Their previous full length release was in 1998, the 4 song, 39 minute wonder Sorrow Of The Angels, but sadly the album didnt really get the credit it deserved.
Their earlier music was your typical doom style in the vein of Solitude Aeturnus with the only difference being a lot of growly style vocals being added to songs to give it that required 'depth'.
This album however has mostly Tom Phillips singing clean with very few passages that require him to demonstrate his death vocal growls. The music on this is absoloutely flawless, epic doom metal from the word go. There are no short songs here, all of them being epic & majestic, are not the least boring. The heavy guitars with backing keyboards gives a symphonic feel to every song. For some reason, its safe to call this album Happy Doom, coz the melody is just addictive and natural. No flashy guitar playing here, just beautiful guitar harmonies.
its very difficult to pin point the best track here, as all of them are brilliantly executed. I especially liked their tribute to the legends of Doom Candlemass with their exceptional rendition of the latters classic Epistle No. 81. However my favorite track here is Voice in the Wind which makes the hair on the back of my shoulder stand up. Not because its scary or anything, but its just very moving. its like a perfect song. Slow, melodic & epic.
its should not come as a surprise that Vocalist Tom's talents are also seen in the UK doom metal band Solstice where he plays guitars. Even though he may not have the operatic range of Messiah marcolin (ex Candlemass) or the charisma of Rob Lowe (solitude aeturnus), he has a very unique vocal range that puts him between power metal vocalists and clean doom metal vocalists.
Another record of sorts would be the fact that since their formation in 1989 to this day 2009, they have had more than 60 musicians joining or leaving the band!!
You really cant rate this band or this album in particular 'doom' like the rest, it has that x factor to keep it towering over the rest. From the heavy riffs to the opening The Drowning Years to the classical tinged melancholic instrumental at the end From Empires To Oceans this is one album u really cant afford to miss!
10/10 - Pritham 'metal farmer' D'Souza aka MorbidPitbull, DeanKorrlMusicblog
Their previous full length release was in 1998, the 4 song, 39 minute wonder Sorrow Of The Angels, but sadly the album didnt really get the credit it deserved.
Their earlier music was your typical doom style in the vein of Solitude Aeturnus with the only difference being a lot of growly style vocals being added to songs to give it that required 'depth'.
This album however has mostly Tom Phillips singing clean with very few passages that require him to demonstrate his death vocal growls. The music on this is absoloutely flawless, epic doom metal from the word go. There are no short songs here, all of them being epic & majestic, are not the least boring. The heavy guitars with backing keyboards gives a symphonic feel to every song. For some reason, its safe to call this album Happy Doom, coz the melody is just addictive and natural. No flashy guitar playing here, just beautiful guitar harmonies.
its very difficult to pin point the best track here, as all of them are brilliantly executed. I especially liked their tribute to the legends of Doom Candlemass with their exceptional rendition of the latters classic Epistle No. 81. However my favorite track here is Voice in the Wind which makes the hair on the back of my shoulder stand up. Not because its scary or anything, but its just very moving. its like a perfect song. Slow, melodic & epic.
its should not come as a surprise that Vocalist Tom's talents are also seen in the UK doom metal band Solstice where he plays guitars. Even though he may not have the operatic range of Messiah marcolin (ex Candlemass) or the charisma of Rob Lowe (solitude aeturnus), he has a very unique vocal range that puts him between power metal vocalists and clean doom metal vocalists.
Another record of sorts would be the fact that since their formation in 1989 to this day 2009, they have had more than 60 musicians joining or leaving the band!!
You really cant rate this band or this album in particular 'doom' like the rest, it has that x factor to keep it towering over the rest. From the heavy riffs to the opening The Drowning Years to the classical tinged melancholic instrumental at the end From Empires To Oceans this is one album u really cant afford to miss!
10/10 - Pritham 'metal farmer' D'Souza aka MorbidPitbull, DeanKorrlMusicblog
Hinlänglich ins Doom Genre kategorisiert, lassen sich die Amis nie und nimmer auf diese eine Bezeichnung beschränken und beweisen dies nicht zuletzt auf eben jenem, hier gepriesenen Meisterwerk.
Immerwährende Schwermütigkeit und fast lethargische Grundstimmung macht dieses Album aus und unterscheidet es auch sehr deutlich von allerorts erntereifen Mega-depri-schwermutalben unserer Tage. Nur wenige Werke haben es in den letzten Jahren geschafft eine derart dichte und fesselnd schöne Atmosphäre zu verbreiten, immer den schmalen Grad zwischen Verzweiflung und Hoffnung zu beschreiten und trotz teils dezenter aber umso gefühlvoller Instrumentalisierung einfach erhaben und majestätisch zu erklingen.
Was schwermütig beginnt, klingt allerorts dramatisch, wird aber vor jeglichem Einsetzen von Depression oder Hoffnungslosigkeit durch wunderschöne filigrane Gitarrenmelodien und wunderschön getragene Vokals aufgemuntert, durch herrliche Melodiebögen, bombastische Arrangements und treibende Rythmen in wehmütige Erzählungen voller Hoffnung verwandelt. Ob bei, von tollen Gesangslinien, intensiv getragenen Hymnen ohne Kitsch und unnötigen Ballast, bei zwanglos tönenden härteren Momenten oder einfach bei traumhaft zerbrechlich balladesken Stellen, alle Komposition sind erhaben, sehnsüchtig, hochmelodisch und dermaßen dramatisch, das man die entfachten Emotionen nur schwer in Worte fassen kann, einzelne Songs nie und nimmer hervorheben darf und schlicht von einem hocheigenständigen Gesamtkunstwerk predigen muss.
"Of Empires Forlon" ist nicht mehr oder weniger als ein episch dichtes Album voller Schönheit, Melancholie, Sehnsucht und Wehmut, das zu keinem Moment aufdringlich oder kitschig klingt und schlicht und ergreifend herrliche Songs zum Träumen offenbart, an denen man sich nur sehr schwer satthören kann und die jedem Fan niveauvoller Musik in einer Symbiose aus Elementen alter Fates Warning oder Saviour Machine über Doomsword bis hin zu Veni Domine einfach gefallen müssen!
(P.S.: "Of Empires Forlon" erblickte ursprünglich 2003 mit einer Auflage von 1000 Stück über das italienische Label Eibon Records das Licht der Welt und liegt nun in einer remasterten und remixten Version vor.) [9.5] - DarkSceneTom, darkscene.at
No need to tell you to buy this album! - Pim, Quintessence Zine, Netherlands, (2003)
There have been many legends concerning the
Holy Grail. From the cup Jesus drank from at the Last Supper to the legend of
King Arthur. The Holy Grail has been described in numerous ways and seems to
be lost forever. Well rejoice my doomed brethren for we have found it! While
Heaven Wept with 'Of Empires Forlorn' presents to us no less than the holy grail
of Doom-metal!
The first time I heard this album I already
knew it, something just clicked instantly. From the first note to the very last,
everything is just in its place, everything is just right. While we are only
in the beginning of 2003 I am already going to dare and say that 'Of Empires
Forlorn' is the best Doom-metal album of 2003! At the very least While Heaven
Wept have upped the stakes for all other bands to outdo them.
'Of Empires Forlorn' is While Heaven Wept
coming to age. If compared to their previous studio effort 'Sorrow of the Angels'
the band has grown a lot. They still have that epic, larger than life feeling
in their music. If you enjoyed their previous effort you won't be disappointed
for sure. The songwriting has matured a lot (and that with 'Sorrow of the Angels'
already being a very strong effort). The band manages to create a majestic feel
of true sorrow and melancholy. Epic vocals, strong riffing, atmospheric keyboards
and a very tight rhythm section; every element of While Heaven Wept is in perfect
harmony.
From the first moment I heard this album it
sounded familiar, like I have owned it for years. Yet, every time I listen to
it I discover new elements and it continues to surprise me. It's recommended
to listen to this album with headphones a few times. A lot of small details
are hidden away in the music, like little gifts waiting to be discovered. While
Heaven Wept have combined writing a grand and epic album with all kinds of small
musical goodies. Which to me is testimony of excellent song writing.
It is hard to give a solid definition of the
music found here. Clearly it is Epic Doom that ranks right up there with Candlemass,
Solitude Aeternus and Solstice. But While Heaven Wept have their own unique
sound and can take their place as equals. Combining the right elements for the
job is a large factor of their success here. From epic guitars solos to pounding
riffs, from massive epic compositions to fragile atmospheric interludes, from
majestic clean vocals to even sporadically using a death grunt on the title
track, While Heaven Wept combines all that is good about Doom.
The Candlemass cover 'Epistle No. 81' (of
the 'Ancient dreams' album) fits right in with the rest of the songs. While
Heaven Wept have made the song their own, without discrediting the original
song. It has become more epic than the original. Giving the entire song a bit
more power and a grand feeling. Although I don't think that the speed isn't
much faster than the original, it somehow seems to flow more fluently and as
such gives the illusion of being slightly faster (and slightly less depressing).
All in all this is a great interpretation of the original song.
There is little left for me to say about this
release that I have not already said. It is probably clear that I am wildly
enthusiastic about this release. It is the best Doom-metal release I have heard
in the last 5 years! It however remains hard for me to precisely describe the
music. As I noted before 'Of Empires forlorn' combines basically everything
that is good about Doom, and it's hard to just pick out one element and describe
that. It's a grand journey of sorrow and sadness that you just need to experience
for yourself. I will recommend this release to anybody and everybody. This is
a must have! - Aldo Quispel, Doom-metal.com, Netherlands
(2003)
With last year's "Chapter One" double
LP, the first era of While Heaven Wept was closed. Needless to say, if this
new album, "Of Empires Forlorn," is any indication, Chapter Two is
really going to be something even greater to behold. With this album, the leader
of the epic doom movement is poised to take the genre out of the underground,
once and for all.
The While Heaven Wept sound is constructed
here the same way as usual--classical based structures, delivered via both electric
and acoustic guitars, are accentuated by synth accompaniment and vibrato-heavy
operatic vocals. One thing that helps expand the band's base sound on "Of
Empires Forlorn" is a light years jump in production quality from past
While Heaven Wept releases. What does all this mean? Basically, that everything
you loved about While Heaven Wept before is still there but even better. This
said, the truth is While Heaven Wept have not only expanded their sound, but
the entire genre of epic doom, in a way that is inconceivable with "Of
Empires Forlorn"-they have taken the form of epic doom and pushed its melodic
elements as far as you possibly could and still have the music be doom metal.
What this does is take every grand and epic element of While Heaven Wept's sound
and magnify it tenfold. "Of Empires Forlorn" is the sound of flying
over an ocean with the full moon out and no land in sight, but still you look
to the horizon for a shore, though the wind burns your eyes and hope is all
but lost. This is haunting stuff and maybe the most epic music ever created,
doom or otherwise.
As usual, While Heaven Wept delivers amazing
songs. The title track, "Of Empires Forlorn," is classic While Heaven
Wept--mournful, passionate, soaring, and heavy. Lots of great palm-muted riffing
aids in making this track a winner. In the end, the two standout tracks are
"The Drowning Years" and a cover of the 1977 Jane song "Voice
In The Wind." These are the two songs on "Of Empires Forlorn"
where While Heaven Wept pushes the melodicism of epic doom to the brink. Both
of these tracks are definitely doom metal but at the same time they have "airplay,"
"heavy rotation," and "hit single" written all over them.
