter Than The Sun" and "As Long As You Are Mine" could even find an appropriate setting being aired overhead in a gothic nightclub. However, Tiamat have always excelled when they have allowed the melancholic atmospherics of their sound take over, and this is the reason that "Best Friend Money Can Buy", "To Have And Have Not", "Lucy" and opener "Church Of Tiamat" are the best moments of the album. Though the melancholy here finds a setting of empty nighttime streets in winter instead of twilight horizons or celestial dream-realms, the emotions nevertheless come through in effective form given the music’s relaxed nature. The instrumental "Diyala" is unnecessary given its brevity and unsubstantial theme, while the cover of Rolling Stones’ "Sympathy For The Devil" fits in comfortably with the album’s overall character and is one of the more unique takes on the tune one is likely to encounter.
While Skeleton Skeletron is a strong album for what it is trying to do, it simply cannot be mentioned as one of the band’s finest works. Wildhoney, A Deeper Kind Of Slumber, and even Clouds, offered ambitious music made by artists driven by passion to explore various dimensions of musical expression through the employment of ambient effects and emotional atmospheres. Skeleton Skeletron makes it difficult to maintain faith that Tiamat will ever reach for the same sonic stars ever again. Most of these songs are good, with only a couple of needless tracks, and perhaps two or three that can be placed among Tiamat’s most memorable, merely because through their streamlined design they manage to portray a vivid delight that has always been an essential aspect of Tiamat music. This album will almost certainly raise awareness to Tiamat’s music among mainstream circles, however, the majority of long time fans who have looked to the band for challenging and adventurous music will undoubtedly find the surface appeal of this direction disappointing and indolent. 4/25/06 Tracklisting: 1. Church of Tiamat Tiamat Judas Christ sees Tiamat in the heart of a creative depression, with not one hint that this once highly imaginative and artistically adventurous band will ever recover. The simplification of the band’s approach into gothic-rock that occurred on the previous Skeleton Skeletron release has been further reduced here. Yet, whereas Skeleton Skeletron managed to find some success in its form due to Johan Edlund’s songcrafting skill, Judas Christ suffers from a disturbing lack of worthwhile music. Out of thirteen tracks, there are perhaps two that could be considered decent Tiamat songs, and even they ("The Return Of The Son Of Nothing" and "Angel Holograms") are a far distance from the quality of the band’s past work, including Skeleton Skeletron. There is absolutely no soul or passion on this album, and these empty songs of mostly frivolous concern generate nothing in the way of feeling and atmosphere. Lurking deep within songs like "Fireflower" and "The Return Of The Son Of Nothing" are potentially engaging ideas that just never rise to the surface because of the restrained nature of the compositions. The album as a whole is vacant, a sad affair given the beauty of construction and sequence of superior works Wildhoney and A Deeper Kind Of Slumber. Tiamat seem completely unconcerned with that direction now, and are only too pleased to pump out mindless music with no emotional fabric or atmospheric texture to speak of. There is no contemplative component to the album, with only goofy lighthearted songs like "Heaven Of High" and "Too Far Gone" to offset the standard formula. "The truth’s
for sale for just one kiss Musically, this is gothic-tinged rock music very much in line with its predecessor, but with uninteresting songs driven by weak melodies and choruses, terrible lyrics, awful vocal phrases sung in an aloof tone, and a flat delivery from the entire band. Any creative energy the band maintained on the previous work is gone, and Tiamat now seem concerned with making simple music without spirit for mainstream consumption, dressed up with "dark" imagery to give off the impression that this still somehow connects the band with their past or with some sense of mystery. The truth is that Tiamat have begun self-destruction. This music has no backbone to support its place alongside the band’s discography. Only fans of "gothic" music such as Marilyn Manson or H.I.M. would find anything appealing about this garbage. The problem is not so much the musical direction Tiamat have taken as it is the manner in which it is delivered. There is a way to make this kind of music effective and mean something, but Tiamat have utterly failed to do this, by striving for wider acceptance instead of searching for truth. 4/27/06 Tracklisting: 1. The Return Of The Son Of
Nothing Tiamat Discography: Sumerian Cry
(Deadline, 1990) |
