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Dying Beauty
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A Long Time Ago, in a Land Far Away
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James D. Stark
Fortress of Solitude
Posted: Thursday, March 30, 2006
By: Ilker Yucel
Editor
By: Ilker Yucel
Editor
A mature work of true musicianship in a genre full of pretenders and imitators.
There is a misconception that goth and darkwave music must be miserably hopeless and bereft of any attitude outside of bleak despair. While Fortress of Solitude does possess these characteristics to a degree, there is so much more going on with this album. It marks a new direction for James D. Stark from his previous outing, Transcendence. This time around, he adds his soothing vocals to his aural melancholy. Combining the production and instrumentation of his synthpop influences with the musicality of his classical training, Stark has crafted ten songs that are as harrowing as they are beautiful, as melodic as they are mysterious; substituting the oh-so-goth persona of today’s modern darkwave scene for a mature outlook at the darker facets of life, Fortress of Solitude presents some fine moments of downtrodden bliss.
Especially interesting is the way Stark juxtaposes dissonant electronics with pleasant piano and vocal melodies. His talents not only as a songwriter but also as a singer really shine on songs like “Tears in the Dark” and “Dying Beauty.” He has a range that can be at once saddening and uplifting; this is no easy feat, particularly in the monotonic world of goth. Also interesting is his faithful cover of Depeche Mode’s “Halo,” which also integrates a sample from “Policy of Truth.” Despite the excessive amount of covers from DM’s Violator that have been recorded since 1990, Stark’s version of the song is remarkably fresh, retaining the spirit of the original, while also making the song fit conceptually into his sonic canon. The brief instrumentals of “Mists” and “A Long Time Ago, in a Land Far Away” present some excellent music befitting any gothic film soundtrack; they may even find a voice among neo-classicalists, bridging the gap between modern and classical music.
Above all, this is real music. There are electronics and brooding lyrics galore, but make no mistake; this is the work of a real musician, a man who has a considerable level of talent at combining pop appeal with quality writing. The one downside of this album is the overall tone, which leans towards the slow and melodic. It is not dreary, but it is not upbeat either, making it an album one need be in the appropriate mood for. It is much more easy going than most goth bands today, but this gives it an appeal apart from standard danceable synthpop. There are instances of being beat-driven, such as the mid-song breakdown of “Home,” but these instances are few and far between. The electronic arrangements give way to many possibilities for remixes and alternate versions, and it would not be surprising to see a companion disc emerging in the foreseeable future. All said and done, James D. Stark is a true musician out to make a mark on the tepid world of goth and darkwave.
Especially interesting is the way Stark juxtaposes dissonant electronics with pleasant piano and vocal melodies. His talents not only as a songwriter but also as a singer really shine on songs like “Tears in the Dark” and “Dying Beauty.” He has a range that can be at once saddening and uplifting; this is no easy feat, particularly in the monotonic world of goth. Also interesting is his faithful cover of Depeche Mode’s “Halo,” which also integrates a sample from “Policy of Truth.” Despite the excessive amount of covers from DM’s Violator that have been recorded since 1990, Stark’s version of the song is remarkably fresh, retaining the spirit of the original, while also making the song fit conceptually into his sonic canon. The brief instrumentals of “Mists” and “A Long Time Ago, in a Land Far Away” present some excellent music befitting any gothic film soundtrack; they may even find a voice among neo-classicalists, bridging the gap between modern and classical music.
Above all, this is real music. There are electronics and brooding lyrics galore, but make no mistake; this is the work of a real musician, a man who has a considerable level of talent at combining pop appeal with quality writing. The one downside of this album is the overall tone, which leans towards the slow and melodic. It is not dreary, but it is not upbeat either, making it an album one need be in the appropriate mood for. It is much more easy going than most goth bands today, but this gives it an appeal apart from standard danceable synthpop. There are instances of being beat-driven, such as the mid-song breakdown of “Home,” but these instances are few and far between. The electronic arrangements give way to many possibilities for remixes and alternate versions, and it would not be surprising to see a companion disc emerging in the foreseeable future. All said and done, James D. Stark is a true musician out to make a mark on the tepid world of goth and darkwave.
