Warren Astrid is an alternative musician who offers melancholy in an oddly soothing package on Angelic Revenge. The gloomy energy is apparent on the opening track, “The Light at the End of a Tunnel,” obviously, but there’s something dreamy and perhaps slightly hopeful about the chugging electric guitar and ambient synths. There’s light amidst the darkness. After all, that’s what the song is about — the light at the end of a tunnel. And I was surprised to find myself listening to a song which feels surprisingly close to coming out of a bad patch. I was expecting somber music with a glimmer of light at the end, but there’s a consistent serenity to this chilled-out intro.
And “The Girl with Golden Hair” is criminally short. That’s all I have to say about that. I’m bitter. What a wonderful little acoustic guitar melody, feeling influenced in rhythm and tempo by classic Beatles tracks. I love the bouncy vocals, but the track doesn’t even hit two minutes, and I’m sour about that because it is definitely one of the most fun moments on the album. I would’ve liked to hear more. And then, on “Death In My Eyes (In Your Eyes),” I was a little shocked by the dark, haunting electric guitar which reverberates endlessly beneath washed-out, broken vocals. As the title suggests, this is not a song which offers a light at the end of the tunnel, and it certainly contrasts with the pop-fueled previous track. “When the Moon Begins to Wane” is beautiful, and that can mostly be attributed to the stunningly somber, yet slightly hopeful, acoustic guitar progression. We’ve returned to the mixed bag of emotions present on the opening track. Yes, Warren Astrid’s tender, gothic singing style offers a bleak perspective on life, but some of the chord switch-ups offer just an ever-so-slight reprieve from the sadness. However, glimmers of light seep out of the window on “Suicide.” Such a powerful instrumental track, for those who have any sort of emotional connection to such a painful and poignant topic. Words aren’t needed. The dissonant synths tell the tale in full. So, I don’t think my words could do it justice either; it’s another short track that’s worth a listen. “Slugs” is an intriguingly-titled closer to this unique album. I love the loud, throbbing vibrations of the production on this track — something which gives it a real presence. There’s a stunning piano and synth melody to this track, and the vocal melody is also sublime. It’s bleak and unforgiving at times, but, much like the intro and other moments of this haunting gothic record, there are sprinkles of sunshine. A sliver of light that promises better times ahead.
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May 2024
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