Words by Samantha Wolstenholme
Love and loss – two universal themes with which every human being becomes intimately acquainted in this sometimes baffling, sometimes arduous, and often wondrous adventure that is life. And it is these two themes that most fittingly form the framework of ‘Tragedie D’amour’, the sumptuous sophomore album release from Sydney symphonic metallers Carmeria. In fact, there could not be a more apt thematic anchor for a gothic rock release as theatrical as this one. Three years after the release of their stunning debut album, the quintet dug deep both on a personal level and musically, pushing their creative limits to create a work that reflects their journey thus far while illustrating and marking their natural evolution. With vocalist/songwriter Jordan von Grae at the helm of the production ship this time around, ‘Tragedie D’amour’ promises a sonic experience in which music and matters of the heart are fundamentally intertwined. A tale as old as time, and for good reason too – nothing resonates more strongly than love songs.
After a brief orchestral fade-in intro, Call Forth My Sorrow kicks down the proverbial door with gloriously melodic power metal drama; layers of delicate orchestrations dart about like fireflies atop rollicking double kicks on the drums and pulsating guitar riffs. It’s Kamelot meets Nightwish with tinges of Children of Bodom in heavier sections, and the relentless shred duel between guitar and keytar partway through the song is impressive without diving too far into camp territory. Von Grae’s Roy Khan-esque vibrato-driven clean vocals are as shimmery as ever, and this time around he introduces us to his deep, unctuous growls that really pack a punch. A Thousand Winter Rains offers an earworm-worthy anthemic chorus that Carmeria have become known for, with achingly relatable sentiments – “I never thought I’d live to lose you / Now all I have are memories”. The addition of bassist Emma Louise Nagy’s angelic vocals provide extra sparkle in the mix, and the shredtastic guitar solo from Jerry Zahija is Steve Vai-worthy. The frequent time signature vacillations between a steady 4/4 and a more elegant waltz are a notable compositional feature of this track that is hugely effective.
Thorns is imbued with a bombastic, bright 80s metal flavour, like if Skid Row or Bon Jovi acquired classical sensibilities and keytar solos to rival their axemen. Leading the Lyre follows in much the same vein, with a synth-driven melodic hook intro that belongs on Eurovision and a chorus that is positively dripping with unashamedly campy, overblown passion – think Queen meets Evergrey. Whispers of Forgiveness is the first tearjerker of the album. This brief interlude track recalls Kamelot’s Epilogue as von Grae sings us to sleep in his sensuous tenor while gorgeous piano from Mishka Bobrov joins in to tug on our heartstrings.
The second act of the album begins decisively with Shadow’s Throne. A bold brass orchestral intro builds towards a dramatic guitar riff with a decidedly Phantom of the Opera-esque flair. Power metal verses and choruses evoke flavours of HIM and Iron Maiden; von Grae shows off a little grit in his vocal delivery here, and there’s another delicious guitar solo from Zahija. Album single Immortal is driven by a chorus melody that is so catchy it can hardly be legal, and thematically, it’s a true cornerstone of the album – “Immortal, my love for you / Immortal, the love I hold in my heart, it’s all for you”. If you ever find yourself in need of the perfect track to woo a fair maiden, this would be it.
Burning Ships offers a pleasant surprise as the only track on the album that is performed by Nagy on lead vocals, and she has a solid set of pipes on her, her husky mezzo-soprano tinged with a folky twang until it grows to a powerful belt in the climactic final chorus. The campfire acoustic guitar strums in the background of this track add an earthy shimmer also. Then it’s back to glam metal dressed in a gothic cape for The Hoping Heart. A plaintive piano and vocal intro paves the way for rhapsodic ballad A Vision in Passing to close out the album on a fittingly rapturous note.
Once upon a time, metal was a space only for the angry, disillusioned and anti-establishment misfits among us – it’s only been fairly recently that unbridled romantic sentiments have begun to bleed their way into the fabric of heavy music. And metal is all the better for it. ‘Tragedie D’amour’ is a deeply romantic, outrageously theatrical and remarkably virtuosic release that demonstrates the power of a strong melody to soften any hardened hearts (and kick off one hell of a karaoke session). Symphonic and gothic styles of metal are a tough gig in the isolated desert plains of Australia, and with ‘Tragedie D’amour’, Carmeria have crafted a vibrant sound that is screaming to be delivered from every stage on the European metal festival circuit. Here’s hoping this is the album that gets them there.