Essentially, with these two cuts, While Heaven Wept have taken one of the most
cult forms of music ever and skyrocketed it right into the mainstream, from
out of nowhere. It's a stunning and unprecedented triumph, to say the least.
All told, it's that triumph that makes "Of
Empires Forlorn" such an all-time classic album. The most hardline doom
fiend will worship this recording but probably too will fans of mainstream bands
such as Evanescence and Styx (Tom Phillips' vocals do bear a resemblance to
those of Dennis DeYoung - especially the higher his voice grows in pitch). If
you love great music, whether you realize it yet or not, you owe While Heaven
Wept and "Of Empires Forlorn" your allegiance. This album is much
like Celtic Frost's "Into The Pandemonium" in that there has never
really been anything else like it before. Like that album, "Of Empires
Forlorn" is sure to spark a lot of debate amongst the metal underground.
In the end, it will be considered a benchmark release, too. This is more than
just a mere album-of-the-year candidate - "Of Empires Forlorn" is
one of the greatest and most important albums ever. -
Dan Rowe, House Of Smut/Tremble Saith Thy Master, USA (2003)
While Heaven Wept are a self-described "epic
doom metal" band from Virginia. Members have been involved in quite a few
other bands, most notably Brave (formerly known as Arise from Thorns) and Solstice
(the UK band). The group is led by guitarist/vocalist/songwriter Tom Phillips.
He's kept the band going for about 13 years, but this is only their third full-length
album. The other two are, of course, hopelessly out of print.
This latest CD is a limited-edition digipak
released by the small Italian label Eibon Records. It's likely that this will
end up as out-of-print as the previous ones, so any interested parties should
obtain this as quickly as possible. It's available directly from Eibon, as well
as from Century Media.
The CD booklet accompanying this contains
one of the longest thank-you lists I've ever seen, including an extensive list
of musical influences and contemporaries. The obvious ones are Candlemass, Solitude
Aeturnus, and Black Sabbath. The band also namechecks some 70's art rockers
like Genesis and Styx, and a few classical composers like Bach, whose influence
is readily apparent. Then there are a few that come out of left field, like
Natalie Merchant and Emmylou Harris. I can almost guarantee this is the only
thanks list that includes both Autopsy and The Wallflowers.
The result of all this influence-mongering
is that the music sounds very familiar, almost as if you've heard it somewhere
before, yet I can't place it as sounding precisely like anybody else. To my
ears, I hear the influence of Candlemass, early Fates Warning, and Viking-era
Bathory more than anything else. While the atmosphere is one of longing and
intense emotion, the music stays away from the hellish abyss occupied by extreme
doom bands like Evoken. This has more of a warm, comforting feel to it. The
heaving doom riffs often open up into soaring, almost anthemic guitar harmonies,
particularly at the end of track one, "The Drowning Years". Baroque-inspired
keyboard washes bathe all the songs, making this very symphonic. The keyboards
end up taking over in the concluding instrumental "From Empires to Oceans".
The vocals, while very well done, distracted me at first because they sounded
so much like Styx. For those who don't recognize that much-derided art-rock
act, they were known for overdramatic prog-ballads. In other words, these vocals
are very clean (with the exception of a couple brief growls in the title track).
If you're all about death grunts, this is definitely not for you. The melodies
are strong, but as I just pointed out, may be a little too sweet for some. On
the good side, the vocals are high register but restrained, staying away from
dog whistle hysterics.
The songs are all separated by the sound
of ocean waves gently lapping against the shore, and "oceanic" is
a good way to describe the overall sound of the album. I liked this CD immediately
upon first listen, though it took me a few more to fully embrace it. At first,
the polished vocals and heavy use of keyboards put me off, but gradually I appreciated
them and gladly dove into the whole lush symphonic cushion this album presents.
The lyrics provide plenty of sorrowful imagery - lost love, fallen kingdoms,
barren souls - to keep you miserable even when the music is straining to break
out into the light.
At this point (May), this CD looks like it
will definitely be one of my favorites of 2003, and I recommend it to anyone
into prog-metal or melodic doom (as long as you can tolerate a lot of keyboards
and clean singing). - Dave Smith, Transcending The
Mundane Zine, USA (2003)
Everything about this record is perfect; from the crystal-clear production, to the brilliant artwork, to the beautiful-melancholic lyrics, and the song-material is over-the-top, too. Beside four new songs, you'll find a cover of CANDLEMASS´ "Epistle No.81", a new interpretation of "Sorrow of the Angels" (from "Lovesongs of the Forsaken") and a classical instrumental, "from Empires to Oceans." All songs go directly into the next tune, achieved through the sound of an ocean (on the earlier works, it was the sound of falling rain). And even the production is very good. Okay, the guitars are more in the background (the keyboards are very dominant) than in the older days, but that's okay, because it is more suiting to the (very positive) atmosphere. There are no failures on this masterpiece and you won't even get bored after the tenth listening, you can be sure of that (this CD as been occupying my CD-Player for nearly three weeks now!)! And why? Even after the tenth listening you'll find new sound-details and facets (not that the music isn't immediately catchy, it is, but also very complex, too!). Wonderful acoustic-interludes, -intros and -outros make the music very varied and the development of WHILE HEAVEN WEPT has continued (as on each album), reaching a temporary height on this album. The song writing abilities of Tom Philips are now at an alarmingly high level; you only have to hear the dark-melancholy title track as an example, which has a hopeful-positive touch, nevertheless.
In my opinion, Tom Philips is to WHILE HEAVEN WEPT who for these days is what Leif Edling and CANDLEMASS were for the Eighties. Even he has developed; he has worked hard on his voice and tries to get the most out of his mouth to give this album both lyrically and vocally, the last kick. As example, you should hear the wonderful "Voice in the Wind" (my fave of this album!), which is "living" through Tom's voice - it has a fragile and hopeful atmosphere that shows how intensive and creative Doom Metal can and should be played! And on the title track we even find some references to the old death-doom-days (see "Chapter One") because Tom is grunting on some parts, which sound very good and fit well with the atmosphere too. The only negative thing upon this album is the synth-solo on "Sorrow of the Angels," which has become TOO positive, and that's a pity, because this solo is so crucial to the song, as it is supposed to call the listener back to depressive depths, after the song began relatively positive. But the rest of this new version is very good, the multiple-voice-singing is a great idea and the more dominant keyboard fits better to the atmosphere.
Lastly, you will hear a classical instrumental, which is full of bittersweet melancholy. Perfect! Buy this album, as long as you can get the limited digipack-version (it's not clear, which songs will be on the unlimited version!). This album is a masterpiece in Doom metal and is even topping SLOUGH FEG´s "Traveller". Whatever may come out this year, this will stay my personal No.1 of 2003. Doom Metal more beautiful has (nearly!) never been heard! It reaches nearly upon SOLSTICE´s "New Dark Age", and that is my favourite album in Epic Doom Metal ever (it's a godly banger!). Fans of (Epic) Doom Metal HAVE to buy this masterpiece, because the music on this record is definitive art! Rating: 5/5 - Steffen Bauer, Blooddawn.de, Germany (2003)
The first track, "The Drowning Years," simply kills, displaying While Heaven Wept's talent for creating doomy, dirgey songs that somehow strike an optimistic tone simultaneously. The smooth, open vocals are just right for this kind of music, and the guitar solo at the end reaches the height of tasteful melodicism.
"Of Empires Forlorn" is a longer, more intricate song with some quite aggressive sections, including a few growls. It is followed by "Voice in the Wind," a cover of German space-rockers Jane. "Soulsadness" is a worthy melancholy track and is followed by "Epistle No. 81" (a cover of one of Candlemass' best songs), "Sorrow of the Angels" (a Solitude Aeturnus-like dirge, rerecorded from its original 1995 version), and "From Empires to Oceans," a mournful keyboard instrumental.
With two covers (though loose, nonliteral ones), one rerecording (though of a song I hadn't heard before), and one instrumental, "Of Empires Forlorn" features just three new songs with vocals, and this brevity is my only complaint about the album. Otherwise, this album does everything right and may well end up constituting a classic in the genre.
Apparently Eibon Records produced just 1,000 copies of this album, so if you want one, you'd better act fast. While Heaven Wept is reportedly shopping the album to bigger labels for a wider release. They of course deserve a good deal, but for some reason this kind of music is not the most popular in metal circles. - Curumbor Elendil, Harm Magazine/666Metal.com, USA (2003)
To say that a new While Heaven Wept album
is a rare occurrence is surely an understatement, having released only one full-length
prior to this album (1998's excellent "Sorrow Of The Angels" - any
fan of Doom Metal should check this out), having been active under the While
Heaven Wept name since 1991. The band had split or was on long-term hiatus depending
on interpretation following the release of that album, before being resurrected
in 2001. The current line up includes Jim Hunter of Revelation and Twisted Tower
Dire on bass, Scott Loose of progressive outfit Brave on guitar and ex-Forty
Days Longing drummer Jason Gray, alongside main man Tom Phillips (formerly and
currently vocalist with Yorkshire's Solstice) on guitar and vocals. But enough
background, onto the music.
On initial listens, I was somewhat taken aback
at the progression since the last album. The songs are on the whole much shorter,
although still lengthy at an average of about 6 minutes each or so, but no "Thus
With A Kiss I Die" antics on here. The music is on the whole much more
orchestrated and snappily arranged than the previous effort, indeed the increased
maturity belies the fact that the majority of this album has been written post-2001
using skills gained by Phillips after studying classical composition, whilst
the last album was composed while he was 16. There is a much "happier"
(for want of a better word) vibe musically speaking, and the prog tendencies
have been pushed even further, but as the lyrics sunk in over repeated listens
a much deeper, darker beast was revealed. The lyrics on this album are absolutely
replete with despair, and not a glint of hope is let shine through. The process
of the music sinking in was much the same; my initial shock quickly gave way
over time, revealing its true form. The album is built on what is clearly a
solid foundation of Epic Doom Metal, and then layered with keyboards, lead guitars
and brilliant vocals from one of the finest sets of pipes in metal today.
In my opinion, if you cannot find something
to like about this album then you are either lying or there is something wrong
with you - such a well rounded offering I have not encountered in a while. From
pounding anthemic epic metal ("Of Empires Forlorn") to crushing doom
("Soulsadness") via almost stadium rock ("The Drowning Years"),
but remaining coherent throughout, the common lyrical themes helping towards
this end. This does lead to a slight lack of any one element at times (I could
have done with at least one more song in the vein of the title track, for instance)
but this is a minor point. I am convinced this album will not be topped this
year, and have no hesitation in recommending it to all and sundry. 4.8/5
- Dave Gillespie, Metal Ireland, Ireland (29/05/2003)
While Heaven Wept gör inget annat än musik som går rakt in i mitt vänstra öra och radar upp en legion av frågetecken på vägen ut ur öra nummer två. Vet inte exakt varför, men jag tycker detta är smått vedervärdigt. Melodiös hårdrock eller episk doommetal, kalla det vad ni vill. Unket, flåsigt och oinspirerande är vad det är. Men också välproducerat och kompetent på sitt sätt.
