Ashes

Editorial Reviews

All Music Guide - Eduardo Rivadavia
Much to the delight of their fans, Norway's Tristania continued to prosper after the departure of guiding songwriter Morten Veland, simply retooling the group's lineup and shifting creative responsibilities to show no obvious ill effects with their next effort, 2001's World of Glass. Then, following a troublingly long break from action, the group returned even more confidently with 2005's Ashes -- the first release for new label SPV. Quite simply a master class in goth metal 101, Ashes contains all of the requisite drama and mournful beauty of the genre, adds dueling, angular guitar riffs and sweeping synths, and then goes for broke thanks to Tristania's unique ...
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Editorial Reviews

All Music Guide - Eduardo Rivadavia
Much to the delight of their fans, Norway's Tristania continued to prosper after the departure of guiding songwriter Morten Veland, simply retooling the group's lineup and shifting creative responsibilities to show no obvious ill effects with their next effort, 2001's World of Glass. Then, following a troublingly long break from action, the group returned even more confidently with 2005's Ashes -- the first release for new label SPV. Quite simply a master class in goth metal 101, Ashes contains all of the requisite drama and mournful beauty of the genre, adds dueling, angular guitar riffs and sweeping synths, and then goes for broke thanks to Tristania's unique three-pronged vocal attack. This, for those who don't know, matches the sweet-singing Vibeke Stene with baritone Østen Bergoy and, for a truly unexpected, spine-tingling effect, the cookie-monster growls of Kjetil Ingebrethsen. Spun together, all of these elements result in often lengthy but always distinctive and immediate tunes like "Equilibrium," "The Wretched," and "Endogenisis," as well as a couple of nearly perfect goth metal creations both commercially viable and thoroughly metallic in "Libre" and "Shadowman." Slicing the album neatly in half, the evocative ballad "Cure" affords Stene a wonderful showcase on which to shine solo, and then segues nicely into one of the album's most brutal offerings, "Circus," completed by its eerie synthesizers and ghostly choral backdrops. In the end, if there's one major gripe to be had over Ashes, it's that it weighs in a little "light" at just seven songs and 43 minutes. But given the choice, most listeners would likely rather have focused restraint than diluted excess any day.
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Product Details

  • Release Date: 2/1/2005
  • Label: Steamhammer Us
  • UPC: 693723992020
  • Catalog Number: 99202
  • Sales rank: 161,917

Tracks

Disc 1
  1. 1 Libre (4:30)
  2. 2 Equilibrium (5:49)
  3. 3 The Wretched (7:00)
  4. 4 Cure (5:59)
  5. 5 Circus (5:09)
  6. 6 Shadowman (6:31)
  7. 7 Endogenisis (7:37)
  8. 8 Bird (5:09)
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Album Credits

Performance Credits
Tristania Primary Artist
Vibeke Stene Vocals, Group Member
Hans Josef Groh Cello
Kjetil Ingebrethsen Vocals
Kenneth Olsson Drums
Osten Bergoy Vocals
Anders Hoyvik Hidle Guitar
Einar Moen Synthesizer
Technical Credits
Morten Lund Mastering
Tristania Composer, Producer
Berge Finstad Producer, Engineer
Einar Moen Programming
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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Good, but takes a while to grow on you....

    Tristania changed their style of music on World of Glass slightly when Morten left, but Ashes sounds very different from even that. Ashes has a very raw feel to it, with no choirs, or orchestras. It has alot of acoustic sections and Vibeke has really tuned her voice down. Despite the huge changes, the ablum is still quite good. The chorus of The Wretched is very fun to sing along to, and Equilbrium has a very nice flowing feel. To me, the only bad track is Shadowman, which I find boring. But, beware, give this album a couple listens before you decide how you feel about it.

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  • Anonymous

    Posted October 1, 2010

    Not that good...comparatively

    Eek! I'm a pretty big fan of keyboard laden goth metal, so most of what I have to say about this albumn is just griping. The keys were pushed into the back, the vocals sounded too fuzzy (I guess he was cupping the mic, a big no-no), and some of there experimental stuff has already been experimented with, five to eight years ago. Smashing Pumpkins, Marilyn Manson, Dream Theatre are some names that come to mind (Not that I dislike any of the aforementioned groups). On the plus side, people who like generic new-rock styles, or background noise/sonic wallpaper kind of rock... they will probably be doing a little horizon broadening by this album. As a whole, the band gave a tight studio sound on this album...an improvement from World of Glass, but they have abandoned the original elegance of goth metal for the more flashy, complex, but less musically engaging riffs of newer rock bands. For fans of goth-metal, this album was a disappointment.

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