Band:
Sonya Scarlet – vocals
Zimon Lijoi – bass
Gabriel Valerio – drums
Discography:
Vampyrìsme, Nècrophilie, Nècrosadisme, Nècrophagie (1996)
The Vampire Chronicles (1999)
Bloody Lunatic Asylum (2001)
Suicide Vampire (2002)
Nightbreed of Macabria (2004)
Pleasure and Pain (2005)
Anima Noir (2008)
Moonlight Waltz (2011)
Candyland (2016)
Guests:
Info:
Composed, produced, mixed and mastered by Riccardo Studer at Time Collapse Recording Studio, Rome
Released 2021-11-19
Reviewed 2022-02-20
Links:
youtube
scarlet records
It is fairly typical gothic metal, female fronted where Sonya Scarlet moans and sounds most things bar terrific. There are some choirs and male vocals there to widen the scope as well. It seems overall like a varied album but the tracks kind of melt together into a batter of eggs, flour, fried beaver, and discarded vacuum cleaner bags – it sounds like the musical equivalent of that, closest description I can think of anyway. The production is with that in regard pretty poor, many bands in the gothic style succeed more in that department and sounds better. The playing time seems fairly long as well and the note of the quintessential modern vampire manifesto seems a bit exaggerated by the label, it is impossible that there aren’t better bands doing vampire stuff out there.
There is probably a higher likelihood that we discover intelligent alien life out there in space during my lifetime than anyone really liking this album, it is poor. Sure, it doesn’t make you vomit and can seem acceptable for that reason, but you only need to let it spin another time to realise that it is poor. The previous effort was better, it wasn’t a masterpiece either, so I would say that this far there is no reason whatsoever to check out Theatres des Vampires.
I wonder how Scarlet was thinking, why was this even released? Did anyone involved really think it was good? I can’t see that anyone did, but maybe me and the other reviewers that gave low ratings to this album have it wrong and it is in fact decent. I wouldn’t think so as you have to be open to some kind of self-torture to find this album worth listening to. In the end I can’t help thinking how this album stole a spot from something with a lot more potential, both as a release and my time spent on listening to it for this review. In Nomine Sunguinis is a total waste of time.
HHHHHHH