|Gothic Rock, Symphonic Gothic Metal
November 22nd, 2011
Release length: 55:58
The Quiet Resistance has a good production quality to it, which is expected for this style, as well as the label. The guitars feel more Rock oriented, having a little distortion but not too much, catering to a more accessible sound. The bass is there, but it rides the coat tails of the guitars and doesn’t really stand out as much as you would hope to make a stronger impact. The drums sound nice as well with a thick yet slight echo on the snares, a somewhat deeper thud to the bass kicks, and the cymbols are loud enough that you hear them easily without having to worry about the other instruments drowning them out. Vocally, the performance is actually quite enjoyable, energetic, and at times even very emotional with it’s clean singing that clearly stands out over the rest of the instruments. Right from the moment you tackle “Caught in the Middle,” this album really screams a high production quality that one would immediately notice as similar to the output of a more modern Alternative Rock band.
But, does that mean this album is just another Evanescence or even Lacuna Coil clone? Oh god yes, but the question immediately becomes whether or not the band actually does a good job of carbon copying another group. And with the introduction track. you’re expecting something completely different then what is offered. “The Quiet Resistance” starts up with whispered, somewhat intimidating male spoken words that feel so pointless. “I spill ice on the red dress. The Quiet Resistance,” doesn’t necessarily scream something you would expect a solid lyricist to write. This and the other line “I dug this hole in the backyard. The Quiet Resistance,” is continuously said with some Industrial-esque sounds layered over it to give off more of a male fronted Industrial influenced band. Instead, what we’re given when this pointless introduction is over is a very slow building chugging Gothic Rock sound with female clean singing vocals. With the obvious deception in place, the band takes forever for the song to pick up, and it only oes for the chorus, even after quite a dramatic, almost epic keyboard driven build up that is just used to usher in more of the same that came before it instead of opening the flood gates to catchier music like it does the second time. The false start is something you can look past if the band didn’t start the track off so bland and restrained that you’ll immediately lose interest.
But, in all honesty, that chorus is really well done with plenty of energy and a little extra emotion behind it that you wouldn’t really catch in a modern Rock output. And after this insanely rocky start, The Quiet Resistance does pick up some. But, at the same time, it doesn’t help the case against the band for lack of true originality. In fact, “Afterlife” is a solid song but anyone who has had to suffer through any Modern Rock radio station will immediately think the band swapped out an Evanescence or Hailstorm song with another song on this release. The track itself is not bad, moving more at a slower power ballad-esque pace for a Gothic Rock style, and the rather emotional vocal performance, one of the only genuinely unique traits of the group with this album honestly, does make for an enjoyable track that you wouldn’t really put past coming back to again at some point. The same can be said for “Whenever,” though the pattern of less impresses verses that go into a far more energetic, dynamic, and full of life chorus becomes pretty clear.
By the time you reach “High Enough”, The Quiet Resistance just becomes more of a challenge then a joy. This song has a momentary break of the bland verse then over-the-top emotional chorus with an energetic outburst featuring some male vocals for literally a few lines. It’s nice but it just comes out of nowhere. But, it does usher in some additional male vocals that come into play for “Say.” “It’s Over” finds more male vocal attention, but immediately the song starts with auto tuning on his voice that is absolutely pointless in the background and immediately makes this slightly different and enjoyable song one that will keep listeners on their toes with. It’s actually great to have more of a duet performance between the two instead of just the same stuff over and over again though, which is a good thing since it does randomly appear again for no reason towards the end of the song. But among some of the more enthusiastic songs like this, there’s also “Stay With Me” which really pushes that symphonic element of the band much further and creates a genuinely enjoyable, though still far from unique, track for the album that doesn’t follow the bland verse epic chorus concept. The entire song feels energetic and full of life from the very start, having a bit of a grand sense behind it with a commercial, accessible tinge to it that really makes an atmospheric sound to cut that actually becomes something worth checking out for fans of Gothic Rock or Metal. But, sadly, that’s about all that could be said in a positive manner aside the somewhat more emotional chorus singing that was pointing out earlier, though even that does start to get a little repetitive after a while. The only other change of pace to the album is “2012” which is actually an Industrial instrumental that winds up being enjoyable, but it’s downfall is that it doesn’t fit the album. At all. In any way. Though it does seem to fit the absolutely random Rammstein moment that kicks in with “Alleine” and actually becomes the most enjoyable track on the album and shows that the female Gothic Rock / Metal scene still has plenty of life left to it if these bands would quite trying to wear the skin of the bands that made the style so back in the early 2000’s. It’s just too bad they again use auto tuning, but this time on the female vocals causing them to sound so high pitched at times they could probably break glass if the volume is loud enough.
This album is Evanescence worship. Pure and simple. Nemesea are clearly feeding into the most generic, stereotypical female fronted Gothic Rock and Metal ideas to milk an already overcrowded sea of equally bland and uninspiring bands. It’s hard to say the music is bad, it’s just nothing unique or original. If you’ve never heard a female fronted band of this style before you’ll leave The Quiet Resistance feeling like you just heard something revolutionary, but in the end even one song by any bands mentioned in this review will have you screaming carbon copy plagiarism. It’s bland. It’s patterned. It’s boring. It’s a chore to listen to. It doesn’t even know what it wants to sound like by the time it’s done. It’s only enjoyable in the chorus but each one sounds exactly the same. It’s also one of the very few albums that actually made me jump out of my chair and legitimately scream “Oh fuck you!!!” at the top of my lungs while pointing directly at my laptop. If you buy into this generic commercialized Gothic Rock/Metal sound, then this album will not let you down. But if you’re tired of having the same thing shoved down your throat over and over, Nemesea‘s The Quiet Resistance is just not worth the time, frustration, or money.
01. The Quiet Resistance – 0:52
02. Caught in the Middle – 4:50
03. Afterlife – 3:12
04. Whenever – 3:31
05. If You Could – 3:54
06. High Enough – 4:13
07. Say – 4:05
08. It’s Over – 4:00
09. I Live – 4:31
10. Stay With Me – 3:49
11. Rush – 5:27
12. Release Me – 3:40
13. 2012 – 5:58
14. Allein – 3:58
|Overall Score: 2/10
Digital review copy of this release provided by Napalm Records.