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“Wild Honey” was
released in 1994. It was a gratifying record that had blossomed
into a gothic classic. However, I don’t find ‘gothic’ to be a
proper name because what we had there had more to do with a death
metal group ( starting from the mid-90’s ) whose music had evolved
into something darker, more atmospheric and full of depression. “A
Deeper Kind of Slumber” and “Skeleton Skeltron” got a heavier
rock-sounding character and “Judas Christ” just took a more direct
approach.
It’s a rumour that
“Prey” is the new “Wild Honey”. It immediately reminds me of the
sad thoughts of many musicians whose fans ( and the press ) want
them to make the same CD ten times over. Naturally, that’s not how
it works with real musicians. I would further suppose that “Prey”
is a synthesis of the four prior albums and, therefore, shows you
the natural evolution of Tiamat. “Prey” is a strong album that
contains more than just beautiful music.
The opening song,
“Cain”, is also the single: a delightful composition that, after a
few wavering guitar sounds, drapes the unsuspecting listener in a
wall-to-wall pumping sound. Edlund sings as if the spirit of Peter
Steele has taken control of him. The chorus is a bit lighter. You
find a kind of red string of subcutaneous threats that run through
all of the songs. “Wings of Heaven” is constructed around tender
and calm passages that the band invades in order to give the chorus
more shine. “Divided” has a gallant piano intro and is just like a
slow dance full of melancholy. It’s here where a female singer
suddenly jumps in ( gulp ), the same singer who takes credit for
singing the solo in “Carry Your Cross and I’ll Carry Mine”, while
Johan is limited to just the backing vocals. At the same time, I
find this to be too tame for Tiamat. It seems as though I’m
listening to Radio 2. Luckily, there’s a healthy counter balance in
the form of an exploding guitar solo in that same song and one can
quickly regain composure in the sturdy “Light in Extension”. “Prey”
starts off with the sounds of a pendulum clock and is a devoutly
sung track that slowly ascends towards heaven. It’s the element of
‘time’ that’s the limiting factor in this world!
Then we end up in
the “Garden of Heathen” ( do you have one of those? ) because, once
again, there are lots of short, atmospheric pieces. The guitar
solos are worthy of mentioning. Even though they are usually absent
from gothic music, it’s especially refreshing to hear them play
guitar like that. I find the last three songs purely sublime on
that point. “Clovenhoof” has a drawling yet sparkling character
from the open guitar sounds that then flow into a deformed solo.
Wonderful!
In the longer songs
such as “Nihil” and “The Pentagram” ( which is based on a poem by
Aleister Crowley ), one goes even deeper into the trials of life.
“The Pentagram” begins in a majestic Pink Floyd-style tradition:
keyboards with heavy guitar notes on top ( in the style of “Shine on
You Crazy Diamond” ) and recited news reports throughout. This is a
real party for those fans of far reaching atmospheric
entertainment. And one takes his time for a body-gripping solo. We
then come back down to earth with a deafening thud. “Prey” is our
representative of the invisible ladder between mortality and
eternity.
Edlund is an intelligent musician and a gifted composer. In a blink
of an eye, dare I say, go out and buy this beauty! I look forward
to the next Tiamat concert and all it’s new material. |
