Archive for Vampire

Italian vampire metal act Lord Vampyr signs to Crank Music and announce new album

Posted in News with tags , , , , , , , , on 9th June 2013 by Nico Solheim-Davidson

Italian gothic-vampire metal band Lord Vampyr – whom are fronted by former Theatres Des Vampires founding member and vocalist Alessandro Nunziat, better known by his stage name and pseudonym Lord Vampyr – recently signed to the Crank Music Group and are set to release their first album in three years. The album is titled Gothika Vampyrika Heretika and was recorded at KK Digital Recording Studio in Cosenza, Italy. The album art was made by Mathias Rat. Gothika Vampyrika Heretika, which is described as being a mixture of fear and sadness and a return to the first glories of Lord Vampyr’s productions, will be released later this year on 21st September.

Lord Vampyr online:

http://www.lordvampyr.net/
http://www.myspace.com/lvampyr/
http://www.reverbnation.com/lordvampyr

 

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Theatres Des Vampires @ Asylum [Live Review]

Posted in Live with tags , , , , , , , on 9th June 2011 by Nico Solheim-Davidson

Bands: Theatres Des Vampires
Location: Ayslum, Birmingham
Date: 29th May 2011

It had been a couple of years since the return of the vampyric Italian five piece. Theatres Des Vampire had returned to the UK, and with local legislation banning them from what is a ‘routine’ performance for them, (Lead singer Sonya Scarlet, cutting herself to freely let her fans drink in exchange for immortablity), maybe that was a good idea for the faint hearted! and with a few UK dates (Newcastle and Islington) under their belt there was only Birmingham left for the final leg of the Moonlight Waltz European Tour and eagar with new stuff from their debt album Moonlight Waltz they were sure to leave their mark!

The first song started off with “Keeper Of Secrets” and as each member slowly appeared onto the front on the stage wearing masks similar to John Carpet’s horror villian “Michael Myers”. They stood into positions to where Sonya Scarlet made her appearance from behind the stage covered from head to toe (including head dress) in black, glided across the stage until the guitar kicked in, removed her arms and attended to her microphone. The next song was Bring Me Back, a song off there 2007 live album Desire of Damnation. This saw Sonya going up to the audience and touching and stroking their heads. The removal of the masks started at the beginning of the song revealing band members Stephan Banfante, Fabian Varesi, Zimon Lijoi  and Gabriel Valerio, though Sonya kept most of the attention by twisting and swerving her body around, it would be very difficult not see the sex appeal especially after dressing down to some PVC bras and knickers, New Rocks, ripped tights with loose chains dangling from her body, it is amazing how comfortable Sonya was, especially with a male dominated audience.

The next two songs were off previous albums Suicide Vampire (Lilith Mater Inferorum) and Nightbreed of Macabria (Angel of Lust), before returning to Sangue a new song featuring on the new album, Sangue translate to the Italian word ‘blood’ so the chorus consisted of “Blut… Blood… Blood …. Blood” which got alot of the crowd singing along to and again Sonya returning to swirving her body. The next two songs that they performed were La Grand Guignol (Moonlight Waltz 2011) and Wherever You Are (Anima Noir 2008). The next song was ‘Rain’ which got a lot feedback from the audience and at the end of the song saw Sonya leave while the band continued to play “Dracula”. The return of Sonya to the stage saw her dressed in a  Medusa style of costume, as well as some more PVC bras (with straps across her stomach) and pants. This when we saw them perform another song “Medousa”, from their new album though once the song was done with and moved to the next.

The next two songs, Unspoken Words and The Gates of Hades, were a success with the audience singing along, though Blood Addiction seemed to be the best performance of the night. The song  began with Sonya encouraging the audience to clap along with Zimon Lijoi throwing his fist up in the air to the rhythm of the song, we seemed obliged to do so, as well as sing along. This is one of the few songs that that the audience could hear Stephan Banifante’s vocals and they sounded exactly as they do on each of the albums. During the instrumental part of this song, Sonya was seen retreating to the centre of the stage by the drums were she quickly returned, it appeared that she was choking on stage before spitting out a mouthful of fake blood, then covering herself with the remainders onto the audience while they cheered on in delight. There was a quick costume change again for Sonya into a long white dress. As Sonya continued to sing under a veil of white she soon discarded it just after the chorus and decided to come to one of the sides of the stage.

That was meant to be the Theatres Des Vampire set finished until one of the members of the audience decided to start singing La Danse Macabre du Vampire to which led the band to smile and continued performing this song as an encore, Sonya sang most of the song but when it chorus Sonya passed it down to sing to the audience which brought them to a Grand Finale in which to end their European Tour. It was a brilliant performance and one that will be remembered for a long time to come.

