The Stuttgart-based collective Remember Twilight set another stake in their stylistic scented yard's ground, whose rich harvesting let a spoiled and desolate landscape, a metaphor inspired by the title of this metal-rooted oevre, Musik uber Niedergang & Verderben i.e. Music about the decline and the spoiled or something like that, evoking the decadence sliding like a slobbering snail amalgamating throughout its slime acting like a sticky glue of the different elements which could define the sound they called Kammermusik-Core, a sort of dialogic combination between hardcore metal guitars and aggressive vocals with folk, gothic and 'classical' music instruments and melodies (violin, oboe, cello and piano), whose freaky formula (something I could describe by a reductive math-like formula 40 minutes to say what's the value of the unknown'¦but you could use your mp3-players!) is not exactly what is commonly known as gothic-rock for the pleasant company of folk-tinged and medieval chamber musical pills. Maybe the way they labeled their sound looks too emphatic, but their stylistic research is quite interesting, even if sometimes has too many points of intersection with parallel sound lab activities nicely leaded by other popular German bands to say it's really original. The opening track, wisely entitled sINnTROstIlos, could induce the listener to think about a prog-like grand ceremony propelled by a maniacal post-Manichean singer feeling himself almost as a misunderstood genius in god-mode, but the following Kunstler Der Dekadenz belies similar assumptions. There're many interesting songs in this album, produced by Markus Stock (The Vision Bleak), but I think the ones a listener could easily appreciate are those when the above-mentioned dialogue turns into a stressed epic-like suite such as in Ich Suche Gott ' the most 'medieval'-ish one of the album'¦-, Die Feder ' semantically play on the theme of the feather'¦even a feather could be heavy, lads! ' and In The Long Run ' Am Ende.
One of the most evident flaw in the china maybe is the dubious expressiveness of Timo's voice in some songs and that's maybe the reason I appreciate his art on track where his vocal skills undo those knots tying him to heavy metal standards such as the lovely hissing outro, Am Strand ' Spuren In Sand, or when he interprets in an eccentric and funny way the notorious Kurt Weill's Mackie Messer (aka Mack The Knife), the most famous tune of Die Dreigroschenoper (The threepenny opera), renowned satirical work co-written by Bertold Brecht. There're three remixes in the final part of the album, two of them already included in their mini-CD Der tolle Mensch, but the funniest one is maybe the electronic remix of Kunstler Der Dekadenz by Metallspurhunde, but his venture is nothink like but a divertssment. You could contest their musical value ' but it's quite difficult -, but you cannot say Musik uber Niedergang & Verderben is not coherent with Remember Twilight's musical pathway!