Interlude‘s audio disc contained a few new songs, new mixes of classic songs, some covers, and a bunch of live tracks respectively. “Breathe On Me” is more the traditional Gothic Rock track, but it’s handled with a great deal of passion and a beautiful atmosphere. The music has a nice heaviness to it, and, of course, the beautiful vocals of Charlotte Wessels really helps it stand out among the many others in the female fronted Gothic Rock/Metal field like usual, this time capturing a love filled aura that works perfectly with the lyrical content of the song. This is one of the most powerful performances, and will have listener anxious for the next Delain album, whenever that will be. “Collars and Suits,” however, takes a Symphonic Gothic Metal approach, being a lot heavier, though still a moving performance overall. Another catchy track, this one hits hardest during the build up to, and including the chorus, the latter of which will have you bobbing your head right along to it.
However, none of these compare to “Are You Done with Me (New Single Mix).” This new version exemplifies the beauty and passion of Delain perfectly, showcasing a truly moving song about dealing with moving on after someone you love up and leaves you behind. The symphonics that exist help to make things a lot grander and memorable, casting a shadow over the original track, which was already a fantastic song. Then there’s the even more powerful anthem “We Are the Others (New Ballad Version),” all about being proud to be the outcast, the underdog, just you being you in any way that violates the norm. This rendition isn’t any better than the original, but it definitely hits you in a completely differenty manner thanks to the slight echo on the drums, and the focus on the keyboards, especially when the children’s choir kicks in to push this ballad over the top.
As far as the covers go, they don’t really stick out like the Delain originals do, but they’re still solid performances either way. “Cordell,” a Cranberries cover, is a slower paced acoustic performance that shows a subtle amount of beauty in the vocals against more of Folk Rock-esque song. Then there’s the Bronski Beat cover “Smalltown Boy,” which captures the spirit of the original well with a slightly heavier edge, though more in the catchier chorus than the main verses and bridges. The latter can find some stronger symphonics at play as well, keeping the song interesting amid it’s simpler lyrical structure and performance.
The rest of Interlude‘s audio disc is a collection of six live tracks. The audio to these clearly comes from the sound board, capturing both the band perfectly, as well as the crowd’s reaction, making the performances a lot more interesting to hear. “Get the Devil out of Me (Live)” does stick out a little more though, and that’s due to how impressive the twisted conclusion translate to the stage. “Mother Machine (Live),” sadly, isn’t the most impressive of the live songs, but it does whip the crowd into a frenzy none the less.
The audio portion of Interlude is simply phenomenal. Not only do you get such strong, moving new material and mixes, but you get what one can assume to be an entire festival live performance on this disc as well. The only forseeable gripe is that the DVD, for some reason, is cut short one track from the set. But, if you’re a fan of Delain, or just of moving music in general, Interlude is shaping up to be one hell of a compilation that you simply must own.