(Symphonic Gothic Metal / Dark Metal) Angeldark - Angelique - 2008, APE (image+.cue+scans) lossless

ANGELDARK was born in 2007, when members of The Stormrider decide to start a new dark/melodic metal oriented project, based on full creative independence. Their first full-length, Angélique (Montsacrum Media, 2008), is an ambitious conceptual album which builds bridges between modern avant-garde metal and the musical romanticism of the 18th-19th centuries. Produced by Santi Fano, the album features the Bratislava Symphony Orchestra and Choir and was mastered by George Marino (‘Seventh Son of a Seventh Son’, ‘Master of Puppets’, ‘X&Y’, ‘Metropolis Pt 2: Scenes From a Memory’, ...) y UE Nastasi (‘In Requiem’, ‘Once Was Not’, ‘One Nation Underground’ ...) at Sterling Sound, New York.
http://www.angeldarkweb.com/
http://www.myspace.com/angeldarkband

Written by Perplexed_Sjel on November 8th, 2008
An experience like no other, Angeldark are a new band on the scene in Spain. This effort, ‘Angélique’, is a superb debut due to it’s unique approach to a genre hybrid I’ve never had much interest in (and thus limited experience with), gothic music mixed with a supreme symphonic metal art. In the past, I have stated on several occasions that I dislike the majority of symphonic music that I’ve come across however, on this occasion, I have managed to successfully find something that suits my expanding needs. Since about two months ago, I have had the urge to explore the various metal genres and sub-genres alike, trying to find the best each style has to offer and that’s where Angeldark come in, with this immense blend of interesting styles, from an electronic based gothic style (displayed perfectly in songs like ‘Saint-Germain (The Man Who Killed Death) Pt. 1‘), to a piano drive symphonic style. There isn’t just one interesting factor on this record and no overriding element that takes control of the mixture, which is what aspects like the guitars, or even vocals usually do, but the experimental bliss that is conceived through ‘Angélique’ is exceptional. Although the monotonous lead guitar can fail to stand out sometimes, and a lack of bass doesn’t do the record any good, there are enough redeeming qualities to allow this record to be perceived well, especially or a debut full-length.
‘Angélique’, as stated, is a highly experimental piece, taking influence from various places, making this a very unique effort and thankfully, doesn’t lead to confusion in terms of desired affects or origins of the music. There is a clear direction and the best possible routes to that direction are taken, through the use of inspired pianos and violins, as well as other elements of instrumentation. The production is clean, much like the vast majority of the instrumentation. Of course, every good gothic record hands it’s audience a section or two of distortion in the form of creative, diverse and innovative guitars, as well as harsh vocals, which seemingly take influence from outside factors, like death metal. The vocal efforts range so much that there are clean, harsh and even soprano vocals added into the mix, these add a different light to the music as the soundscapes tend to be quite varied anyway. Both male and female vocals are used, which probably isn’t surprising on a record of this nature as most gothic bands tend to do the same. Although I wouldn’t necessarily consider them typical of death metal, I would say they still add the same emotional attachments that death metal vocals usually add. That edge, that power and that infamous sense of aggression that is unsurpassed by most other genres and sub-genres. Thankfully, the harsh vocals are only used sparingly and sparsely. This allows the music to evolve nicely and allows a more diverse song writing style to come through.
Songs like ‘Saint-Germain (The Man Who Killed Death) Pt. 1‘ perfectly show this with it’s varied used of harsh vocals, limited aggression and perfected avant-gardé nature which is even contributed to by the Bratislava Symphony Orchestra Choir of The City of Bratislava. The record, in general, is a reflection of how mature the musicians are. Their style is superb. Each musician, of which there are four, all add their own creative touches to the record. From the electronic based keyboards, that often alter to change the mood of the record, which varies from stage to stage during each and every song. The keyboards, which also produce the piano like sounds are astounding. As well as the vocals, the guitar provides the main source of distortion. There are two guitarists, which is a wise move by Angeldark. One controls the main solos and the other controls the main distorted riffs, though they do come together as one although the second guitarist offers a far more diverse approach than the first, who does much of the ground work as there doesn‘t appear to be a bassist. Do Angeldark suffer from this? Perhaps a little. The emotive aspects of this record don‘t tend to lie in human emotions like sorrow, so it doesn‘t matter all too much. These intertwining aspects of instrumentation make Angeldark appear even more experimental. Varied soundscapes, varied vocals and varied approach play make this interesting if nothing else. Worth while checking out, for sure.

Santi Fano: Vocals & guitars
Marcos Cuadrado: Guitars
Anita Jones: Keyboards
José Ornia: Drums