Review Summary: So true to its origins that makes you wonder if it was released 20 years ago.
Fourth release by the Maltese doom/gothic act and the biggest praise the album can receive is that is sounds as if it was released in the period around mid ‘90s and early ‘00s. Granted, it’s an amalgam of various elements and successful clichés but Weeping Silence’s focus is on execution rather than innovation. The band has obviously studied, adored and been heavily influenced by well known acts such Theatre of Tragedy and Draconian mostly, and Tristania and Within Temptation on a lesser degree. Therefore, on
Opus IV Oblivion one will find beauty and the beast vocals, doomy guitars, use of piano, gloomy lyrics and tempo changes that vary from slow to moderate.
The outcome of all the above is a highly atmospheric LP that sounds bleak, melancholic and cinematic at times. Weeping Silence’s sound is so deeply rooted to that of Theatre of Tragedy, that
Opus IV Oblivion sounds like the missing link between
Velvet Darkness They Fear and
Aegis by the Norwegian giants. Nevertheless, the female vocals sound more dynamic rather than Liv Kristine’s ethereal approach with plenty operatic moments. That’s not to say that the vocals or the album as a whole even touches Theatre of Tragedy’s best moments but it’s not a cheap imitation by any means. Moreover, as with every ‘90s doom/gothic band, the guitar playing is directly influenced by Paradise Lost and specifically their
Draconian Times era.
However, there will be listeners that might find the album a relic of the past and lacking any significant progress, which is correct in principle. In addition,
Opus IV Oblivion would benefit from even heavier instrumentation and a complete lack of “poppy” elements. Specifically, the album’s ballad “Bury My Fairytale” sounds like a weak Within Temptation moment that’s targeting adolescent females.
In conclusion, fans of the aforementioned bands and those who adored them in the ‘90s are probably going to have a blast while listening to the album; and for a good reason as it is as solid as it comes with carefully structured songs, a plethora of catchy melodies both vocally and instrumentally and all those elements that made the mid ‘90s doom/gothic scene so special.
