Concept-album, Female vocals, Low vocals, Melancholic, Symphonic
"A rock opera that tells the story of a love that ends up self-destructing by its sheer power, "Elodia" exudes a symphonism and a power rarely encountered at this level."
CORTO1809 (05.05.2011)  
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Lacrimosa's sixth album marks a turning point in the life of the band. Tilo Wolff has always been attracted to the richness of classical music. The band's name, taken from one of the most beautiful passages of Mozart's "Requiem", is no coincidence. And from the very first albums, the band has regularly used the services of violists or cellists.

But in "Elodia", Lacrimosa moves up a gear by joining the London Symphony Orchestra and a choir of singers, The Rosenberg ensemble, giving its music a resolutely classical tinge. The confrontation of these classical formations with "metal" musicians gives birth to an atypical work of great beauty.

For Tilo Wolff cleverly does not simply juxtapose these two worlds, but merges them within compositions rich in emotion. Then, the passage from an aerial violin movement to a raging guitar riff, or the chaotic flow of the drums fading away on an angelic choir singing a "Hosanna" seem natural and obvious. Great art.

The originality is not restricted to this meeting of two such disparate worlds. Tilo Wolff delivers a theatrical and poignant song, plunging into the bass to come tearing through the high notes, draining worries, anguish, misfortune and death. This impression is further reinforced by the gutturality of Tilo's native language, German. A song that will not leave anyone indifferent!

The tracks give pride of place to the music, allowing long movements to develop. The symphonic orchestra is used to the max and often plays the leading role: violins, violas, cellos, oboes, clarinets and horns are in full swing. They only give up space to the guitars, bass and drums, only to use them again later on. The music is a real pleasure to listen to, so much so that Lacrimosa takes care of the nuances with numerous crescendos / decrescendos, the opposition of soloists Vs tutti and this shimmering mixture of classical and metal. Am Ende Der Stille' with its stately intro, 'Ich Verlasse Heut' Dein Herz' in which the fusion of genres borders on genius, 'Sanctus', the most Mozartian of the tracks, and 'Am Ende Stehen Wir Zwei' with its church choirs and the ghostly melody of its musical saw are breathtakingly beautiful. The highlight, however, is the heartbreaking, hallucinatory song 'Halt Mich', which will send shivers down your spine even in the height of summer.

This rock opera about a love that destroys itself through sheer power (too much love kills love) exudes a symphonic classicism and a power rarely found on this level. Like all works then marked with the seal of their creator, it is as easy to praise them as to hate them. In any case, it would be a mistake not to try it.

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01. Am Ende Der Stille - 08:10
02. Alleine Zu Zweit - 04:19
03. Halt Mich - 04:00
04. The Turning Point - 05:02
05. Ich Verlasse Heut' Dein Herz - 08:33
06. Dich Zu Töten Fiel Mir Schwer - 08:02
07. Sanctus - 14:15
08. Am Ende Stehen Wir Zwei - 05:49

AC: Batterie
Anne Nurmi: Chant / Claviers
Gottfried Koch: Guitare acoustique
Jay P.: Guitares / Basse
Sascha Gerbig: Guitare rythmique
The Hamburg State-Opera:
The London Symphony Orchestra:
The Rosenberg Ensemble: Choeurs
Tilo Wolff: Chant / Piano
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