Vera : Tilo Wolff has always been a busy fellow, that no one could lead by the nose. When he noticed some interest for the music he released on tape ('Clamor' - 1990), he grounded his own label, called Hall Of Sermon. That made him sure there would be no claims to change anything when he came up with his artistic creations. This music was dark and melancholic, filled with classical elements and the lyrics were of a poetic nature. From 1994 on, Anne Nurmi is the permanent muse and only constant assistant of Tilo Wolff in Lacrimosa.
During the last years, the success of this exceptional band has took a huge flight. Since their collaboration with the famous London Symphony Orchestra, chart success in Germany and sold-out tours in Europe, Middle- and South America this expansion is even immense. The rise of the gothic scene was a positive thing for them and their fifteenth anniversary in 2005 is graced with the release of their ninth studio album 'Lichtgestallt'.
Of course you have to love the style to like it, for Lacrimosa has little metal elements, it sounds very grave and gloomy and in a song like 'Hohelied Der Liebe' a feeling creeps upon me that this must be culture with a capital C. Obviously because of the use of orchestral instrumentation (and lyrics from the Bible) and when a voluminous choir joins, one would speak of huge bombast. After seven minutes we have an outburst of guitars gradating into a guitar solo, but the usual tendency is calm, introvert music. Concerning texture this closing track of the album has a lot in common with 'Sapphire', the opener of the CD. As well an extended track that starts symphonic and contemplative, after a few minutes comes a noise-explosion with heavy guitars and distorted vocals, to return afterwards to the primary serenity with its ever theatrical character.
What can we find in between these two long epics on 'Lichtgestalt'? The single 'Kelch Der Liebe' for instance, which is a real love song and Lacrimosa will probably storm the German charts with it again. The impetuous 'Lichtgestalt' with a conspicuous rhythmic piano and a vivid mood. 'Nachtschatten' contrasts very much with it. Here reigns stodgy violin strikes, fagot, hobo, solemn chants and more of this dignified stuff. The hectic 'My Last Goodbye' fails in charming me till the end. Tilo as well as Anne wants to rule vocally, but it turns out bad. Are there some more positive points? Yes indeed. 'The Party Is Over' is my favourite track of the album. The with cigarettes and liquor steeped voice of Leonard Cohen has its German reincarnation right now. First we got a version with guitar, at the end of the album there is a version with piano. So graceful! The only track left to mention is the rocking 'Letzte Ausfahrt: Leben', which in contrary with its obscure title and theatrical vocals, is vivid and fast.
For the fans this is a meritorious Lacrimosa album again. Like always, the band leaves me with miscellaneous feelings. But do not be hold back by this to visit one of their concerts in our areas, because in the beginning of June they will be in the neighbourhood and it will be a special experience.