Danielle Eley

Theatres Des Vampires – Moonlight Waltz [2011]

Posted in CD, Metal with tags , , , , , , , , , , , , , , , , , , on 9th June 2011 by Nico Solheim-Davidson

Band: Theatres Des Vampires
Album: Moonlight Waltz
Release year: 2011
Genre: Gothic Metal/Vampire Metal

Italian Gothic Metal quintet “Theatres Des Vampires” are back with their newest studio release “Moonlight Waltz” which features an array of guests including Snowy Shaw [Therion], Cadaveria [Opera IX] and Marco Benevento [The Foreshadowing].

The eerie keyboard intro of “Keeper Of Secrets” begins the album, which is soon accompanied by Sonya’s vocals and a dark strings section. The track increases in pace and heaviness with the introduction of the guitars and drums. Sonya’s vocals sound very hypnotic and grim. Snowy’s vocals bring an extra touch of Gothic feeling to the track. The keyboard sections are brilliantly composed. This track certainly keeps the attention of the listener, making for an immense intro track. “Fly Away” is the second track of the album. The intro has a very symphonic metal sound, due to the combination of melodic guitar riffs and keyboards. As can be expected of any TDV track, the vocals bring a certain eeriness to the music. The keyboard sections bring a very dramatic sound to the track, whilst the guitar riffs keep the metal element of the track alive. The drums seem lighter compared to the previous track however.

The title track, “Moonlight Waltz” is next beginning with a soothing piano and strings introduction. When the vocals and drums occur, the track begins to sound like a ballad, adding a very unique touch to the album. The soft guitar riffs are beautifully composed, allowing this track to live up to it’s title. The acoustic guitar towards the end of the track brings it to a wonderful yet sorrowful finish. The fourth track, “Carmilla” takes its name from the short story of a lesbian vampire by the same name written by “Sheridan Le Fanu”. The first section of the track sounds epic and dramatic. The vocals add to the dramatic effect of the track, while the guitars keep a raw energy flowing through the track. The strings solo is unexpected but makes this track so much more enjoyable. This track has certainly added a new level of beauty to the already great story of Carmilla. Next is “Sangue”, beginning with a synth intro which is soon joined by an aggressive riff. The vocals sound very ghastly and the drums sound powerful. The male vocals add another element of aggression to the track, sounding almost like death metal grunts.

The cover of Mecano’s “Figlio della Luna”, follows after composed mainly of keyboards, strings and vocals. Sonya’s vocals sound amazing alongside the keyboards. The use of guitars and drums adds a very TDV sound to this cover. Next is “Black Madonna”, beginning with hypnotic, almost-siren like vocals and an acoustic riff. About half a minute in, the track turns heavier and more symphonic. The use of acoustic guitars is quite frequent throughout the track, making it one of the more lighter tracks of the album. The keyboard sections are outstanding. “Illusion” is next, with a simple yet beautiful keyboard intro. The keyboard medley turns more melodic when the drums begin to be played, which work well with the keyboard. The guitars soon make themselves heard, bringing a more rockier sound to the track. The guitar riff gradually becomes heavier for a while before stopping for a short break before returning with an epic solo.

“Le Grand Guignol” featuring Cadaveria is next already bring the level of heaviness up a notch. The use of screams improves the track, whilst the drum work is intelligently composed. There are some obvious industrial elements and influences which can be heard on this track, just like with some of the previous tracks. “Obsession” is next. The intro is very industrial sounding,. Like the intro, the vocals and drums have an industrial sound to them, which work strangely well with the string sections. There is a use of operatic styled vocals as well which makes the track more dramatic and intense. The only down side to this track is the lack of guitars. The second to last track, “The Gates Of Hades” is next, which like some of the previous tracks begins very eerily though the guitars soon remedy this alongside the string sections. There seems to be more emphasis on the keyboard medleys on this track, whilst not a bad thing, it may not be approved of by some. There is a slight use of Latin lyrics on this track as well, bringing a very Gothic atmosphere with them. The final track “Medousa” begins with a slight industrial sound, combined with some creepy whispered vocals. The guitars and keyboards can soon be heard. The guitars and drums are intelligently composed on this track, combining both heaviness and brilliant musicianship. There is a brutal use of double bass drums on the track, which makes it a perfect end to a brilliant album. The keyboard sections certainly bring a calm to the storm of metal that is heard on this final track, especially with the outro medley.

With a mixture of symphonic, Gothic and industrial elements, this is certainly a most enjoyable album. Everything seems to fit together so well and it’s good to see that Sonya’s vocals are still on top form. This is a must have album for old and new Theatres Des Vampires fans alike. One can only wonder how they will top this album.

4.5/5

Nico Davidson