Att amerikanerna vill väl med sin smöriga men välspelade rock finns nog inga tvivel om, men prettonivån är oroväckande hög. Jag kan heller inte låta bli att tycka att det hela låter som något kristet övervintrat åttiotalsband från Säffle som slängt på sig skinnpajen och börjat lira igen. Ibland funkar gitarrerna oerhört bra och man märker att det under ytan finns en hårdhet som man dock inte vill, eller vågar släppa lös. Tom Phillips är på intet sätt någon dålig sångare men hans lite gapiga röst tilltalar mig inte alls. Och när gruppen ger sig på Carl Michael Bellmans i vanliga fall utsökta 'Epistel nr. 81', som för övrigt även svenska Candlemass tidigare tagit sig an, blir jag förbannat irriterad.
Men okej, eventuellt är jag inte helt rättvis i min bedömning. Anhängare av liknande musik kanske anser detta ett mästerverk som förtjänar att låsas in i ett bankfack efter att ett slit-och-släng exemplar bränts. För mig är det dock mest slöseri med värdefull tid som kan läggas på viktigare saker som att sortera müsli eller titta på inspelade avsnitt av 'Kvinnofängelset'. Rating: 3 - Martin Engstrom, Metica.se, Sweden (2003)
Suddenly I'm getting a bunch of cool stuff from American bands:
Agent Steel, Cage, Usurper, and now While Heaven Wept. It's enough to give me
hope for my country. This is the umpteenth release from this band, but most
of these were demos that are impossible to get. They did have one real album
released years ago, the now-legendary "Sorrow of the Angels" CD from 1998, but
for me this was my first taste of this extremely underground band.
As you might guess, While Heaven Wept play doom. This is very
heavy and melodic metal that oozes class from every riff. Unlike a lot of so-called
doom bands, WHW do not play boring, slow riffs and call it doomy. True, most
of this is slow or midpaced, but "Of Empires Forlorn" offers up plenty of time
shifts and different parts to the songs to keep things interesting. These are
long songs with majestic, sweeping melodies and ultra-heavy riffs, all of it
topped off by the clear, strong vocals of Tom Phillips. Lots of use is made
of vocal harmonies to lend a choral quality to the vocal parts, and keyboards
and strings add just the right epic feel to the already superb music.
I have never been that great a fan of the ultra-depressive
school of gloomy lyrics, and these are, without exception, bleak and mournful
lyrics. They are very well written, but not really my thing. The vocal melodies
are not the bland moping one would expect, but rather sorrowful and soaring
at the same time. Album standouts "The Drowning Years" and "Soulsadness" overwhelm
with grandiose playing and catchy melodies that stick after only a single listen.
The cover of "Epistle No. 81" shows their hearts are in the right place, but
I wish they had done more with it, as it's a little too close to the Candlemass
version, if a bit faster. I would have expected them to either slooooowww it
down or try a more orchestral approach.
The digipack (arrrgh! Accursed digipack!) has a beautiful cover
by Gustav Dore and excellent art design worthy of a Dark Symphonies release
(even though it isn't). The lyrics are included, as are very extensive 'thank
you' lists and a short rant about Peaceville and their false doom-wankers. Haha!
Despite the gloomy vibe, which usually is not my thing at all, I cannot get
enough of this CD nor say too many good things about it. While Heaven Wept have
produced a first-rate album in a genre that is tragically underpopulated with
quality bands. If you favor doom metal or melodic metal in general get your
hands on this album, as it's about as good as you can get. Rating:
5/5 Sargon The Terrible, www.metalcrypt.com, USA (7/2003)
After spending some time unable to decide which is more pretentious
this band's name or this album's title I threw the thing into my player.
It neither made nor left much of an impression...or so I thought. But days later
the vocal melodies haunted me at work...on the subway...even after a studio session.
So I returned to the album. Again. And again.
While While Heaven Wept is by no mean great, they do manage
to incorporate a gaggle of influences into a sound that ultimately winds up
being their own. They compose slow melodic material with steady, clear-pitched
vocals and harmonies. While there is a fair amount of New Age noodling (such
as the unnecessary closing instrumental), I can best sum up this band by saying
they move at the speed of Candlemass, yet do not rape Iommi's riff trove the
way Candlemass does. Tom Phillips' vocals are well enunciated and sharp, and
I find myself thinking of Styx's Dennis DeYoung (the dude who sang "Come Sail
Away" and "Lady") more than any metal contemporary. Excepting the brief appearance
of death metal vocals (which are out of place and ill-advised) the vocals carry
this album, particularly "Voice In The Wind" and "The Drowning Years."
While the album is serene a good album to go to sleep to
the sound is ultimately a little too thin and regular to be truly grand. For
instance, the first song ends with a harmony part but all of the guitars stay
with the 4/4-meter and all of the harmonies are totally melodious. If some of
the melodies reached beyond (i.e. become longer, more irregular, more disharmonic,
or oddly grouped) this ending would start to really open up. Check out Karl
Sander's arrangements in the middle of "Masturbating The War God" or Ishahn's
arrangements at the end of "Decrystallizing Reason."
While Heaven Wept drummer Jason Gray is solid, but if he threw
in more polyrhythms/cross-rhythms, WHW's sound would also be enlivened. His
slip-sliding hi-hat battery and syncopation in the verses of the title cut are
his best moments.
"Of Empires Forlorn" is an enjoyable album filled with haunting
and glorious siren-song melodies, yet doesn't fully conjure the visuals, glory,
and unknown worlds conjured by black metal-based bands like Summoning or Emperor.
WHW's is a good idea that is well executed, but ultimately feels a little too
safe melodically, rhythmically, and harmonically. Regardless, "Of Empires Forlorn"
is soothing like sweetened iced tea on a 100-degree day. S.
Craig Zahler, Metal Maniacs Oct. 2003, USA
I don't know what exactly "Doom Metal" is usually defined
as, but I know what I like, and this album is absolutely it. I've listened to
some other doom metal in preparing for this review, namely Candlemass, and despite
the fact that I can tell its very good doom metal, it just doesn't float my
boat. I don't care for Candlemass because their production is terribly thin,
the songs all sound like they were recorded on a very tight budget with a cheap
multitracker in a basement (Which they might have been), and they just don't
sound rich or epic enough to offset my dislike of the gloomy doom elements which
always fill such records.
Of Empires Forlorn does. It simply wails out sorrow and elegance
from every riff, vocal line, and time shift. When I first heard this album,
I didn't appreciate it at all. I found it to be middle of the road, bland, and
quite repetitive, but all that changed when I realized exactly what it was that
stood before me: A collection of sorrowful, epic songs about tragedy and loss.
This wasn't supposed to be power metal, nor was it supposed to be straight doom
metal, either, but an amalgamation of the better parts of both genres, combined
to form a cohesive whole.
Such awe inspiring tracks as "The Drowning Years, "Soulsadness"
and the best track on the album "Sorrow of the Angels" cannot be denied, even
by someone like myself not particularly interested in this genre. Even the tracks
that do not have any vocals or heavy guitar riffs, such as the staggeringly
epic "From Empires to Oceans", are so powerful, well written, and meticulously
produced, you can't help but wonder why these guys aren't already world famous.
It's tragic, and I'm sure it helps hold up the gloomy mood within this record:
It's astoundingly beautiful, yet it will probably never achieve even mild commercial
success. Tragic.
The only problem I have with this album is the fact that,
like most doom metal, is it unnaturally gloomy and depressive. There are no
"light moments" to be found here, its straight up and down tragedy and mournful
sorrow, and despite the fact that its some of the best metal ever done to this
theme, the fact remains that most of the human population (this reviewer included)
doesn't like to listen to sad, gloomy music on a day to day basis. If you are
in that minority that does, however, this simply has your name all over it.
For the rest of us, this album is a great look into what makes
doom metal so popular, while preserving some of the great sounds of operatic
and power metal. In short, a doom metal record for people who don't like doom
metal, but simultaneously awesome enough to impress even die hard followers
of the genre.
Very highly recommended.
Standout Tracks: Soulsadness, The Drowning Years, Sorrow of
the Angels. Rating: 4.75/5 Anthony R Brock, www.metalcrypt.com,
USA (8/2003)
Just when the proverbial ink of the review of Madder Mortem
(in this issue) was drying, proclaiming Deadlands to be the year's clear champion
of doom, along comes another quintessential album to cast that prediction into
doubt. While Heaven Wept's Of Empires Forlorn is so great that, while previewing
it in the car, I nearly had to pull over to deal with it.
If you're familiar with Eibon Records' back catalog you'll
know that the eclectic label likes to dabble in doom records, generally of the
crushing, subterranean kind. So you might expect this record to be seething
like Esoteric or chthonic like Thergothon.
But it's not what you might expect. Rather, Of Empires Forlorn
is about as beautiful as the genre can get while still being a proper heavy
metal doom album. Undoubtedly, the main player in this equation is the singing.
Although atypical for the genre, the vocals convey tremendous melody and such
purity as to instantly grip any listener regardless of musical preferences;
melodies that convey weight but instill a sense of uplifting, idealistic hope
at the same time. The clean vocals are so essential that when gruff ones are
introduced on two verses in one song, it sounds like a violation.
While very doomy, it's clear that While Heaven Wept succeed
in being unique by the extremely wide variety of influences on the band, as
evidenced in the liner notes in which both Heart and Mayhem are thanked! With
this insight on where the band is coming from, it's easy to see that Of Empires
Forlorn thrives on diversity as it marries the truest of metal hearts with the
softness and accessibility of pop music.
Perhaps we should look at While Heaven Wept's example as something
to respect, for their refreshing mix of influences eschews the standard practice
of metal bands to limit themselves (publicly, anyway) to the reverence of like
bands, resulting in something that isn't contrived in the least. Yes, it may
not be sonically crushing, but the soul is undoubtedly intact.
Make no mistake; this is heavy metal doom, it's just delivered
in a way that no other band does. The heavy riffs and classically influenced
bass guitar meld with mood keyboards and epic movements to make something really
great. The album is made up of four proper songs (written from as long ago as
1994), one reworked classical piece called "Epistle 81" (that Candlemass also
did on its Ancient Dreams record), and two instrumentals, the most important
of which is the album-ending keyboard piece that features some excellent string
tones.
So the final judgement is that although While Empires Forlorn
may not be able to unseat Madder Mortem's Deadlands for the year's best doom
metal record, it does come awfully close. And a little healthy competition is
a good thing, isn't it? Roberto Martinelli, www.maelstrom.nu,
issue 13, USA (2003)
While Heaven Wept has been tinkering away in the black void since the early 1990's when they were formed on the back of a few like-minded folks out to explore new musical territory. For While Heaven Wept this means doomy epic passages, grand heavy metal and clean crooning which is quite unique, making While Heaven Wept stand apart clearly from other likeminded sorrowful doom-ridden acts.
Doom metal, for me personally, needs frightfully large amounts of depressing grunts. While Heaven Wept doesn't really fit into this category and are compromised of, at times 'fragile' clean vocals from visionary Tom Philips to convey messages of epic gloominess and heartfelt angst and loneliness. In its own right this is wonderful music and I think unfortunately for those who have not heard of While Heaven Wept they are going to miss out on a lot because they are placed in the moniker that is doom metal. Don't get me wrong, I love doom metal, but I really think these guys are a level above and beyond some of the narrow constrains of doom metal.
There is a lot of 'traditional' heavy metal musicianship displayed on "Of Empires Forlorn" that really demand it be pushed out past the doom legions. Tom's gentle vocals are far from depressing and debilitating and I am afraid to say I feel happy after listening to "Of Empires Forlorn," which obviously shoots to shit the point of doom metal. However, in its own right as a piece of music, I consider "Of Empires Forlorn" to be a fine record.
