Theatre of Tragedy
„Assembly“
Electro, Synth, Industrial Rock. 

• CD, Digipack
• Remaster, Reissue
• 2020
• AFM Records
• AFM 738-9
• used

Here I am reviewing the limited digipack released by AFM Records in 2020, which also includes a booklet.
In 2002, the Norwegian band continued the stylistic direction they had forged with "Musique" with the release of "Assembly." After the significantly more electronic "Musique" was poorly received by both critics and (old) fans, the reviews for the electro-metal album "Assembly" were more favorable. Liv Kristine even suggested in an interview that if "Assembly" had been released before "Musique," the transition would have been less jarring. However, this album also fell short of expectations. Personally, I appreciate every style of Theatre of Tragedy, and especially the vocal range of Liv Kristine on "Musique" and "Assembly." Here, she sings not in her usual soprano, but an octave lower. Liv wrote all the lyrics (except for "You Keep Me Hanging On").

Of course, the band isn't just Liv Kristine, but she is its figurehead, especially with her initially siren-like voice. This is particularly noteworthy considering that she was originally intended to be "only" a background singer. However, she quickly rose to become Raymond Rohonyi's duet partner. That her voice is capable of even more was particularly evident on "Musique" and "Assembly." Her versatile voice contrasts sharply with the industrial, synthetic foundation of both albums. Raymond István Rohonyi's second voice is also a beautiful addition. The contrasting vocal styles of the two create another layer of depth.

I'll skip straight to track number 6. A cover of a Kim Wilde cover of a Supremes song. A good song for dancing, especially because of the guitar-driven chorus. For me, the song is too much of a pop cover and not enough of what Theatre of Tragedy celebrates on this supposedly "simple" album. The suggestion to do a cover song didn't come from the band, but from the label. Song 1, "Automatic Lover," structured as an electronic beat – repeating synthesizer figure – vocals – guitar/metal elements – renewed electronic structure, might seem monotonous to some, but to me it has an almost magically hypnotic effect. A highlight and a strong opening. Nothing siren-like, nothing ethereal. Instead, almost coldly erotic, demanding. A cool club song. Song 2, "Universal Race," is almost childlike in its vocals, but also hard-hitting in its musical style. An allegory for intersexuality, expressed through space travel. Powerful. All the songs, except for the, in my opinion, nonsensical "You Keep Me Hanging On," have their own strengths. "Let You Down" and "Envision" are further good tracks. I particularly like the contrast. I don't find the cool, synthetic foundation sterile, but rather an ideal setting for Liv Kristine's versatile voice. Here, she doesn't sing in her usual, consistent soprano, but with a much more nuanced interplay between music and lyrics.

"Liquid Man" really grabs me; I practically melt into Liv's voice. With this song, I want to show that Assembly is not a simple album.
This isn't the ethereal, gothic metal Liv we encounter here. Here she's close, seductive; she doesn't need to raise her voice to make us feel her almost physical presence. It's almost as if she's whispering seductively in our ear.
Rohonyi is the deliberate disruption here. Liv is warm, sensual; she brings the human, the tangible. Rohonyi sounds distant, dry, and almost disembodied. Liv is close; Rohonyi isn't quite sure where he is.
The lyrics “dissolves like smoke”, “blurred image”, “out of phase”, “different time and space”, “wearing new eyes” describe shifts in perception; this is not simply a classic love song, because the situation becomes unstable.
"Liquid Man" is a fitting title, and not just because it's poetic. It feels both solid and liquid at the same time. This contradiction permeates the entire song. The lyrics describe dissolution; only Liv is close, her voice has breath, warmth, and alluring eroticism. Acoustically, she is this person; she's not singing about just anyone. And it sounds as if Rohonyi wants to reach this acoustic persona.
The contrast with the male voice makes Liv's singing even more sensual. There are two layers, superimposed on each other. This allows us to perceive Liv not just as a singer, but also as someone whose physicality becomes audible.
"Do you complete me?" gains meaning because a person (Rohonyi) no longer knows where they stand. And the song works much better for me because of this, since there's no romantic resolution. It sounds paradoxical, but that's what makes the song even more romantic for me. Just "Just try, just try."
Text and rhythm form a unity, circling each other in a suspended state, yet never arriving anywhere. Liv's presence lies over this, making the song danceable, erotic, melancholic, and disorienting.

And even without this analysis, the track works for me. It creates a mood, and I don't need to understand why. Initially, I found the idea of ​​using Rohonyi as decoration tempting, but without him, the track wouldn't work the way it does.

Conclusion.

With my opinion on "Assembly" and "Musique", I'm pretty much alone on the dance floor. If you like good vocals, synth-rock mixed with alternative metal and industrial, then this is the album for you. I understand why other listeners have had, and continue to have, difficulties with it. Those who primarily enjoy Theatre of Tragedy for their heavy guitars, dark atmosphere, and the interplay between growls and female vocals (Beauty and the Beast) will struggle with the band's more electronic direction. For me, this album works because its techno-influenced nature contrasts beautifully with Liv Kristine's voice. I call it "Beauty and the Technical World." I place this album in a cyberpunk future for myself. And I don't care if that's even the band's intention. My interpretation works for me.

Theatre of Tragedy 1995
Velvet Darkness They Fear 1996
A Rose for the Dead (EP) 1997
Aegis 1998
Musique 2000
Assembly 2002
Storm 2006
Forever is the World 2009
Remixed 2019 (only Remixes)

The photos are all from my CD. The rights to all motifs, logos, texts and fonts that can be seen in the photos are of course owned by the copyright holder.

TheProgThief
©24.08.2024
Mk 5