God has a plan for us all
Six feet under´s not deep enough
Deity of disgust
Suicide on my mind
Do you see me now
Hell hath no fury like a woman scorned
Confide in me
That´s what the wise lady said
Jezebel Deva : vocals/lyrics
|ANGTORIA: "God has a plan for us all" angtoria listenable|
review by Marco "Norman Knight" Signore____
is a new band formed up last year but whose roots lie back in 2002 into
an idea of Sarah Jezebel Deva (vocals) and Chris Rehn (guitars,
keyboards). Strong with their previous musical experiences, the duo
decided to invest in this project and created a band with the addition
of Tommy Rehn (guitars, keyboards), Dave Pybus (bass) and John
Henriksson (drums). Their debut album, “God has a plan for us all”,
reveals gloomy atmospheres, extremely well rendered with the enchanting
vocal talents of Sarah, and well played by the whole band. Let’s see
what Angtoria is cooking for us.
many (too many...) albums nowadays, even this one begins with an intro.
Fortunately enough, we have here a good piece of symphonic music that
naturally blends with the following track. Violins relentlessly march
over a carpet of drums, cymbals and keyboards, creating a sort of
staircase that carries us (with male bass voices) towards an almost epic
climax and a thunder – but a moment of brief peace, then “I’m
Calling” begins, with synth arpeggios, a never too present guitar, and
good rhythmic section. The voice of Sarah of course is master of the
scene here, enchanting the listener with her spellbinding presence. The
song itself is a piece about the fantasies of a young person, and her
world of dreams.
title-track of this album is instead more upsetting, opening with bass
piano and ominous choral voices. The lyrics merciless denounce the
hypocrisy of “holy” people abusing children (in this way recalling
that 80’s masterpiece by Alphaville, “Big in Japan”) and the
hapless religious reply to any accident of life which is always the
same...”God has a Plan for us all”. This track is evil to the bones,
with the bass often doubled by the piano, easy but evocative arpeggios,
and vocals and choirs – beautiful in its nightmarish presence.
a way even sadder is the following “Suicide on my mind”. Here the
music contrasts with the lyrics that tell us of the suicide plans of a
girl. Again the piano and the keyboards are the main elements of the
song, together with the beautiful voice of Sarah, and they spin the
final tale of a person who lost her will to live.
move then to “Deity of Disgust”, which somehow talks about that kind
of feelings someone feels for two persons at one time – that is almost
invariably considered betrayal, a sort of crime you cannot confess
because your “indecision” (actually your passion) will not allow you
to decide a single choice. Maybe the most “metal” song in the album,
acid, sharp, cutting, drilling in our ears with an Eastern-like riff,
and the openings for the vocals remembering prog metal bands such as
Symphony X, with the refrain almost a cry of anguish for what you feel
inside and cannot confess. Beautiful indeed.
comments about the following track, “The Addiction”, concern the
fact that the lyrics were written for a person for which she fell in
love several years ago; thus they reflect the sadness and the feeling of
impotence everyone who has been in a similar situation has experienced.
Here the music begins with something that almost recalls the soundtracks
of some fantasy videogames (such as Heroes of Might and Magic V) and
contrasts a lot with the lyrics, being epic and letting you imagining a
fantasy landscape (or is it me? It may be...), but then it evolves in a
sweet love song. Very well conceived, very well played.
remorseless and ferocious are the lyrics for the next song, whose title
is almost self-explanatory: “Six fett under’s not deep enough”. A
song written against a person (Sarah does not reveals who he/she may
be). “I’ll dance on your grave until my feet bleed” will tell you
everything about this song. Again the music is epic, soundtrack-style,
and the guitar this time marks the tempo with heavy riffs counterpointed
by evanescent violin inserts. The tune changes in the vocals, especially
the bridge, again recall us a prog metal song, and the beautiful voice
(I’ll never say it enough) of Sarah almost make us forget the lyrics
of the refrain as it enthralls us, charming as never before.
you see me now” follows in the album, a song about persons who are not
accepted for what they are, and thus feel themselves out of place and
become able to harm themselves. Chorused piano and synth intro the song
with a very well played drums track and nervous violins hitting octaves
over maybe too modern-sounding percussions. This song manages to convey
the message of anguish expressed in the lyrics indeed.
sin” opens with another soundtrack-like intro (which is VERY
reminiscent of the opening titles score from Chocolate Factory of last
winter). But them the similarities end as the vocals of Sarah and of the
guest Aaron Stainthorpe (My Dying Bride) tell the tale of the Original
Sin viewed from the female point of view – the lust of Adam caused the
fall of Eve from Heaven (guess about the snake...). Cruel and powerful
is this song, exceptional in its orchestral progression with piano
arpeggios creating a carpet for the vocals inserts.
Hath No Fury Like A Woman Scorned” is the next track, again with that
kind of sound that seems to be the mark of this Angtoria band:
soundtrack. Sarah writes about the lyrics here that they have been
written with her birthmother in mind, and a lot of things seem to be
unspoken in both the music and lyrics of this song. Again the evoking
voice of Sarah takes the spotlights in this track, while the musical
work create a good framework for the Voice (with a capital V...).
A note of optimistic and happy
ending is in the following piece “Confide in me”. And very sweet and
moving is the music that carries us on its wings the lyrics – although
the guitar is a bit too “heavy” in this song. But the lead
instrument here is again the voice of Sarah, especially in the chorus.
Another piece of the past life
of our beloved Jezebel Deva appears in the last track of the album,
“that’s what the wise lady said”, a song about Sara’s godmother
who raised her and made her becoming the splendid singer who’s now
(and we all thank her for this!). Moving to the tears is the sound of
piano, flowing caressing every word sung by Sarah, a song heavily on the
melancholic side but well... beautiful to tears, indeed.
What could I say about this
album? First the bad things * and I must warn you: this is my very
personal idea! *
The music and the lyrics are
not well matched. What do I mean? That the music is too epic and
soundtrack-style and the lyrics contrast too much. I expected dark tales
of norse epic, or gothic legends of great men fallen, of great women
saving themselves from a terrible fate. Epic, legends, this is what the
Lyrics are instead very
personal and very different from what the music lets you expect.
This however is the only flaw
in the debut album of Angtoria.
|Marco Signore 17.08.2006|
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