Bottom Line: Far more than your average doom record "Of
Empires Forlorn" is a record that will hopefully reach a larger audience
than the tight knit communities of doomsters around the globe. The highly diverse
musicianship and gentle vocals of Tom make for an invigorating experience.
Musicianship: 7.5
Atmosphere: 7
Production: 7
Originality: 8
Overall: 7.5
Rating: 7.4/10 – Jack “Odel”, www.metalbite.com,
USA (2003)
The music of While Heaven Wept is quite orchestral in nature, very epic sounding I think, with very good lyrics which really enhance the feeling of doom, particularly in 'Soulsadness' and 'Voice In The Wind', the latter of which I think is a cover, which judging by this, probably blows the original away. The pace and tempo of the music is fast for doom-metal (read: mid-paced), and heavily driven by riffing guitars with drums and keys providing background ambience for the most part, not standing out enough in the mix as to dominate the sound, which in this case is a very good thing, but rather sitting back, contributing enough to the music so it isn't noticeable at first, but creeps into the overall sound and buries itself into your subconscious. The title track is probably my favorite next to 'Voice In The Wind', especially towards the end where the vocalist throws in some harsh rasping/growling type vocals, which provide for a stark contrast to the near operatic style prevalent throughout the rest of the album, which if I didn't mention enough already, is jaw-droppingly good. Other tracks of interest are Epistle No.81, which is a Candlemass cover, which in turn is also a cover, of who, I'm not sure, but it surely gives nods to While Heaven Wept’s main influence. The other track of note is the closing track, 'From Empires To Oceans', which is an ambient track that to me, being the ambient music lover that I am, works extremely well, and shows of another of the many facets of the sound of While Heaven Wept, an provides a very good ending to an excellent album. Highly, highly recommended. – S. Wickens, A Tragic Opus, http://hannibal.leghissa.com/atragicopus, USA (2003)
The excellent doom releases keep coming! Nearly unknown bands
fall from the sky and they seem to be settled in transcendental doom. In this
case the type of doom which is more related to symphonic rock than having the
heavy, explosive attitude of death/doom. For Tom Phillips only sings with a
clean voice and the songs have a fluent course. The guitars take care of the
heavy elements but the music has also many dark moments and a thick base of
keyboards.
Tom Phillips is the headman of this band of Virginia (USA).
In 1991 While Heaven Wept was founded but several line up changes were inevitable
and caused some delay. Meanwhile Tom was involved with Twisted Tower Dire and
Solstice. Five years after their previous CD ‘Sorrow Of The Angels’
we can enjoy a new album. In June 2003 ‘Of Empires Forlorn’ was
released, at first only in Italy by Eibon Records. Fortunately Rage Of Achilles
picked up the band for a worldwide release with extra tracks, new artwork and
a new mix. Moreover we can speak about a stable line up now including besides
Tom the current bass player of Twisted Tower Dire Jim Hunter, Scott Loose as
second guitar player (Brave) and Jason Gray on drums.
It has become an album full of atmosphere that opens with
swelling keyboards, an evening-clock that tolls and heavy guitars throwing a
constant wave of sorrow over the listener. In the beginning Tom’s voice
needs to get used to because in the first songs he sounds rather stately but
as the CD continues we can hear more nuances. The title track ‘Of Empires
Forlorn’ boasts on faster heavy metal riffs. Because the acoustic guitars
melt into a wall of shivering riffs, it reminds me of a lighter version of the
sublime Primordial. And truly, there even is a moment of grunt in this song.
With the intro of ‘Voice In The Wind’ there’s a bell ringing
from the past. That organ melody…I know it! Indeed, from the German cult
band Jane. Coming from the album ‘Between Heaven and Hell’ in 1977.
Then something isn’t right. The vocals and lyrics are different. And yet
this is the Jane’s composition of Klaus Hess but Tom has changed one and
another about it. Surely necessary to actualise the sound; that’s what
I am thinking when I play the original vinyl right after. But how come this
American musician knows Jane and even seems to be influenced by them?
"In Aeternum" sounds a bit heavier and leans
to the heavy metal tradition with twin guitars. In the biography this heavy
metal adoration is emphasised. Towards the end this song is darkened by a whispering
voice. This mood is saved in ‘Soulsadness’ and ‘Sorrow Of
The Angels’ when spoken fragments bring grieve and disconsolation. ‘Epistle
no. 81’ throws a new light on a traditional Swedish hymn. For that matter,
all the songs have a distinct hymn character. Conclusion: a diverse album and
yet an irresistible whole.
Rating: 84/100 – Vera, www.lordsofmetal.nl, The
Netherlands (11/2003)
There are different ways of playing doom of course, like there are in all other genres as well. You’ve got the ultra heavy and extremely depressive ways of bands such as Skepticism, Thergothon, Shape Of Despair, Symphony Of Grief, Trollmann Av Ildtoppberg, Dödfödd, Nortt etc. And you`ve got the style with a bit more heavy metal feeling, but still killer doom metal, such as Solitude Aeternus, old Fates Warning, Dream Death, Burning Witch, Candlemass, St.Vitus, amongs others. And the genre which comes inbetween these two, containing bands like My Dying Bride, Anathema, Saturnus, Primordial, Novembers Doom, Mourning Beloveth etc. And it is in this particular section of doom metal, that While Heaven Wept suits perfectly in. Using mostly clean yet depressive vocals, like a mix of the Anathema and Solitude Aeternus vocalists. The guitars are very heavy, backed up by a very powerful and majestic use of synths, giving the listeners perfect visions of sorrow and doom. You just hear in an instant that this oozes with quality, and a band that will go far if they continue in this vein, cause this is absolutely a perfect example on brilliant doom metal at it’s best. The album is in general very mid-paced in speed, flowing elegantly forward without picking up much speed with a couple of exceptions where they speed up a bit with some killer riffs that just screams doom metal all the way. Anyway, this is one of the most surprising albums I’ve heard in a long time. I had only read a bit about the band before getting this album, Of Empires Forlorn. And I was just blown away by the sheer quality and distinct sound While Heaven Wept creates. I couldn’t believe these guys where from the US, I don’t know, this just doesn’t sound American at all. So if you’re looking for something epic, something depressive and very powerful, I suggest you buy "Of Empires Forlorn" by While Heaven Wept, out on Eibon Records, by clicking on the URL at the top of this page. Highly recommended for the souls of doom! – The Unborn, Metallum Atmosfear Webzine (http://atmosfear.shore-of-nothingness.com), Norway (2003)
While Heaven Wept is the mind child of one Tom Phillips. While
the music is solely his written creations, no man is an island and it takes
a great deal of help from other individuals to make one man's visions a reality.
Tom let some of the most skilled and ambitious friends and players work their
magic on his latest release for his new found home on Rage Of Achilles records.
I will take you onto a list of the crucial elements that make Tom's brand of
Epic Doom Metal possible and enjoyable.
The knob twirler(engineer) and butt kicking(producer) duties
as well as some general sampling and effects insanity was done by Project: Failing
Flesh and Assembly Line studio owner Kevin 131. Tom himself played guitars,
sang the lead vocals and BGV's and played some Keyboards too. He was helped
on some keyboards by Jake Bodner. Jim Hunter played the massive Bass you get
to hear in your subs. Scott Loose let loose on some insane guitar work as well.
Finally the skinsman, Jason Gray, thumped and bumped like a listless fool all
over this thing.
Not only has Tom succeeded in bringing a much needed breath
of life into Epic Doom Metal, one could go as far to say that he has provided
a cure for a genre of music that was diseased and dying from a lack of creativity....
anybody remember Dream Death? Case made!
Of all areas of metal so vibrant and overflowing with, dare
I say, too many bands, Doom metal in it's various forms actually suffers from
a lack of bands doing it and not so many doing it too well I might add.
I know there are many out there watching the Candlemass return
with baited breath and await them to bring into being a new Doom Metal opus.
We are hoping for an Opus anyway...no promises on that though. What I can promise
you is that While Heaven Wept are further ahead than most Doom metal bands and
most metal bands in all catagories. Yes it is Doom metal...but it doesn't really
feel that way. It's slow but it doesn't trudge along at a mind numbing pace.
It's a beautiful slow much like the way Pink Floyd does beautiful slow.
If there was indeed a throne for a Doom Metal King to establish
and reign upon, my vote for King would go to Tom and While Heaven Wept. I have
never heard anything even come close to being a true definition and a shining
example of what Doom metal is and should be. Open the metal dictionary and turn
to the word Doom. You will find While Heaven Wept's picture there with their
name mentioned prominently in the definition of Doom metal.
Take your favorite elements of Trouble and Candlemass, throw
in a touch of the symphonic granduer of Rhapsody while never straying too far
from Pink Floyd's Roger Waters and David Gilmour lead albums and you will start
to get a little picture of what is happening here.
The album is very layered and takes a few listens for it
to start revealing itself to you in all it's complexities and textures. It's
not technical metal in the strict sense of the words...it is however technically
thought out and the dynamics are what make this record smoke. Tom is a clean
and accomplished vocalist and pulls off some really nice moments here. The songs
are connected both musically and lyrically. It is some pretty heady stuff lyrically
and deals with some tough things in life, mainly loss. The music backs up these
emotions quite elequently and powerfully.
Take a listen at Tom's webpage and learn more about him and
the guys who played this record. Some samples and info can befound at www.whileheavenwept.net
Trouble and Candlemass may have something to offer us later
next year. While Heaven Wept is coming real soon as a debut for Rage Of Achilles.
Wait for the other boys if you want....i'm Dooming onward now with Tom!
Also check out the kickass american version of The Abyss and Studio Fredman;
the infamous Assembly Line studios in Vienna, Virginia owned and operated by
Kevin131, www.assemblylinestudios.com for info on how you can sound better than best!
Oh and by the way...the standout tracks on this album are
1-7... hehe! Rating: 9/10 – David, www.revelationz.net,
Denmark (10/2003)
Pronunciation: 'e-pik
Function: adjective
Etymology: Latin "epicus", from Greek "epikos", from "epos" word, speech, poem -- more at VOICE
Date: 1589.
1: of, relating to, or having the characteristics of an epic.
2 a: extending beyond the usual or ordinary especially in size or scope
2 b: HEROIC. An epic may deal with such various subjects as myths, heroic legends, histories, edifying religious tales, animal stories, or philosophical or moral theories.
Doom
Pronunciation: 'düm
Function: noun
Etymology: Middle English, from Old English dOm; akin to Old High German tuom condition, state, Old English dOn to do
Date: before 12th century
1: a law or ordinance especially in Anglo-Saxon England
2 a: JUDGMENT, DECISION; especially: a judicial condemnation or sentence b (1): JUDGMENT 3a (2): JUDGMENT DAY 1
3 a: DESTINY; especially: unhappy destiny b : DEATH, RUIN
Synonym see FATE
Heavy Metal
Function: noun
Date: 1974: energetic and highly amplified electronic rock music having a hard beat
As much as I d like to leave my review at that, I feel I should at least expand on this fine, fine album. I should first preface this with the fact, I never really got into “classic” doom as such (Candlemass, Trouble, Solitude Aeternus, etc), preferring the rumbling girth of My Dying Bride and Paradise Lost. However, I do have in my CD collection one sore thumb of an album that I am proud of; Solstice “New Dark Age”. I didn’t think I’d ever find a band as good, that epic, that emotional-all with clean vocals. Well erstwhile readers I give you While Heaven Wept, new to me but with a considerable underground discography, "Of Empires Forlorn” is the utter epitome of epic, classic doom metal; soaring vocals cast over behemoth riffs, layered with harmonious and delicate synths. And while I am enamored with more guttural acts like Pantheist and Mourning Beloveth, “Of Empires Forlorn” has moved me with the same amount of oppressive sonic weight, albeit tinged with a ray of uplifting hope.
