Veröffentlicht am: 02.10.2000

There's no need to introduce THEATRE OF TRAGEDY, and it couldn't have been said more clearly: "Musique" - the only thing that kept THEATRE OF TRAGEDY going from the beginning, the conversion of their own, unique musical spiritual realms. There's hardly any band that led the aesthetics of the so-called "Gothic Metal/Rock" to such a plain perfection as this band did. Many bands tried walking in their footsteps over the years... Already in '95, their first, self-titled album was considered as a stepping-stone in Gothic Metal and THEATRE OF TRAGEDY rapidly lived up to the meaning of "Overnight Sensation". You could even say that THEATRE OF TRAGEDY were the inventors of the extreme contrast between the well known male 'death grunt'-type of vocals and so called 'clean' female, angel-like singing. The band was able to create a totally new style with what they were doing, not to forget about the beautiful, romantic-depressive lyrics by singer Raymond I. Rohonyi, which were written in old English. They succeeded in becoming a very unique band, which of course soon found many imitators.Their song "A Hamlet For A Slothful Vassal" of their first album became a cult classic, which so far still counts to the most important tracks in every repertoire of any Indie/Gothic-disco, but the band soon should reach new heights. The second album "Velvet Darkness They Fear" (released in '96) turned out to become one of the most successful gothic albums ever, and their club hit "Tanz der Schatten", helped them to reach an even bigger audience. Many headliner-tours followed, and THEATRE OF TRAGEDY established themselves as one of the most important bands in the Metal/Gothic genre. So far, these Norwegians succeeded in selling more than 90.000 copies of every album in Europe, and therefore showed that they've got everything to unite even fans that only occasionally listen to Metal or Gothic. Again, the vocals of Liv Kristine stood out as a trademark, and many guest collaborations (remember Atrocity's "Werk 80") and even a solo album followed. With their third album "Aégis", released in '98, the band began to cross their own borders, and showed their real potential. Many fans were a little frightened at first due to the untypical, electronic and silent aspects of "Aégis" and the new way how the duets between Raymond and Liv were performed. But as time passed by, it turned out to be the right and logical step. Not only have they been one of the few bands that were able to escape the restrictions of their genre, but also the chart entry of "Aegis", which hit the 58th place in Germany, showed that they had won a lot of new fans. Robert Müller, chief editor of German’s major mag Metal Hammer, once said: "THEATRE OF TRAGEDY is music that can be compared to having a romance with an unknown beauty: A delight for the senses, but also dangerous like playing with dynamite." THEATRE OF TRAGEDY soon discovered that their full potential couldn't be supported by their old record label, so with the help of a new management, a deal with East West Records for Germany and Nuclear Blast for the rest of the world was secured a little later on. What's next? Of course "Musique", music in its purest form. Meanwhile shrunken from seven to five members, the band parted ways with their guitarist Tommy Olsson and bassist Eirik T. Saltrø. In the year 2000, THEATRE OF TRAGEDY stands for a matured band, featuring an enormous potential, which is clearly shown on their new album. It's modern, even a little pop-oriented, but beautiful all the way, and it will help the band in reaching new horizons. With the help of the former producer of Seigmen, Erik Ljunggren, the band again shows what it sounds like to be creative, and experiments another time with new elements and ideas. The bandwidth of their influences has become extremely huge, starting with the godfathers of electronical music like Kraftwerk, followed by bands like Komputer unto modern acts like Nine Inch Nails or Covenant. Although it's not comparable to what they did in the past, THEATRE OF TRAGEDY managed to maintain their own, unique sound. Self-confident, matured in all terms, Liv Kristine has become to one of the most important characteristics of this band. But not only she, but also the rest of the band seems to be a little more relaxed and released. Rightfully, because THEATRE OF TRAGEDY finally left the chains of past days behind and have succeeded in concentrating on creativity, thus making "Musique" their best album so far.Again, the band knows how to make clear that they are a monument within the European music scene. "Musique" became an album that offers countless details. Although its overall impression at first lets the listener think it's simple and catchy at first, it's the most complex album they've done so far. THEATRE OF TRAGEDY only reveals their secrets to those who are willing to spend time on with something that really matters - Musique!

2 - City Of Light
3 - Fragment
4 - Musique
5 - Commute
6 - Radio
7 - Image
8 - Crash/Concrete
9 - Retrospect
10 - Reverie
11 - Space Age
12 - The New Man (bonus)