Virgin Black describes the theme of Requiem – Mezzo Forte as revolving around the “dichotomy of tragedy and hope”. Grayh (a fitting name for a member of a Goth band) fills in on bass and rounds out the rhythm section with Dino Cielo. With a style of playing that comes across as poignant if not moving, she best exhibits her abilities throughout the extensive instrumental section gracing the incredible “Midnight’s Hymn”. It is as a soloist, however, that Samantha truly shines. Samantha Escarbe, who co-founded the group with Rowan, adds to the more portent aspects of Virgin Black’s sound with here driving and at times biting guitar riffs. The best thing to do (again, if want my advice) would be to approach things with an open mind and in the end you will be pleasantly surprised.įounding member Rowan London brings his clean, classic tenor lead vocal style to the project, occasionally mixing in an extreme element to his delivery (such as on “Domine”, the albums heaviest track, and the shadowy “In Death”).
The fact Virgin Black pulls this off flawlessly only serves to enhance the substance of the recording and will certainly help place it among the finer releases of the year. Without a doubt there is an ample amount of guitar here (just not as pronounced as on SR and EAD), but the band proves masterful in mixing the metal elements of its sound with the previously noted classical instrumentation and operatic female vocals- two things which are not always associated with the metal genre. The best advice I might give anyone prior to listening to Requiem – Mezzo Forte for the first time would be to drop the idea that metal is only based upon the heaviness of the guitar. Third, you will find a plentiful amount of soprano – at times operatic – female vocals (contributed by Susan Johnson) imbuing the project as well, an effect which enhances without becoming a detracting factor. Second, Virgin Black, in turn, places less emphasis on extreme vocals (something which comes as a welcome relief). The Adelaide Symphony Orchestra, it must be noted, participated in the recording of the album. First, Requiem – Mezzo Forte is not quite as heavy as SR and EAD, but in no way is that a bad thing because Virgin Black places added emphasis on classical instrumentation. Do not get me wrong, Virgin Black does not stray from the somber Goth influenced sounds of its past efforts- they simply approach things from a different standpoint. Nevertheless, if you were expecting the band to deliver an offering akin to Sombre Romantic or Elegant… And Dying you might be, well, a bit disappointed in that there are differences here. So how does Requiem – Mezzo Forte measure up when compared to Virgin Black’s back catalog? Quite well, as a matter of fact. Actually, the album is part of the “Requiem” trilogy (with Mezzo-Forte, ironically, being the second of the three but the first released) that also includes the classical influenced Requiem Pianissimo, part one, and the third of the series, Requiem – Fortissimo, a heavier doom-influenced outing that still maintains the bands classical sensibilities.
After sitting on the sidelines the better part of the past three years, Virgin Black returns in 2007 with its latest offering, Requiem – Mezzo Forte.
Virgin black requiem pianissimo review full#
The bands two full length recordings that followed, Sombre Romantic from 2001 and the hauntingly entitled 2003 effort Elegant… And Dying, were both critically acclaimed pieces showcasing a Gothic and doom-like sound combining clean, tenor male vocals with the occasional death metal-like growl. Australia’s Virgin Black has been around since the mid-nineties, introducing its unique brand of “orchestral Goth metal” on the self-financed and self-titled demo it put out in 1995 in addition to the three song EP, Trance, it released three years later.
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