While still not a huge fan of the essentially power metal vocals, the music on display here is often jaw droppingly good, both in scope and delivery, and the vocals actually suit the epic riffs perfectly. Between each song, there is an ocean themed sample that adds to the ambience of the album, but also made my bladder freakishly weak. That added nuance just really adds to the album's aura that makes you close your eyes, and just kind of ebb along with the blissful heaviness as it washes you away. As to be expected the songs are all lengthy exercises in metal poetry, with only the cover of Candlemass’s “Epistle #81” (I would have only known it is a cover by looking at the credits, as it blends seamlessly with the other songs) clocks in less than 4 minutes.
After prolonged listening, While Heaven Wept are master craftsmen of the genre, and to me personally as a metal fan, that’s their only real downfall. While certainly appreciating rending tracks like the opener, “The Drowning Years”, and the rending “SoulSadness”, or even the almost tear inducing, instrumental album closer “From Empires to Oceans” (essentially an acoustic rendition of the superb title track), this still is an album I don’t see my self coming back to that often despite its brilliance. Maybe my phobia of clean vocals is the culprit, as to me the songs play like a collection of down tuned power metal ballads. And for some reason, Manowar’s slower, epic songs (“The Crown and the Ring”, “The Bridge of Death”) kept coming to mind. So when a slight more harsh vocal delivery surfaces during the massive title track, I got tingly for a brief moment, it’s that perfect musically.
A truly moving album that shows While Heaven Wept are to be considered the epoch of their genre, especially for US bands. But even though my scores reflect my objective view and recognition of the obvious mastery on display, I must warn listeners expecting monstrous funeral doom that this plays more like traditional heavy metal/classic doom laced with agonizing beauty and solace. Production: 5.75/6, Songwriting: 5/6, Musicianship: 5/6 - Lustmord, www.metalreview.com, USA (2003)
Their riffs are hewn from grandiose, epic doom at it’s finest, the overwrought vocals will be familiar to fans of bombastic power metal, and the overall atmosphere that fans of true, unapologetic heaviness will find utterly invigorating.
Bereft of the happy clappy jauntiness that makes power metal so unpalatable to many people, and bulging with mournful grace and dignity, this is an intensely moving and curiously uplifting album from a greatly underrated force. Rating: 4/5 K – Dom Lawson, Kerrang issue 981, UK (Nov.15, 2003)
Well, it is beautiful beyond words!
The length of the album is about three quarters and I’m left with a tear in the corner of my eye from the first sound to the last note. It opens with ”The Drowning Years” which is maybe the best track on the album, and it is majestic as eternity, incredible. And when ”Of Empires Forlorn” comes I’m simply struck down! This is more beautiful than most things. And Philips’ voice fits like roses and romantic fits, and covers these wonderful and melancholic melodies in a silk of sorrow and tears. Soul-filled! And so it continues with “Voices In the Wind”, “In Aeternum”, “Soulsadness”, Epistle No. 81 (which is a traditional Swedish (!) hymn) and “Sorrow of the Angels”. This is sadness and melancholy for everything its worth, and it is so worth it! If you want something beautiful, and yet metal, then While Heaven Wept – Of Empires Forlorn is one of the best alternatives, if not THE best! Even the toughest men might shed a tear after this...
We’re looking with tears in our eyes to the next album! Rating: 9/10 – Gnombob, www.powerlord.tk, Norway (2003)
The production and sound quality of this cd is great. It's obvious that a lot of time and care was put into the recording process. The great sound quality helps highlight the creative use of keyboards, which lend a romantic/classical sound to many of the songs. The string arrangement at the end of "From Empires to Oceans" is absolutely beautiful. On first listen, the song "Voice in the wind" really stood out for me with it's major key chord progression and very melodic melody line. This song proves that not all doom metal must be in a minor key to sound heavy. A creative arrangement of the traditional song "Epistle No. 81" is included and doom fans may remember Candlemass covering this song on their "Ancient Dreams" cd.
Fans of melodic clean vocals will very much enjoy Tom Phillips’ voice, which fits the mood of these songs perfectly. With a very relaxed and good clean tone, it's nice to hear someone sing high without screaming or sounding like an Ozzy clone. Tom also plays guitar along with Scott Loose. Their twin guitar harmonies remind me at times of classic NWOBHM bands. Often bass players get lost in the mix on many doom albums but this is not the case with Jim Hunter, who has a great sound and adds some really nice melodic touches to many of the songs. Jason Gray rounds out the rhythm section with solid, expressive drumming.
The sound of rain and tolling bells along with the cd cover and booklet, with pictures of misty mountains and tombstone angels, all create a very epic atmosphere to give this disc a very unified feel. For anyone out there wondering what Epic Doom Metal is, buy this disc and you shall know. - John Shamus Gaffney, Doom Altar , USA/UK (2003)
Even though some of the songs on Of Empires Forlorn were written way back in 1991, this 2003 recorded album must be the band’s debut. In fact, The End Records, which distributes the album exclusively, mentioned this is a reissue of the 1,000 copies first pressing on Eibon Records.
The name of the game for While Heaven Wept is slow moving songs with plenty of mournful melodies. The band does not downtune, distort, heavily chug or imitate Black Sabbath ,Candlemass ,St. Vitus or Trouble in any manner. Instead, Tom Philips (vocals, guitars, keyboards, main composer) leads the way with Harmony. Yes, Harmony from the capital letter. At times it seems that dual guitars, keyboards, and above all, vocals gel together into one willowy unadulterated Harmony river. Vocals, though, is what might turn off some of the people with the love for the more conventional gruff doom vocals. I admit that it is what I expected, and it took me a few listens to finally come around and become a believer. Instead of the bottom-of-the-barrel moan Tom Phillips offers a stunningly clear and, as above says, overly harmonized vocal display. Such delivery provides a stark contrast of hope to the lyrics full of hopelessness and despair. Here and there Tom Phillips even throws a few higher notes worthy of a high pitched power metal vocalist. Also, the title track offers two lines grunted out in a death metal voice, although the latter is somewhat not befitting of the rest of the album.
The opener The Drowning Years sets the tone with its slow doomsday bell sounding beginning. The song accelerates all the way towards the end and finishes with a profound double bass by Jason Gray. The lyrics of the song is about alcoholism (at least that is what I think), but the overall approach to the music and clean vocals provide hope for a sufferer. More up-tempo and riff driven In Aeternum contrasts well with folksy and mellow Epistle No. 81 with both songs spanning the spectrum for While Heaven Wept . The only track that I wasn’t jumping up and down for (or should I say crying myself a river) was Voice in the Wind . I understand the song was composed in 1977 and has been reworked, but it sounds almost poppy with those synthesizers. In fact, synthetic sounding keyboards are something While Heaven Wept would do great without. Their music is so honest and organic it would benefit much more from the authentic piano when it gets to ivory tinkling.
Of Empires Forlorn has been a great surprise to me and I am going to label it as such. This is one great doom album which borders on mellow yet really expresses the grief and sorrow obligatory for a doom metal band. This is one album which will alleviate a listener’s distress without reaching for a pistol pointing to your temple.
Killing Songs : All songs are of even equally good quality - Alex 85 / 100
While Heaven Wept's approach to doom takes on a very lush, classy approach that draws more from the melodic style of Candlemass and Solitude Aeturnus. Tom Phillips' singing is actually a bit reminscient of Michael Kiske, before Kiske became a metal malcontent. Tom's ability to hit those high soaring notes is quite impressive, as well as his command of convincing melodies. The strong use of keyboards does occasionally tend to give While Heaven Wept an AOR feel to their doom, particularly "Voice in the Wind", which is about as anthemic and ear bending as any song you'll ever hear in the doom category. The seven songs on this CD are lengthy, but arranged in a deft fashion that keeps the songs propelling forwards and never becoming stale. There's even a reworking of "Epistile No. 81", which old school doom fans while remember Candlemass taking on quite some time ago.
Of Empires Forlorn is quite possibly one of the best doom metal releases of 2003 and one of the more impressive albums of its style in quite some time. Each listen has brought out more to appreciate and enjoy, providing some nice depth. Needless to say, this CD could easily find appeal in any doom fan or a metal fan with appreciation for well constructed melodic, gloomy music. - Review by John Chedsey, Satan Stole My Teddybear, review date: 12/2003
Doom.
Già, però meno oscuro, meno pesante quasi allegro e a tratti epico.
Queste le mie prime impressioni dopo l'ascolto della opener di questo Of Empires Forlorn, secondo lavoro ufficiale per gli americani While Heaven Wept. Già il fatto che siano americani mi ispira un po' di sana compassione perché non essendo scandinavi non se li cagherà nessuno e io sono incappato nel solito gruppo ultra sfigato che non conosce nessuno ma che è stato innalzato a vessillo di una qualche bandiera alternativa del doom da qualche critico. Memore poi del fatto che i gruppi doom sono raramente scandinavi e soprattutto essendomi reso conto che stavo iniziando a spararle davvero grosse mi accingo a continuare la recensione in modo decisamente più canonico.
Peccato perché avevo proprio voglia di distruggere questo gruppo e presentarlo come un bel combo (che bella questa parola...) di perdenti... davvero peccato.
Secondo cd dicevamo... beh non essendo io in possesso del primo non vi saprei proprio dire se hanno cambiato genere durante il loro percorso stilistico e comunque dubito che ve ne possa importare qualcosa. Comunque torniamo al cd vero e proprio.
Innanzitutto si presenta con un bellissimo artwork, o almeno con una bellissima copertina dato che io questo cd non ce l'ho però la copertina mi sembra bella ma non si sa mai dentro potrebbe esserci di tutto anche frasi sconnesse prive di significato e di punteggiatura come questa. Molto bella, dicevamo, la prima traccia The Drowning Years in cui la voce chiara limpida e a tratti epica di Tom Philips regna sovrana, supportata da un ottimo riffing, non troppo lento ma neanche al limite del death metal, diciamo il giusto necessario per rientrare nella catalogazione di doom metal.
Ottima la prima traccia dicevamo... già davvero ottima. Peccato che poi ce ne siano altre sei che proprio ottime non sono. Se in The Drowning Years il doom metal triste e lento si univa alla perfezione con melodie ruffiane e ammalianti nella seconda traccia Of Empires Forlorn si torna a ritmi decisamente più lenti annoiando decisamente l'ascoltatore che si era abbondantemente esaltato dopo i primi promettenti minuti di questo disco. Stesso discorso vale per la terza Voice In The Wind dove invece prevalgono ruffianeria e melense melodie il tutto avvolto in alone di epicità molto à la Queen.
Peccato che questi siano i While Heaven Wept e non i Queen, un gruppo americano che ha fatto un discreto disco di doom molto rilassato, quasi ai confini del rock, dove le canzoni tendono a somigliarsi un po' troppo, sia per il tono bello ma monocorde di Philips sia per la staticità delle canzoni... certo è pur sempre doom ma gli Anathema e i Paradise Lost non arrecano uno stato di così profonda catatonia.
