“The Last Dance” is based on huge dynamics, swinging majestically between pop-tinged verses with tastefully autotuned vocals, an ultra-heavy and dissonant bridge with double-tracked growls, and a melancholic chorus where Riikka Hatakka’s subdued vocals truly shine. The next two tracks are even more interesting. The interplay between growls, male cleans, and female cleans is very entertaining, each vocal style adding its own different shade to the composition. The title-track branches out towards sonorities that remind me of Amorphis in the late 1990s, rich in folk and psychedelic undertones and with big, ear-worming melodies at the heart of the song. Neither Moth Nor Rust is no exception in this sense, and finds Hanging Garden gently experimenting with new influences, while at the same time retaining their identity as melodic doom/death band. As such, the new EP makes for an interesting complement to the Finns’ 2021 album, although one that would probably mostly appeal to fans of the band rather than newcomers.ĮPs often give artists freedom to explore more diverse and adventurous landscapes that may be instead sacrificed in full-length releases, where sonic coherence is often a priority. Music-wise, it feels a lot like an appendix to Skeleton Lake, albeit with more freedom to explore sonic spaces that were perhaps left somewhat in the background in the full-length release. It contains six tracks for a total duration just above 25 minutes. I really liked that album, so I did not hesitate to give a spin to this new opus, an EP titled Neither Moth Nor Rust. I was surprised to see a new Hanging Garden’s album popping up in the list of promos, given that the Finnish melodic doomsters have released their 7th full-length album Skeleton Lake only a few months ago. Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching Sub-genre collaborators (shared with Symphonic Metal): In the US, however, only a few bands such as Lacuna Coil, Evanescence have found commercial success. In the 21st century, gothic metal has moved towards the mainstream in Europe, particularly in Finland where groups such as The 69 Eyes, Entwine, HIM, Lullacry, Poisonblack and Sentenced have released hit singles or chart-topping albums. By the end of the decade, a symphonic metal variant of gothic metal had been developed by Tristania and Within Temptation. During the mid-1990s, Moonspell, Theatres des Vampires and Cradle of Filth brought the gothic approach to black metal. Norwegian band Theatre of Tragedy developed the "beauty and the beast" aesthetic of combining aggressive male vocals with clean female vocals, a contrast that has since been adopted by many gothic metal groups. Other pioneers from the first half of the 1990s include Type O Negative from the United States, Tiamat from Sweden, and The Gathering from the Netherlands. Pioneers of gothic metal include Paradise Lost, Theater Of Tragedy, The 3rd And The Mortal. Lyrics are generally melodramatic and mournful with inspiration from gothic fiction as well as personal experiences. The music of gothic metal is diverse with bands known to adopt the gothic approach to different styles of heavy metal music. The genre originated during the early 1990s in Europe as an outgrowth of death/doom, a fusion of death metal and doom metal. Gothic metal combines the aggression of heavy metal with the dark melancholy of gothic rock. Gothic metal or goth metal is a subgenre of heavy metal music.
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