Riene's Review of Amarantine

It is a treat to get to hear Eithne’s voice by itself, without the multiple-vocal-tracks style to which I’m so accustomed. It is much easier for me to follow the lyrics to these songs, and I find the layered harmonics a pleasant background accompaniment. We are getting the best of both worlds in this technique, and the new depth and richness to her voice is a wonderful surprise.

This is an album that could possibly work for a tour. She would need background singers, but it could be done.

In general, to me, the overall feel of this album is melancholic. The lyrics in many places speak of loss, of separation, of longing.

The Songs

Less Than a Pearl: I like the lyrics to this, and the haunting sound of the first part of the song. Loxian doesn’t do much for me, however. Why not one of the Native Americ

Amarantine: It’s pleasant enough, but it has no depth, which could easily be the lyrics. I’d like to know what Roma was thinking as she wrote this. Normally I’m intrigued by her writing style, the multiple meanings, the rich vocabulary. This one… Oh well, I love the music, good transitions of major/minor, good harmony, though I wish it had ended differently, without the final chord and “oooh.”

It’s In The Rain: Ah, pizzicato! I was wondering if we’d find this signature technique on this album! At first, I was finding the key changes on this song very awkward, but it’s slowly growing on me. This is different, an experimental song that works, though I wish the lyrics were a bit more impressive. Good tempo.

If I Could Be Where You Are: Anyone who has had a lover or spouse far from home can identify with this song. The somber chords of the music provide a strong framework for the very light and fragile high soprano lyrics.

The River Sings: My first thought was “Native American-meets-Scots-doing-a-march.” This really should have been sung in Gaelic, I think, as that language fits the mood of the song much better. The heavy/lighter contrasts in this song keep it from becoming too repetitive. The layering is fascinating to listen to with headphones, as I keep discovering more tracks with each playing. The initial vaguely Indian sitar sounds and ending gong/thunder-crash are intriguing, setting the mood for this song. The words, though, don’t seem to fit the song at all. Bah.

Long Long Journey: I fell in love with this one from the German preview clips immediately. It’s a simple melody, a ballad, so simple I could walk over and have this worked out on the piano in minutes. The simplicity doesn’t detract from the song, however. This is a straightforward declaration of intent—I will follow, what are miles? I will soon be home. The addition of the martial drumbeats in the background was an excellent touch. I love her deeper voice in this song, love the layered tracks, enjoy the faintest accent here, appreciate the ambiguity—why sighs and sadness? My favorite without doubt.

Sumiregusa: OK, I’ll confess that I cannot get the Viera commercial out of my head when hearing this one. It’s ok, never has impressed me much one way or the other perhaps because her voice is so “other” here…almost too light and ethereal, though it did fit the imagery on the commercial well.

Someone Said Goodbye: This reminds me too much of One By One. The theme of the lyrics and even to some extent the music, is the same. I'm not impressed with the lyrics, and it feels repetitive and plodding. Not going to be a favorite.

A Moment Lost: Another melancholic song, an apology, and acknowledgement of how selfish one can be. Humble gratitude for the tolerance, support, and love. I’m quite curious as to know for whom this was written.

Drifting: Peaceful, contemplative, a summer’s day on a slow stream. The title is well-chosen. I like the contrasts of the cello and piano. It does seem to go on a bit longer than necessary, but it’s harmless.

Amid the Falling Snow: I like this one, love the layered harmony against the single clear lead vocals. The tone is hard to define, for the more upbeat melody provides a counterpoint to the melancholic lyrics. The symbology of snow to me is always somber—cold and silent, covering the pain. The lyrics seem to speak of pain—memories of a time when they were together, united in the warmth of a candlelit relationship while outside the snow fell. The chorus on this song has been described as “banal” and “simplistic” but to me they are more a metaphor of troubles in the relationship—maybe I am falling…should I touch the ground (just fall all the way)? Maybe (my fall) won’t be noticed—perhaps it will not make a sound, in the darkness, all around. The song ends well, though…with the singer deliberately turning her back on the snow, and the memories, choosing the light.

Water Shows the Hidden Heart: I’m going to commit heresy here, but I just do not like this song. It drags, it’s repetitive, it’s Loxian, it does nothing to inspire an emotional response. The best part of the song is about 2:57 minutes into the music where the counter-melody—melodies—enter the mix. At this point, WSTHH is an auditory treat and a mastery of mixing. This is something I simply must go put on the surround sound system tomorrow—if it’s that good on my computer’s speakers, this should be impressive. Alas, the song ends with the same tedious progression it began with.

Conclusion

The album’s booklet is easy to read, leaves a very artistic impression of encaustics, watercolor. I can’t help but wish there had been more notes from Roma about the lyrics, and more of those wonderful photos with the rich colors—amarantine, crimson, violet, forest, midnight blue.

Admittedly, I have a preference for the love songs, but hopefully these others will grow on me. Overall, this isn’t going to be my favorite album, though there are songs I’ve already grown to love.