Discreto, non bello, neanche brutto... forse neanche discreto... dipende dai gusti; io direi mediocre. Si salvano la prima e la quarta traccia, orribile la quinta. Stelle: 3/5
Recensione di: wwwhatemoornet, (3/12/2003)
Zartes Wellenrauschen leitet den Silberling, auf den viele Doom-Fans gewartet haben, ein. Langsame, schleppende Gitarren setzen ein, und bevor Sänger Tom Phillips auch nur einen Ton vom Stapel lässt, ist man schon völlig ergriffen von der emotionalen, traurigen Stimmung, die allein schon durch das Gitarrenspiel erzeugt wird. An dieses schließen keine – wie man vermuten könnte – ultratiefen Growls an, sondern der klare, fast schon tenorartige Gesang des eben erwähnten Mr. Phillips. Schwere Gitarren und ein majestätisches Keyboard schaffen eine Atmosphäre, deren Schwermut sich wie ein bleierner Vorhang auf den Hörer niederlegt – jedoch kommt ‚Of Empires Forlorn’ nicht schmalzig oder gar tränenreich daher, stattdessen vermitteln uns While Heaven Wept ein angenehm bedrückendes, trauriges Gefühl, das sich durch Ohr und Herz wühlt. Und es wird nie langweilig: Wuchtende Gitarrenriffs, melodische Soli und variierende Vocals, wie z.B. im gleichnamigen ‚Of Empires Forlorn’ machen dieses Stück Epic Doom Metal zu etwas ganz Großem!
"Voice In The Wind" kommt im sehr gediegenen Tempo daher, fast schon im balladesken Gewand und es ist einfach Musik, die sprachlos macht, weil sie so schön und perfekt und traurig ist, dass man kaum etwas dazu zu sagen vermag... Sei es das epische ‚Soulsadness’, das seinem Namen musikalisch alle Ehre macht und zum Nachdenken anregt oder das wie eine große Komposition angelegte ‚Epistle No. 81’ – das ist Tristesse par excellence – ebenso wie das majestätische und mächtige ‚Sorrow Of The Angels’ oder das unglaublich emotionale Instrumental ‚From Empires To Oceans’ – all diese kleinen schönen Stücke machen ‚Of Empires Forlorn’ zu einem Meilenstein der Doom Metals, dessen Emotionalität und Epik man sich nicht zu schämen braucht – im Gegenteil: Freut euch, die Kunst, mitreißenden und ergreifenden Doom Metal zu schaffen, beherrschen nur noch wenige! - www.shadowshire.de , Germany (2003)
Merellisillä äänillä ja kellojen kalkkeella levyn avaava The Drowning Years ilmestyi seiskatuumaisena jo viime vuonna. Komeisiin mittoihin kasvava sävellys tuo monia WHW:n tunnusomaisimpia piirteitä esille. Polveilevat laulumelodiat juoksevat kitaroiden ympäröiminä hitaasti ylös ja alas, koskettimien värittäessä taustalla maisemaa syvemmäksi. Basso ja rummut rakentelevat peruskuvioitaan rauhallisesti. Päärooli lankeaa Phillipsin ja Scott Loose n kitaroinnille, sekä maestron puhtaalle, kantavalle äänelle.
Toisena soiva nimibiisi Of Empires Forlorn on merkitty vuosien 1997-2001 aikana syntyneeksi, ikävä kyllä loputtomiin asti hierominen on tällä kertaa kuluttanut alkuperäisen idean jäljettömiin. Voice In The Wind on ainoa kipale jolla on myös jonkun muun sävellystyötä. Voimaballadi (hip-hei!) on alunperin syntynyt jo 1977 Klaus Hess in kynästä, mutta Phillips on ' lisännyt ' sävellystä 14 vuotta myöhemmin studiossa. Surun vuonna 1995 pyöräytetyltä maksilta Lovesongs Of The Forsaken on mukaan napattu In Aeturnum . Nyt sukelletaan gootin puolelle, lyriikoiden ollessa huomattavasti runsaammat - ja paremmat - kuin aikaisemmilla raidoilla. Biisi rockaa kuin Mission vahvimmillaan, ja synkistelee kuin Fields Of The Nephilim parhaimmillaan.
Ensiesityksen levyllä saavat Soulsadness ja Epistle No. 81 , jotka kumpikin ovat satoa vuodelta 2001. Ensinmainittu jatkaa onnistuneesti In Aeturnumin seurassa goottimaisemassa kulkevalla polulla. Epistle on puolestaan vanha ruotsalainen sävelmä, jota itsensä Carl Michael Bellman esitti jo 1700-luvulla. Tulkinnassa liikutaan mahtipontisissa maisemissa, eikä lähin viikinkisatama ole taaskaan kovin kaukana. Päätösraitana kuullaan Sorrow Of The Angels joka alkujaan julkaistiin samalla maksilla kuin In Aeturnum. Alakuloinen sävel ei juuri nouse tai laske, mutta onnistuu silti vaikuttamaan minimalistisuudellaan, päättyen meren aaltojen ääniin - kuinkas muuten
While Heaven Wept ei luo juuri mitään uutta, mutta ryhmä osaa käyttää aikaisemmin luotuja keinoja ammattimaisen tehokkaasti. Levyä voi suositella heille jotka pitävät surun kauneudesta, ja niistä genren bändeistä jotka nojaavat jo lähelle melodisen goottirockin laitaa. Rating 2.5 stars - Mika Roth, Desibeli.net, Finland (10/2003)
Azzal szerintem keveset arulok el, hogy ez szamomra nem is, hogy az ev, hanem az utobbi evek legjobb doom metal teljesitmenye! A While Heaven Wept fenseges zeneje Candlemass, Fates Warning, Solitude Aeturnus gyokerekkel rendelkezik, de koztudott, hogy Tom minden zenet meghallgat az Anathema-tol kezdve a Burzum-on at az atmoszferikus keleti zenet jatszo Kitaro-ig, de a 70-es evek AOR rock-ja sem all tavol tole.
Amellett, hogy Tom jatszotta fel a gitarokat es a billentyuket, az elmulasrol eneklo banatos es magasztos vokalok is neki koszonhetoek. Hangja tobbnyire magas tartomanyokban szarnyal, de a cimado notaban horog is nehany sort. Egyebkent a cimado dal elejen hallhato ir/kelta beutesu akusztikus temarol az ir Primordial ugrott be, mint parhuzam.
Ket feldolgozas is van a lemezen: a Candlemass Epistle No. 81-jet lett atformalva a WHW kepere, valamint egy 70-es evekbeli Jane dalbol (Voice in The Wind) csinaltak egy megadallamos doom metal notat. Az utolso tetel egy ambient szerzemeny, amelyben vissza koszonnek a lemez kulonbozo dallamai.
Sokat lehetne irni errol a lemezrol, megsem tudnam elarulni, hogy miert is annyira jo, u.h. csak annyit tehetek, hogy mindenkinek ajanlom a minel hamarabbi megismerkedest ezzel a csodalatos zenekarral es lemezzel. Rating: 10/10 -Robert Sun, TMS, Romania (2004)
Diese CD erschien 2003 mit einer Auflage von 1000 Stück über das italienische Label Eibon Records. Diese Auflage war nur für den Verkauf via Mailorder bestimmt, und ich wurde viel zu spät auf das Teil aufmerksam, um noch ein Exemplar zu einem vernünftigen Preis zu ergattern. Jetzt, fünf Jahre nach dem letzten Album ?Sorrow of the angels", veröffentlichen es Rage of Achilles erneut. Diesmal weltweit, im neuen Design und natürlich remixt und remastered. Schade für die Glücklichen, die eine Erstausgabe ergattern konnten. Gut für mich.
Das aktuelle Line Up der Band aus Philadelphia hat es absolut in sich. Mastermind Tom Phillips verdient sich natürlich weiterhin als Gitarrist und Sänger. Seine Ausflüge zu den Maniacs von Twisted Tower Dire und den britischen Doomern Solstice haben dem Sound seiner Truppe enorm gut getan. Am Bass unterstützt ihn Jim Hunter von eben Twisted Tower Dire, der aber schon bei Revelation Doom Erfahrung sammeln konnte. Hinzu gesellen sich Scott Loose an der Gitarre und Jason Gray an den Drums.
Was wir hier vorliegen haben, geht über gewöhnlichen Doom weit hinaus. Einflüsse von Gothic (ein wenig) und Heavy Metal (eine Menge) sind nicht von der Hand zu weisen. Und hier und da klingt kaum merklich ein wenig Folk durch. Der charismatische helle, aber niemals nervige Gesang sorgt dafür, dass man diese Band unter Tausenden wiedererkennt. While Heaven Wept setzen nicht so sehr auf Verzweiflung und Schwermütigkeit. Vielmehr entfalten sich Melancholie und Gleichgültigkeit in den epischen Songstrukturen zu voller Blüte. Aber auch Wehmut, Sehnsucht und Verlangen machen sich in der Seele des Hörers breit. In den Neunzigern hätte bei dieser Band sicher jemand gegrunzt. While Heaven Wept überzeugen ohne diese profane Stilmittel auf ganzer Linie.
Ewige Meckerer würden vielleicht kritisieren, dass die Abwechslung hier etwas zu kurz kommt. Ich zucke gelassen mit den Achsel und versinke im traumhaft schönen ?Soulsadness". Das an My Dying Bride erinnernde ?In Aeternum" bläst mich völlig weg. ?Epistle No. 81" nimmt mich mit auf eine Reise in einsame Bergregionen. Und ?Sorrow of the angels", bettet mich zur Ruhe. Rating: 9.5/10 - Christian, www.metalglory.de , Germany (1/2004)
Vocalist Tom Phillips instantly draws comparisons to Messiah Marcolin and of all people, Dennis DeYoung of Styx. His soothing vocal harmonies and pitch are not only the band's top commodity, but beautifully haunting as well. Phillips single-handedly carries 'The Drowning Years' and personal fave, 'Voice In the Wind' and elevates them to soon-to-be classic status. So haunting and memorable is 'Voice In the Wind' that it should be placed alongside My Dying Bride's 'The Cry Of Mankind' and Anathema's 'Sleepless' for the best doom metal song in the past 20 years.
Behind Phillips, While Heaven Wept is quite textbook in its execution of this aforementioned style. From the Sabbath-esque stomp of 'In Aeternum' to the sparse use of death metal vox in the title track, While Heaven Wept doesn't do anything remarkable, it is just able to execute to a far greater extent than its contemporaries. Chunky power chords, rock-solid drumming, and sterling melodic interplay are also quite evident demonstrating While Heaven Wept's musical prowess as well.
Of Empires Forlorn drags a little bit towards the middle of the album, which could be attributed to the amazing high reached with 'Voice In the Wind'. Blame the tradition of having eight minute long songs for this complaint. Also, one would hope that in the future more exotic avenues will be explored in the guitar melody department, but why ruin an already good thing?
