Amanethes

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Band Name Tiamat
Album Name Amanethes
Type Album
Data de aparición 18 Abril 2008
Labels Nuclear Blast
Estilo MusicalGothic Metal
Miembros poseen este álbum119

Tracklist

1.
 The Temple of the Crescent Moon
 05:33
2.
 Equinox of the Gods
 04:35
3.
 Until the Hellhounds Sleep Again
 04:07
4.
 Will They Come?
 05:13
5.
 Lucienne
 04:41
6.
 Summertime Is Gone
 03:53
7.
 Katarraktis Apo Aima
 02:43
8.
 Raining Dead Angels
 04:18
9.
 Misantropolis
 04:13
10.
 Amanitis
 03:21
11.
 Meliae
 06:11
12.
 Via Dolorosa
 04:06
13.
 Circles
 03:48
14.
 Amanes
 05:29

Bonus
15.
 Third Snake
 

Total playing time: 01:02:11



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Crónica @ Vinrock666

30 Marzo 2009
Tiamat's 2008 release, "Amanethes" is a highly diversified assortment of songs all pumped out from the same gothic metal vein. Perhaps that is what's extraordinary and exceptional about this album; that upon close inspection every track is quite singular regardless of any surface similarity. Take the multi-faceted voice talent that is Johan Edlund. In general, his tone is akin to a blood gurgling crooner, but from there a plethora of choices both in style and effect is heard on each track. To add, all of the instrumentalists employ the same philosophy as well. Two songs may be slow, but one will feature distorted power chords, while the other will have a clean or accoustic guitar. "Via Dolorosa" champions a tambourine, "Until The Hellhounds Sleep Again" toll bells, and "Equinox Of The Gods" ends with a child voice over a synth toy piano, just to name a few. Tempo for the most part is slow, but even here there are a couple of mid-tempo tracks; "Raining Dead Angels" perhaps being the heaviest and the fastest. "Lucienne" is a great example of a song that varies within itself (as most of the other tracks do, too - "Equinox Of The Gods" is another with its soft middle break). "Lucienne" starts with a slow guitar triplet in the beginnig followed by a double time drum roll near the middle and the third verse is supported by only the bass line. Although most of the moods range from haunting, diabolical, and gloomy, the best song on the album, "Meliae" is a most beautiful and emotional ballad, sung and played with a most Floydian piece of mind. Even here, diversity within is well represesented with the fifth verse featuring a filtered voice effect over a military snare and a female vocalist is dubbed under the chorus line. Overall, "Amanethes" is quite typical of that classic gothic sound, but the genius that is Johan Edlund is what makes this album full bodied, all encompassing, and constantly engaging; the work is quite an accomplishment.

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