ReVamp: ReVamp

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ReVamp: ReVamp
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ReVamp: Wild Card
Symphonic Gothic Metal
Nuclear Blast Records
July 27th, 2010
Release length: 51:48
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ReVamp is another female fronted Gothic Metal band that is based out of the Netherlands, but with a slight twist. Not only does the band bring in a Symphonic element, which helps to distinguish the band a little more from the many generic straight forward Gothic Rock/Metal acts flooding the market since Evanescence hit the top radio charts, but ReVamp is to the Gothic Metal scene as Nightwish is to the Symphonic/Operatic style, but tack on the theatrical operatic approach Therion produces, and you have the general idea of how this act will sound. Blending in fantastic deep and dark music with a beautiful operatic vocal style, and some guest male vocalists for added emphasis.

First of all, for the most part, ReVamp is solely a female fronted act. Three of the songs feature male guest vocalists, and they do a spectacular job, as well as fit into the atmosphere of the tracks very well. George Oosthoek appears on the track “Here’s My Hell” near the end, and his forceful vocal approach aids to make this song sound even more darker then it originally was. Next is a vocal contribution from Russell Allen, again, near the end of the song, but his voice works so well with the less dark, yet more powerful stereotypical love song. If it weren’t for this duet, then song really wouldn’t stand out as much as it does, sadly. Of course, Björn Strid also makes an appearance on “In Sickness ‘Till Death do Us Part 2 – Disdain”, but this time starting off the track and adding to the generally heavy edge of the song, which happens to bring in a heavy Melodic Death Metal approach to the music, blended with a Gothic Metal approach for the chorus that sounds simply fantastic, making for one of the more important tracks on the release that pushes ReVamp as an entirely different entity in the Gothic Metal realm, even if some of Björn’s performance sounds monotone outside of the more powerful screams.

But, out of those three songs, the track “Sweet Curse” really does shine through as generic, aided by the guest vocals and overall performance. While the album starts off genuinely original with a very dark atmosphere, the album does seem to shift gears rather quickly to a more standard Gothic Metal act with symphonics added in the background for added ambience, which does work and save some of the tracks. “Million”, for example, is nothing all that great a track to begin with, and if it weren’t for the ambience brought on by the keyboards, which gets really repetitive and annoying everywhere but the chorus, and the operatic vocals, this song would really not stand out that much. Of course, the opening track “Here’s My Hell” is a whirlwind of finely crafted stand out metal for this genre, leaving the listener wishing that this overly dark approach would continue throughout.

The “In Sickness ‘Till Death Do Us” little mini-saga sounds great. The only problem lies in the track “Break”, which comes off like a stronger generic track and doesn’t really seem to do much for the tracks. None of these songs really capture the darkened sound that kicked the album off, but feature a fantastic performance, musically and vocally, with an overall solemn atmosphere with a fantastic heavier Melodic Death Metal edge to “Part 2 – Disdain”, as outlined above. Outside that, there’s still some other tracks that stand out nicely on here, such as “Kill Me With Silence”, which is just a hard hitting song that brings in a beautiful intensity, as well as perhaps the most impressive non-operatic vocal performance on the entire record, leaving the listener with a very positive lasting impression of this band. Of course, this is somewhat countered with the generic sounding “Fast Forward”, which features a more Hard Rock vocal performance against the more common mainstream sounding music that just has a slightly heavier kick then what you would hear on the radio. And, just like with “In Sickness ‘Till Death Do Us Part 2 – Disdain”, the music does seem to change again, and brings in a slightly folksy sound to the music, which sounds rather nice again the vocal performance that is portrayed, though the operatic section that appears sounds a little rough due to how low in the mix it is, as well as the distortion utilized.

Really, the album winds up working hand and hand, having some fantastic tracks that really stand out and have a powerful performance, as well as some standard tracks that, given some of the impressive tracks on here, come off solely as filler material. When it comes to the more unique songs on the record, ReVamp shows a great deal of promise, and has some fantastic tracks that will have the listener crawling back for more. However, sometimes the music can become rather bland, as well as has the strength to become mildly irritating thanks to certain effects utilized through the keyboards. Hopefully, this band will continue to grow and mature towards it’s more unique offering, and stray farther away from the stereotypical filler material that happens on this album. It may not be small, but it really manages to dwarf the jaw dropping talent that ReVamp displays on this self-title debut release.

01. Here’s My Hell – 5:12
02. Head Up High – 3:32
03. Sweet Curse – 4:16
04. Million – 4:20
05. In Sickness ‘Till Death do Us Part – All Goodbyes Are Said – 3:32
06. Break – 4:06
07. In Sickness ‘Till Death Do Us Part 2 – Disdain – 3:32
08. In Sickness ‘Till Death Do Us Part 3 – Disgraced – 3:28
09. Kill Me With Silence – 3:56
10. Fast Forward – 3:57
11. The Trial of Monsters – 4:20
12. Under My Skin – 4:07
13. I Lost Myself – 3:30
Initial Pressing Score: 7.5/10

ReVamp (band)
ReVamp

Digital review copy of this release provided by Nuclear Blast Records.