Die Verbannten Kinder Eva's


Die Verbannten Kinder Eva's

Die Verbannten Kinder Eva's - Die Verbannten Kinder Eva's ©1995 General Inquisitor's Torquemad's Releases
1. Einleitung
2. The Serpent's Voice
3. Darkened Skies
4. Quod Olim Erat
5. Beneath The Veil Of The Ocean
6. Requiem
7. May No Tears Stain This Holy Ground
8. The Messenger
9. Futile Belief
10. Refexion Beyond Boundries
11. Craving Dreams
12. Shadowvale
13. Withering Existence
14. Das Letzte Kapitel

Every so often I come across an album that absolutely stuns me. Die Verbannten Kinder Eva's is apparently a side project of Summoning from Austria, but only shares the general atmosphere in common. Rather, leader Richard Lederer pursues an ambient, neo-classical strand of music that is reminiscient of goth-era Controlled Bleeding in vocals and In the Nursery's similar neo-classical bent. In the days that I have had this album, it has been a constant item on my CD player, transporting me to a tranquil and somber world of funeral-esque ambience and peace. With all the music composed and created on keyboards, one might fear the "Casio" effect, but there is none of that here. This album is a fully realized piece with a lush, full sound that pulls the listener through the entire composition without adhering to time. The hour this CD takes is ephemeral. For anyone who is looking for a serene but haunting ambient experience, Die Verbannten Kinder Eva's is absolutely recommended.

Review by John Chedsey

Review date: 10/1999

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In Darkness Let Me Dwell

Die Verbannten Kinder Eva's - In Darkness Let Me Dwell ©1999 Napalm Records
1. Intro
2. Brief Even As Bright
3. On A Faded Violet
4. Overpast
5. Cease Sorrows Now
6. In Darkness Let Me Dwell
7. Shall I Strive?
8. Arise From Dreams Of Thee
9. From Silent Night

Die Verbannten Kinder Evas (The Banished Children of Eve) have been classed by some as a darkwave band, and while the description is sufficient, nevertheless I think that label is a little conservative. To me, they may be best described as a synthesis of classical music, Dead Can Dance, and the more synth-laden Projekt artists.

In Darkness Let Me Dwell opens with keyboard-generated cellos playing short, two-note phrases over a drone, bass drums hammering a ponderously slow ostinato pulse. Woodwinds enter, playing the leading melody in triple meter and completing the polyphony. A crescendoing militaristic snare drum begins "Brief Even as Bright." Horns enter, and Richard Lederer sings his tenor lines, with soprano Tania Borsky coming in afterwards, heavy layering giving her voice a subtly homophonic effect. After that, they sing in unison in a style reminiscent of late-medieval polyphony. "On a Faded Violet" commences with a drone that turns out to be the accompaniment to a gorgeous, sorrowful string melody and thundering classical bass percussion. Male and female voices dance here as well. On "Overpast," vocal melodies are layered such that they begin as monophony before divorcing sinuously into an imitative polyphonic texture. Keyboard staccatos resonate over synth-generated drums and drone. On "Cease Sorrows Now" Richard Lederer sounds uncannily like Brendan Perry of Dead Can Dance fame, and violins play vibrant triplets over, once again, reverberating drums and drone. "Shall I Strive?" sounds more like what one would expect from Black Tape from a Blue Girl and like-minded artists, a piano playing the leading melody and giving the song a more "darkwave" feel, if you will. "Arise from Dreams of Thee" is a much quieter, statelier piece that consists of a female voice over an organ continuo, surrounded at the extremities by passages featuring male singing and horns. The final song, "From Silent Night," features a harpsichord basso continuo that evolves into the leading melody as the music develops. This particular piece reminds me of a Renaissance opera, circa 1600-1650, if one disregards the bass percussion and female soprano, of course.

The lyrics here are meticulously written, often paying careful heed to traditional English metrical and rhythmic patterns, two things that many latter-day poets seem to have forgotten. What the hell am I talking about? Well, the second verse to "In Darkness Let Me Dwell" is written in iambic trimeter, while the first few lines of the third verse to "Brief Even as Bright" are written in dactylic dimeters - exciting, I know. As for the subject matter, the lyrics are very despondent, filled with pathos and melancholy. Basically, they're of the "life sucks, I'm going to die" variety. As one would expect, the music is slow and melancholic, with a touch of the majestic emerging once in awhile. Because the instruments are keyboard-generated, and the music heavily layered, In Darkness Let Me Dwell does not have the organic feel of authentic classical instruments - rather unfortuate in my opinion, hence the "darkwave" comparison I suppose. But enough of this music theory lecture, my review is done. Now, be a good lad or lass and buy this album immediately.

Review by Jeffrey Shyu

Review date: 04/2000

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