Tristania have been top of my Darkwave Goth tree for a long time. Their songs are immense. The atmosphere can be light, more usually dark, but also beautiful and spine-chilling. Tracks like “Equilibrium” on “Ashes” (2005) and the track title of “World of Glass” (2001), in which we’re chasing scary monsters, hypnotise and haunt me. Catchy harmonies and melodies vie with a quirky darkness and menace.
“Rubicon” starts on the right note, suggesting that all is still well. Multi-layered and multi-coloured, the opening track “Year of the Rat” is as light as air but as ever, oozes authority. The patter of the drum provides the backbone. Entrancing keyboards mix with sublime vocals in a pop framework but none of this prevents the darkness from creeping in. What’s interesting is that the band has undergone numerous line-up changes but it’s still recognisably Tristania. What comes across is that there’s no dominant force to upset the balance. In many bands it would be the angelic female vocalist who would be at the forefront, but here there’s a harsh and clean male vocalist as well. The rhythms are too strong and colourful to let the vocals take over in any case. Evidently the new members have brought in new levels of creativity, but the idea remains the same: to create technically adept, interesting and catchy songs. “Patriot Games” challenges the norm, if there is such a thing. A rumbustuous beat matches a catchy chorus which is shared amongst the members. It’s as smooth as silk. The electric violin comes in to give it a sinister edge. What we get on “Rubicon” is track after track of haunting power. “The Passing” has huge emotion. Strong guitar work supports the hypnotic tone of the vocalist. The climaxing chorus sends a shiver up my spine. “Exil” is another big song. It’s heavy but measured in tempo, a masterclass of vocal fusion and tight control.
Each track weaves its magic, but none on this album does so more than “Sirens”. This song is amazing. There’s a sinister and creepy progression. It starts with a deep voice and deep rhythm, but really captures the attention with its flow and hooky simplicity. Floaty female vocals intervene. This is not all. As I listened, I realised that one of the new members is Kjetil Nordhus, the lead singer of the sadly inactive Green Carnation. “Sirens” combines Tristania’s own rich qualities with the alternative quirkiness of their fellow Norwegians. What a combination! A great strength of both is the ability to conjure up ordinary images but make them strangely evocative and eerie. Kjetil informs us “Outside my window they walk in a line, asking no questions and reading no signs”. Who are “they”? What does it mean? It’s all here – the strings, the timing, the catchiness, the perfect contrast of the male and female vocals, and those dark lyrics. The idea of insecurity and fear is captured in a truly memorable track.
“Desperation has turned people into vultures”, we’re told on “Vulture”. This time it’s harsher but mixed with an acoustic-style ringing rhythm. We swing from the sad strains of the violin on the deeply atmospheric “Amnesia” to the more upbeat and colourful chorus of “Magical Fix”, itself mixed with deeply spoken verse, growls and blasting drums. The final song “Illumination” could be described as typically classic but oddball. It’s a rousing, mid-paced track but as everything with Tristania, it has an uncomfortable edge. Female vocals precede a heartfelt, but powerfully sinister song. There are delicate interludes but it’s also like something between a traditional Norwegian folk song and a call to battle.
“Rubicon” is Tristania’s best work yet. Its smooth tempo and rampant imagination will ensure I will continue to listen to it. It’s a pleasure to share their mysterious world. From now on, I shall be watching for “them” walking in a line outside my window. I have been waned. I think I’m becoming as twisted as they are. Thank you for a magnificent album, Tristania.
http://www.tristania.com
http://www.myspace.com/tristania
http://www.napalmrecords.com
