Gathering, The - 2012 Disclosure

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ARTIST: Gathering, The
ALBUM: Disclosure
LABEL: Psychonaut Records
SERIAL: PSYN0016
YEAR: 2012

COUNTRY OF ORIGIN: image

LINEUP: Silje Wergeland - vocals * Rene Rutten - guitars, theremin, backing vocals * Hans Rutten - drums, backing vocals * Frank Boeijen - keyboards, (backing) vocals * Marjolein Kooijman - bass, backing vocals

TRACK LISTING: 01 Paper Waves * 02 Meltdown * 03 Paralyzed * 04 Heroes For Ghosts * 05 Gemini I * 06 Missing Seasons * 07 I Can See Four Miles * 08 Gemini II

RATING: image

WEBLINKS: Site Link

Background

After going through finding their niche all over again after losing their iconic singer, Anneke van Giersbergen, it is worth hearing what the band came up with, with wings fully spread, and Norwegian vocalist Silje Wergeland fully integrated into the music.

The Songs

'Paper Waves' is surely the biggest hit the band have come up with in recent years - driving, infectious and compelling, with a great groove and impactful songwriting.

'Meltdown' is a perfect blend of slick coolness and emotional landscapes - the whisper vocals, duetting perspective in the verses and the great, great trumpet that catches you completely by surprise.

'Paralyzed' is evidence of their genre blending, as it goes from post rock to trip hop to pop in just a few minutes, but the big strength of this album is that a piece that stays in one place for its entire duration, such as 'Missing Seasons', is equally as strong as 'Paralyze'.

The remaining four songs, however, have an element of tangible nostalgia to them - 'Gemini I' and 'Gemini II' reference the band's groundbreaking duo of 'In Motion 1' and 'In Motion II' on their seminal 'Mandylion' album.

'I Can See Four Miles' with 'Heroes For Ghosts' demonstrate what happens when The Gathering of 2012 dedicate themselves to proving their craft in a slightly longer format - the former in their 'new', alternative rock style, and the latter being a total throwback to the era of insecure youthfulness paired with big ideas and passionate interpretations that marked their 'gothic' period.

In Summary

What many reviewers have missed out on when it comes to this album is its feminine sensibility.

I certainly do not mean that men cannot listen to this album, but within it is a certain female presence and experience that we have often missed in metal - most of our songstresses are cleverly reduced (and sometimes self-reduced) to roles of seductresses and enchantresses.

While some fantasy role-play is all fine and dandy - after all, most of male presence in metal is reduced to conveying a fantasy as well - humanity does not come embedded within those roles, and The Gathering offers it in spades, on this album more than any other that came before it.


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