Of Empires Forlorn is one of 2003's hidden gems, an album that is menacingly elegant and blessed with an innate sense of emotion. Spell 'doom' backwards and you get 'mood', which is a proper state of being to describe such an emotionally charged album. For anyone who even remotely fancies the holy Trinity of British doom (My Dying Bride, Paradise Lost, and Anathema) and Sabbath would be wise to purchase this. Rating 9/10 - David E Gehlke, www.blistering.com , USA (2004)
Allein der Opener ?The Drowning Tears" ist so gewaltig und erhaben, mitreißend und packend, dabei gekennzeichnet von einem majestätischem Riff, das zusammen mit der mächtigen Stimme Phillips absolut fesselt. Aber als ob das nicht schon faszienierend genug ist, setzen sich die Amis gleich anschließend mit dem Titeltrack dann selbst die Krone auf. Ein Stück, das seinen Reiz durch die ungewöhnlichen Gesangslinien und die außergewöhnlichen Vocals Phillips entwickelt, welche den Hörer vollkommen in Trance versetzen. Simple und dennoch oder gerade deswegen sensationelle Riffs, begleiten dieses wahrhafte Meisterwerk des Doom Metals, das zum Schluss mit deathigen Vocals (die einzigen auf diesem Album) seine ganze Kraft und Energie ausbreitet. Meterdicke Gänsehaut!
Was kann danach noch kommen? WHILE HEAVEN WEPT machen das einzig Richtige und stellen ein komplett anderes Stück hinten an. Balladesk, fast schon verspielt und verträumt ist ?Voice In The Wind", das schon aus dem Jahre 1977 von einem gewissen Klaus Hess stammt und von Phillips umarrangiert wurde. Vielleicht etwas zu schwülstig geraten, verbreitet es dennoch, ebenso so wie seine Vorgänger und Nachfolger, dieses majestätische Gefühl welches guten Doom Platten so eigen ist. Das 13 Jahre alte ?In Aeturnum" ist anschließend der dynamischste Track des Albums, enorm tempovariiert tendiert er gegen Ende, in für doomige Verhältnisse, geradezu explosionartige Gefilde. ?Soulsadness", dass sich anschließt wird beherrscht von einem fetten Chorus und gibt durch diesen seinem lyrischem Herzschmerz freien Lauf. Ebenfalls Gänsehaut garantiert. Als Vorletztes gibt es dann ein schwedisches Traditional, das sich aufgrund seiner Entstehung etwas vom restlichen Material abhebt und als Einziges nicht vollends überzeugen kann, da es etwas an Dynamik und Abwechslung missen lässt. Das abschließende ?Sorrow Of The Angels" kann über diesen Makel allerdings hinwegtrösten, vereinigt es doch nochmals alle großartigen Merkmale ?Of Empires Forlorn", angefangen bei den alles überragenden Vocals über wunderschöne Keys bis hinzu den getragenen Riffs.
WHILE HAEVEN WEPT ist mit ?Of Empires Forlorn" ein wunderschönes, zeitloses Doom Album gelungen, welches mit dem Titeltrack einen absoluten Göttersong beinhaltet, dem, mit Ausnahme des kurzen ?Epistle No. 81", die anderen Tracks nur minimal nachstehen. Göttlich!
Forever Weeping - Doom On. 4.5/5 - Oppossum, www.wallsoffire.de , Germany (2004)
When I receive records, I classify them, to see which one I'm going to hear/review first, when they're albums that I've been expecting, I listen to them immediately, but when they're unfamiliar bands I classify them. How classify them? Simply, the nicer cover arts go on the top, and the ugly ones goes on the bottom. When I received While Heaven Wept - Of Empires Forlorn it went straight to the top.
So, I'm a bit of "Cover art Racist", but like I always said, having a nice cover doesn't mean the music is good, and an ugly cover, doesn't imply that the content is bad. But, when you have nice cover art + really good music, you can't be thankful enough to the heavens!
So. Aside from the nice cover, what does While Heaven Wept has in stores for us? Doom, lots of Doom. Classical Doom Metal clearly influenced by Candlemass and Solitude Aeternus, without being a copycat of such acts. While Heaven Wept delivers epic melodies, majestic clear vocals, pounding riffs, atmospheric interludes and the whole Sorrow/Melancholy vibe. This is first class Doom Metal.
From The Opener 'The Drowning Years' you know you're in for a treat, 'Of Empires Forlorn' features some nice Death grunts at the end of the song, 'Voice In The Wind' is one of the most sad songs I've ever heard, it really emanates sorrow and despair. The album even contains a cover of Candlemass 'Epistle Nº.81' very tastefully done. To close the album we have a beautiful instrumental track 'From Empires To Oceans', just listen to the keyboards, epic and at the same time sorrowful...
This is a must-have for any Doom Metal fan, if you don't have this one in your collection, you're missing what Doom is all about. Rating: 8.5/10 - Undercraft, www.metalstorm.ee , International website/forum (2003)
This band is led by the exceptional and powerful voice of Tom Phillips, who could perfectly fit in any heavy metal band, but has chosen to put his vocal abilities at the service pf genuine lamentations instead. And it's a very good idea, for the guy is able to provide us with wonderful vocal melodies, like on 'Epistle No.81'. For once I'm even glad the vocals have been mixed louder than the music. It is undoubtedly their strongest feature. Phllips can be lyrical, charming and growl sometimes... Goo job man!
The music itself is quite common but absolutely not unpleasant. It is slow-paced, very heavy but still extremely melodic, with keyboards here and there to enhance the impression of serenity that surround Of Empires Forlorn. Far from the vociferations of doom/death, they even have the luxury to give us a beutiful ballad ['Voices In The Wind']. To sum up, these Americans are well-inspired, and they know how to spread their sadness.
Doom metal is here to make people share the band's feelings, and in this point of view, this album is a success, one of those that stay in your mind long after you removed the cd from your stereo. Actually I only reproach the short length of Of Empires Forlorn: 7 songs, 41 minutes, minus 7 minutes of boring atmospheric stuff... It's enough to lower the final rating. Beyond that, doom fans, you know what you have to do... Rating: 8.5/10 - Deadsoulman, www.metalstorm.ee , International website/forum (2003)
Ladies and gentlemen, welcome to the new season of American Metal Idol...
As I have stated in past reviews, I'm all for variation, bucking trends, and individuality. Well, While Heaven Wept has all that, yet they still manage to turn my stomach with every agonizing spin of their first full-length, Of Empires Forlorn. I'm a huge fan of doom metal in all its various guises, but WHW's brand of sickeningly-sweet and cheesy "doom" had me reaching for the stop button as quickly as I could.
First, let me say that While Heaven Wept do have a somewhat unique sound. They combine an old-school melodic doom sound (Candlemass, Solitude Aeturnus, etc.) with very power metal-ish vocals and lots of keyboards. The problem is, the vocals are so over-the-top and saccharine, they completely ruin what may have been a decent listening experience. Tom Philips has a very wide range, but he is ridiculously overdramatic, and his bright melodic style just doesn't fit the lyrical content or doom style. His voice is somewhere between former Helloween vocalist Michael Kiske and Joey Tempest of Europe. I could see this guy on Star Search or American Idol, going for that perfect score with those high notes. After two songs I felt the urge to stick something sharp and pointy in my ears. As far as keyboards go, I don't mind them being used sparingly in the doom genre (a little atmosphere is always welcomed), but here it is just too much. The band can certainly play their instruments, but the riffs are very plain and the tempos have a sameness throughout the album.
The production on Of Empires Forlorn is solid...if it were a power metal album. The doom genre needs a darker, less focused sound that this album lacks considerably. It's actually produced a little TOO well. There is a hefty amount of bass (the only thing they got right), and the mix is very good.
Sometimes an album strikes a raw nerve in me for reasons I can't explain. While Heaven Wept have done that, and I think it's because one of my beloved genres has been sullied with those godawful vocals and cheesy keyboards.
Simon, what do you think?... Rating: 4/10 - Rumplesmoothskin, Metal Coven.com
Before I began to listen to "Of Empires Forlorn," I had heard the band being described as an Epic Doom Metal band with and Epic Doom Metal sound. In all honesty, I had no idea what an Epic Doom Metal band is supposed to sound like, but I do know what a Doom Metal band is supposed to sound like - a sound that is heavy and emotional, and will send a shiver down my spine.
I'm not sure if I'd call While Heaven Wept an Epic Doom Metal band, but I am sure of one thing: "Of Empires Forlorn" is heavy, emotional, serene and...let's just say that the music sent a shiver down my spine more than a few times. The band writes and plays their music with a passion, and it shows when listening to the album. From the first song on the album "The Drowning Years" to the last song "From Empires To Oceans," it's apparent the band knows what Doom Metal should sound like. There's something to say when a song such as "Voice In The Wind" can make me think about what I am listening to, even envisioning one sitting and reflecting upon their past life, be it good or bad. Even the song "From Empires To Oceans" had me imagining that I was sailing across the ocean - I could hear the waves and feel the serenity of it all. Then there's the song "Soulsadness" which encompasses what Doom Metal should sound like - real doom that is (the sound I described earlier).
I was trying to think how I can best tell everyone how great this album is, and in all honestly I had trouble trying to find the words. With that said, I decided to just leave it at this: if you grew up with the Doom Metal sound from the 80's and thirst for that sound, "Of Empires Forlorn" will quench that thirst. While Heaven Wept and the "Of Empires Forlorn" is not your little brothers' or sons' Doom Metal...it's "your" Doom Metal! Fav: Soulsadness. Masterpiece! Rating: 6/6 - Cameron Gillespie, Power Packer Zine issue 5, USA (3/2004)
While Heaven Wept is a self described Doom Metal band. Eibon Records an Italian label known for its contributions to the dark music scene is responsible for this fabulous release. For those not familiar with the Doom Metal genre it translates into "We are going to rock you off your feet with gothic tinged metal mania!"
While Heaven Wept, is a powerful ensemble of metal musicians that deliver their own brand of passion filled dark metal. Aggressive guitars and epic male vocals along with classic heavy metal drumming drive the music. While Heaven Wept's roots are deeply rooted in classic heavy metal music. From their metal foundation, they draw upon elements of neoclassical music, gothic rock and death metal. This really delights me as death metal is often so over the top in its static approach that I quickly get bored of the show. While Heaven Wept has no problem invoking the comfort of your favorite metal acts while bringing a new passion and darkness to the music.
The title track "Of Empires Forlorn" is the second track on the album. With the first song, the beast is released from its cage. The sound of waves breaking ashore on shore opens the song. An energetic acoustic guitar plays gently over the waves weaving a spell of peacefulness. This peace is thoroughly shattered when the drums begin to pound out their rhythm with electric guitars at their heels. The electric guitars and drums quickly transform the previously folk guitar introduction into a full-blown metal anthem. The singer joins the fray of drums and thrashing guitars. His voice rises over the tide of the music with strength and passion. The vocal delivery is majestic and engages the listener's emotions as the singer communicates his tale of loss and hope. The song is an epic metal track that really delivers the goods. While Heaven Wept rips it up with fierce guitars, strong drums, and emotional vocals along side chugging black metal guitar chords.
The Third song on the album is titled "Voices in the Wind." "Voices in the Wind" is composed much more delicately than the other tracks on the album and remains one of my favorites. The song reigns in the metal frenzied energy of the album and offers a delicate balance of beauty and power that is only found in the very best metal ballads. Many of us have a metal ballad or two that we once sang in the past to ourselves when we felt alone. "Voices in the Wind" is such as a song. You will find yourself singing the sorrowful chorus in your head long after the song has ended. "Voices in the Wind" is artfully composed to peel back the musical layers and give the vocalist a better chance to be heard. This attempt at a more delicate ballad also offers the guitars and drums more space to perform without being crowded by the other instruments. The song begins with drums and reproduced strings interacting with mellow chords from a bass guitar. As in other songs, this gentle intro is swept away by the electric guitars as they descend wailing out their sad and romantic melody. The vocalist is at his very best. His lyrics are sung with force and are full of heart-felt emotion. "I hear you in the wind, haunting me once again...."
