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Dead Rose Symphony –
Dead Rose Symphony
When I first received the CD
Dead Rose Symphony to review I
assumed it was
their 1st
release as I was not familiar with the group, although upon reading the liner
notes they made reference to their
return after a “self imposed exile”. I can only assume that any previous
releases went un-noticed, which I hope to correct very soon. The CD that I
listened to was much more than I expected. The cover art sets the tone as to
what to expect – with the tag line “Concertos for the Underworld”, and what
follows is just that.
For those unfamiliar with
DRS (as they refer to themselves) the music is a blend of symphonic compositions
and heavy rock instruments. Along the lines on Trans Siberian Orchestra for the
dead, but more accurately Sub Transylvanian Orchestra. The pieces are moody,
well written and able to evoke emotions and memories of life events (or
nightmares). There are a couple of cuts that, in my opinion are a little shorter
then need be, but they only leave you wanting more and do stand well enough on
their own. My favorites would have to be Behind the Door, which starts with a
cacophony of sound effects to set the rhythm and the final three cuts titled
The Masquerade Ball laid out in
three movements in the tradition of well known classical pieces. A great way to
wrap up this wonderful collection by Dead Rose Symphony. There are sound effects
throughout which I didn’t quite understand the reason for, but
you will once you visit their
website and do a little searching. I don’t want to give away too much because
I’m sure that they mean to have the fans learn some things on their own, but DRS
is going in directions that, in my opinion, are way over due.
I highly suggest that you
climb into the horse drawn carriage, driven by the creepy guy with the whip, and
make your way to the haunted mansion on the hill where the only music they play
is Dead Rose Symphony. Keep your eyes on DRS. They’re going places!
C. Harper
HarperssonMusicReview
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EXCLUSIVE INTERVIEW TO "DEAD ROSE SYMPHONY "
(translated)
11/06/2008 01:00
Maurizio Ganzaroli
THE WWW. MYSPACE.
COM/SANDSFROMMARS ‘S INTERVIEW
(S.F.M.) YOUR MUSIC REMINDS ONE OF A HORROR MUSIC MOVIE, LIKE
“AMITYVILLE” OR SOMETHING BY CARPENTER!
(V. Trandifir) I have always been inspired by movies of that nature, even
though I started composing long before I became aware of that form of
entertainment. I read much more.
(S.F.M.) YOUR ARRANGEMENTS ARE SO BEAUTIFUL, AS IF SHADOWS AND
DARKNESS ARE YOUR INSPIRATIONS! HAVE GREAT WRITERS LIKE POE, LOVECRAFT
AND KIPLING INSPIRED YOU?
(V. Trandifir) Poe is a given, however more recent writers have also
inspired my writing, even as recent as J.K Rowling. My biggest influence in
literature is our Morgan followed closely by William Shakespeare. He knew
how to write death in a way that made you feel the tragedy.
(S.F.M.) DOYOU MAKE JUST INSTRUMENTAL TRACKS?
(V. Trandifir) There are voices on some of the tracks, but I love the
challenge of evoking an emotional response through music without lyrics.
Putting words to music makes it harder to relate what you're feeling to an
experience that you, as the listener have had.
( S.F.M.) YOUR PAGE IT’S WWW. MYSPACE. COM/DEADROSESYMPHONY
AND WWW. DEADROSESYMPHONY. COM HAVE YOU ANOTHER SITE OR PAGE?
(V. Trandifir) We always try to promote those that have helped or inspired
us. There are several links on our official website.
(S.F.M.) DO YOU HAVE MORE DREAMS OR NIGHTMARES?
(V. Trandifir) Of course we always have nightmares...all of us - everyone.
The next CD is mostly born of a nightmare. It will continue the story that
we started at the end of the first U.S. release and will conclude on the
third CD. As we go along Morgan will recount all that happened to her on the
website. From there my Nadjinia and I needed to find her.
(S.F.M.) YOUR IMPOSSIBLE COLLABORATIONS?
(V. Trandifir) I always wanted to work with my father, but he died long
before I started writing.
( S.F.M.) HAVE YOU COMPOSED MUSIC FOR A MOVIE?
(V. Trandifir) My beautiful wife Nadjinia told me once that it sounded as if
I was "writing music for a movie that had not been filmed yet". I guess
that's what I try to do, but I haven't yet actually worked with a film
maker. Maybe someday.
(S.F.M.) “BEHIND THE DOOR” IT’S A BEAUTIFUL! BUT WHAT’S
BEHIND THE DOOR?
(V. Trandifir) That's for you to answer. What's behind your door?
(S.F.M.) THANK YOU VERY MUCH!
(V. Trandifir) You're very welcome...thank you!
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I'm very happy when legions can listen to something atypical, original, interesting. Case in point here... it is practically impossible to describe. Gothic, horror, drama, theatrical, opera-like, orchestral, sometthing for everyone and more. The same goes for describing the trio of artists of these works. Fifteen tracks, over an hour of music epic, atmospheric, strange ... whistles, screams, different voices, some serious piano, mysterious guitar ... gives me a feeling of a soundtrack or a long play. I liked this trip in a tangible way that can not be assimilated. Just give up and go with these sequences. A dark gothic big surprise coming from the continent of all hopes.
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MetalFan
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Titus
Constantinescu
Dead Rose Symphony is an American band, atypical for experimental sound. Often recalling the Black Virgin (but without the gravity of Rowan London's voice as Dead Rose Symphony relies very little on vocals), the band incorporates dark wave, medieval, classical, symphonic, gothic and progressive new obscure music. They say this is the first CD after the June 2008, but information is tight on both summary and information that is circulating about the band - this is why we do not have much information about their past. Strange trio of New York, United States, where two charactors have a play on words of their name in English (coincidence?). Successfully done (with a 6 guests on various tracks) they offer a studied album. Extremely varied in style, Dead Rose Symphony - Concert for the Underworld proposes a series of 15 pieces, of which only the last three form a whole, the rest having a fluency more or less logical, of which we will be open to hearing more of those experiments, but may confuse more conservative segments of listeners. The album is at first cynical, almost apocalyptic, and then passes through the experimental area, which gives the feeling of sonora films or gaming, then returns to a calculated seriousness of sounds, this time in a register a little more melodic, gets on top of despair "(Dungeon)" and ends in a ton of good mood picanteriile segments imposed by the mandolin and violin. A material that can be elegant without the medieval sound of Haggard or Corvus Corax. It is dark and without reference to Vlad Tepes. An album that just feels like my heart is composed of.
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All that we see or seem, is but a dream within a dream.
-Edgar Allan Poe
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