Sleepy Buildings - A Semi Acoustic Evening [Live]

Century Media wanted another album, and so the band eventually had to settle this dispute by producing something else. But what was it to be? After all, they presumably didn't want to write new songs in their old style. In the event, they came up with a clever solution: semi-acoustic reworkings of some of their older material. And so it was that they got to work on a batch of songs, most of which are well known to most TG fans, but they chose to include three older songs that go right back to the band's death metal roots, and that predate singer Anneke van Giersbergen. The title song, on the other hand, is new.

In November 2003, the band held two special concerts in the LUX theatre in Nijmegen, Holland, on consecutive evenings. Sleepy Buildings is the outcome. This would be an emotionally charged occasion for the band, because bassist Hugo Prinsen Geerligs had recently announced his intention to leave. These would be his last two performances.

The result is a stunning and classic collection of powerful, emotional songs. The more recent songs seem familiar enough, but they are made much more direct by the different balance and the clarity of the lyrics, and most are supplemented by imaginative new ideas in percussion, keyboards, guitar and bass.

But the real glory of this live album lies in the reinterpretation of the three older songs, particularly The Mirror Waters. The semi-acoustic version reveals death metal for what it really is: an expression by usually young musicians of their fears and uncertainties about the mortal, human condition. And The Mirror Waters in particular shows just how powerful these fears, and the accompanying sorrow, become when voiced by those who have grown a little older, and can look back on the world with more experience. If you have any compassion whatsoever in your soul, this track should move you close to tears.

Stonegarden and Like Fountains are similarly reinterpreted, perhaps with less impact, although the Michael-Stipe-like vocal approach that Anneke takes to Like Fountains is quite remarkable.

For now, this album may be seen by some as a retrogressive "blip" in an otherwise smooth and elegant forward progression -- but it's much more than that. It should become a classic. It possesses power and beauty beyond the years of the band members, up to the limits of our imagination about life itself.

Vocalist Anneke's voice is strong throughout, and occasionally surpasses her studio work in at least its emotional strength, with the only weakness perhaps being during 'Shrink', which is without the haunting harmonies evident on the studio original.

For some unknown reason however, this group, who outclass their most similar mainstream imitators, Evanescence, by a league, have failed to make much impact in the UK. On the continent and in the US however, they are performing very well, for what are still essentially an underground band.

It is my aim to get more people in the UK to discover this band. They would appeal to both metalheads, more mainstream rock fans, and anyone who admires beautiful, remarkable music. If more people in the UK buy this, then maybe The Gathering would then see fit to play some UK dates in their next tour, then we could all have a good sit down to their music.