"From Empires to Oceans" is the title of the closing track. "From Empires to Oceans" closes the album with an in depth exploration of neoclassical instrumentation. The choice for such a close to the album once again illustrates While Heaven Wept's ability to embrace new compositions. This instrumental closing is further explores the underlying emotional current of the music. Once again, we hear the ocean breaking against the rocks. A string ensemble plays a touching emotional closure for an album of powerful doom metal. Delicate melodies are played out across the strings that stir the emotions and recapture the emotional signature of the guitars. The song is lengthy and not a meager nod in the direction of neoclassic composition. I found it to be an appropriate and quite unexpected ending to an incredibly emotional doom metal experience.
This album is a great introduction for Radical faeries that are new to this genre and want to find a dark metal album that is approachable. The entire album is approachable. Faeries will delight in this album filled with emotional metal anthems. Established fans of the metal genre will also love this album. Its raging power is harnessed reating a balanced presentation. If you love the surging power of black metal and you like it emotionally driven then you are going to have to have this album.
As far as ritual spiritual uses for the song materials go, you can always rely on While Heaven Wept to rev you up with a great metal anthem when you need it! - Malahki Thorn, Heathen Harvest, USA (2004)
"Of Empires Forlorn" wurde im letzten Jahr lediglich als eine auf 1000 Stück limitierte Mailorder-Only-Pressung auf dem italienischen Label Eibon Records veröffentlicht, wird nun aber via Rage Of Achilles einer breiteren Masse zugänglich gemacht - und dafür kann man als Nicht-Vinyl-Sammler nur unheimlich dankbar sein.
Denn was die Band um Gitarrist und Sänger Tom Phillips leistet, ist schier unglaublich. Der Gute hat mit seiner Mitarbeit bei TWISTED TOWER DIRE und den britischen Doomstern SOLSTICE zwar schon extrem gute Referenzen vorzuweisen, doch die Arbeit an seiner eigenen Band würde ich fast noch höher einstufen.
Hochmelodischer, an Dramatik, Spannung, Feeling und Detailverliebtheit kaum noch zu übertreffender epischer Doom Metal der absoluten Spitzenklasse.
Dabei stechen zwei Aspekte besonders positiv hervor: Zum einen Phillips' Stimme, die für einige sicherlich gewöhnungsbedürftig sein mag, für mich zählt der Meister aber mit seinem unverwechselbaren Organ zur Riege der eigenständigsten Metalsänger überhaupt. Seine kraftvolle, bisweilen recht hohe und trotzdem einfühlsame Stimme verleiht Kompositionen wie dem grandiosen Opener 'The Drowning Years' eine einzigartige Atmosphäre, welche zusammen mit den erhabenen, majestätischen Melodiebögen zu wahren Gänsehautschauern führt.
Der andere Aspekt ist die Tatsache, dass man WHILE HEAVEN WEPT zwar mit Fug und Recht als Doom-Band bezeichnen kann, dafür geht der Truppe aber jegliches Weltschmerz-Feeling ab, pseudo-depressive Passagen oder tieftraurige Beerdigungs-Rhythmen haben die Amis einfach nicht nötig. Während der Himmel flennt, brennt hier stets ein hoffnungsvolles, bisweilen recht helles Licht in den Kompositionen.
Diese sind im Übrigen ein Querschnitt aus der gesamten Schaffensphase der Band, "In Aeternum" und 'Sorrow Of The Angels' reichen sogar bis in die Anfänge der neunziger Jahre zurück. Nichtsdestotrotz merkt man dies dem Longplayer gar nicht an - hier wirkt alles wie aus einem einzigen schmiedeeisernen Guss.
Gerade bei dem alles überragenden Titeltrack oder dem unheimlich dynamischen "In Aeternum" wähnt sich der anspruchsvolle Hörer im metallischen Himmel. Viel besser kann man diese Art der Musik nun wirklich nicht spielen.
Die (Gitarren) Melodien sind an Erhabenheit und Hymnenhaftigkeit nicht mehr zu überbieten, kratzen hin und wieder zwar gefährlich an eher kitschigen Gefilden, ohne jedoch belanglos in solche abzudriften. Die bombastischen Arrangements sowie der stets abwechslungsreiche, spannungsgeladene Songaufbau tun hier ihr Übriges.
Lediglich das unerträglich schmalzige "Voice In The Wind" (im Original von 1977) mitsamt ungewollt komischer Lispeleinlagen von Meister Philips würde ich der Band negativ ankreiden - dem gegenüber stehen allerdings sechs zumeist überlange, göttliche Kompositionen, welche einen diesen kleinen Ausrutscher schnell vergessen lassen.
"Of Empires Forlorn" sollte jeder in seinem Schrank stehen haben, der in puncto Doom und Epic Metal etwas auf sich hält.
Dieses Album zu besitzen ist definitiv metal! - Rouven Dorn, www.powermetal.de , Germany (2004)
Eine der besten Epic-Doom-Bands bringen nun endlich ihr langersehntes neues Album heraus. Und das Warten hat sich definitiv gelohnt. Denn in dieser Qualität und Schönheit vollbrachten es nur wenige auserwählte Bands, mächtigen, emotionalen, ergreifenden Doom Metal zu erschaffen. CANDLEMASS ganz klar, vielleicht noch SOLITUDE AETERNUS oder neuerdings die Italiener THUNDERSTORM gehören zu diesen Ausnahmetruppen, zu denen auch WHILE HEAVEN WEPT vortrefflich passen.
Ihre Musik ist an Emotionalität kaum zu übertreffen, was Viele auch womöglich als "weinerlich" abtun werden. Die sollen ihre Happy-Bands hören und sich raushalten. Natürlich gibt's hier traurige, schwermütige Mucke zum Hören. Man muss allerdings kein Suizid-Kandidat sein, um sich von der emotionalen Tiefe und majestätischer Heaviness mitreißen zu lassen. Fakt ist, dass WHILE HEAVEN WEPT große Meister im Erzeugen von Stimmungen und kompositorische Könner sind! Wobei es hier keinen Grunzgesang gibt. Der klare, tenor-ähnliche Klagegesang ist erstklassig und vermittelt genau die triste Stimmung, auf die es hier ankommt. Auf den Einsatz von majestätischen Keyboards wird hier auch nicht verzichtet, die wirken aber keinesfalls störend, sondern steigern die Epik noch mehr!
Tom Philips (zockt auch bei den Folk-Proggern BRAVE), ist Mastermind und Bandkopf und hat es geschafft seinen Kompositionen noch mehr Dramatik als auf früheren Veröffentlichungen zu verleihen und ihm gelingt des weiteren das Kunststück, dass WHILE HEAVEN WEPT heuer wesentlich zugänglicher/eingängiger geworden sind. Den Bass zupft hier übrigens REVELATION/OCTOBER 31/TWISTED TOWER DIRE-Tieftöner Jim Hunter, ein wahrer Hansdampf, der wirklich einen guten Geschmack bzgl. seiner Bandauswahl hat. Rating: 11/10 - Ralf, www.ancientspirit.de , Germany (2003)
Diese Aufzählung sollte bereits deutlich machen, dass man sich hier nicht ausschließlich auf festgefahrenen Doom-Wegen bewegt, sich nicht auf Doom Metal im engen Sinne beschränkt. Vielmehr werden alle Stärken des Doom vereint und verfeinert. Neben der Schwere und Heaviness der Riffs wird sehr viel Wert auf Melodie gelegt, die aber meist eine melancholische Stimmung erzeugt, allerdings nicht ohne diese auf einer intensiven und erhabenen Ebene zu halten. Der Kopf der Band Tom Phillips, der unter anderem auch schon bei Solstice oder Twisted Tower Dire aktiv war/ist, und bei WHILE HEAVEN WEPT für Vocals, Gitarre sowie Keyboards zuständig ist, hat mit jahrelanger Arbeit seit der 98-er 4-Track-CD "Sorrow of the angels" ein Album erschaffen, welches ganz klar auf dem Niveau von Solitude Aeternus oder eben Candlemass anzusiedeln ist.
Bereits das erste der sieben Stücke ("The drowning years"), welches vorab auch als limitierte 7" veröffentlicht wurde, zeugt von großer Emotion und könnte auch als getragene Power-Ballade durchgehen. Mit enthalten ist des weiteren eine Coverversion des Candlemass-Songs "Epistle No. 81" von deren "Ancient dreams"-Scheibe und eine Neuaufnahme von "Sorrow of the angels" (ursprünglich schon Teil der "Lovesongs of the forsaken"-EP aus dem Jahre 1994 und seit 2002 auch zu finden auf der Doppel-Vinyl-Compilation "Chapter one", welche die bisherigen Releases nahezu komplett zusammenfasst) bevor abschließend das orchestral-sakrale Instrumentalstück "From empires to oceans" erklingt.
Doom-Fans werden "Of empires forlorn" lieben, aber auch darüber hinaus kann eine Empfehlung ausgesprochen werden. Beachtet werden sollte allerdings, dass zumindest die Eibon-Edition auf 1000 Digipack-Einheiten begrenzt ist. - pk, www.musik.terrorverlag.de , Germany (2003)
Imagine, if you will, a power metal band. One that was as happy and bubbly as any other power metal band, and perfectly content to sing of far-off battles and great deeds and soaring eagles. Yet one day tragedy befell this unlucky group, and they were cast out of happy land (which is where all of the power metallers live, of course). Seriously distressed and unable to cope with their sadness, they decided to become a doom metal band. At least, that's my fanciful version of how While Heaven Wept came to be. That's my story, and I'm stickin' to it.
Of Empires Forlorn is doom metal in the older sense of the word, when heavy metal could be doom, and before absurdly long and repetitive tracks of low moaning became the order of the day. While Jason Gray (drums) and Jim Hunter (bass) fill out the rhythm section nicely, the real beauty of the music comes from Scott Loose (guitars) and Tom Phillips (everything else). The songs create atmospheres bereft of the glee one would generally associate with the heavy metal style of instrumentation; however, Of Empires Forlorn is not without hope. Tom Phillips's vocals span a suitably lengthy range of pitches, and he can just as easily provide lilting, upper-register melodies as he can downcast lamentations or caustic rasping.
The guitars span an even greater range, at least stylistically. Chugging mid-tempo riffs drive the music along at a calm but steady pace, beautifully phrased melodies weave their way into the soundscape, and the occasional tasteful solo drops in just long enough to give the songs extra emotion. Unfortunately, the guitars and vocals, while each spectacular on their own, do not always work together. Phillips is a fine heavy/power metal singer, but the awkwardly bombastic phrasing from those genres often rings out annoyingly against the doom metal instrumentation. One has to wonder if he chooses his phrasings based not on musical intent, but rather to fit a quota for technically impressive but musically irritating metal standards.
Fans of older metal styles looking for a relatively depressing 43 minutes of music will find no better band than While Heaven Wept. Yet even if you have a few issues with said stylistic conventions (as I do, admittedly), you'll still enjoy the wonderfully crafted songs on Of Empires Forlorn , although you might find the CD falling just short of "mandatory". All in all, a deep and engrossing listen, open only to the kind of criticisms that spring from personal taste. Definitely check it out. - Eric Rasmussen, Starvox.net, USA (2004)