'Black Feathers' has a moody and atmospheric
opening before turning into a solid commercial sounding symphonic rock song, really love the live sounding drum sound that drives this piece, great distortion riffs and harmonic keyboards, now over this is a
beautiful operatic soprano vocal and as the song progresses we are treated to some amazing double bass playing, sounds more like a cello to me (but what do i know?).
Now 'Dark Desire' is a hybrid of gothic rock and classical, but this one has a rock opera feel as well, reminiscent of Sarah Brightman's songs in the film Repo! The Genetic Opera, again driving drum patterns and that double bass make for a perfect mix to both move you emotionally and in a bang your head kinda way.
Moving into slightly different territory with 'The Place Where Evil Grows' as this uses more electronic samples and effects on the vocals, this time the double bass sounds like a violin as well.
Somehow on the song 'Inside My Nightmare' Braxton manages to get that double bass to sound like Simon House circa 1974, dont know how he can create so many amazing sounds from guitar to violin on it, but he does!
'Devils Bane' may have a solid rock sound but the vocal style whilst still operatic has a neo-folk feel to it, this helps create an intresting blend, the same can be said of 'Darkling, Listen' though this track has some more of that awesome drum and double bass playing set into some timing changes.
By far the heaviest song so far is 'Twisted Melody' for underneath that harmonic vocal lurks some evil heavy metal riffs.
After more of the same with 'Precious Moments' complete with some frantic drumming towards the end (yes i know its not real, but they have nailed the sound to perfection).
Heavy Metal meets Industrial on 'Moonlight Prayer' and once again it is that double bass playing that continues to astound me, so many different sounds!
This song has a lot going on it, different timing changes and lots of backing vocals and for some reason parts of this remind me of Rocket From The Crypt's 'On A Rope'.
So can Industrial influenced metal, operatic singing and Harpsicord go together?
'Belladonna, Deadly Nightshade' proves that the answer is "yes" and clearly anything is possible with these two talented and inventive musicians.
More drum driven power with 'You Could Never Have My Heart' and more outstanding double bass playing.
Finally 'Ghost Of Her Self', a slow and dark goth/opera piece, great vocal double tracking, solid as ever musical backing, more great distorted riffs and (yes i'm gonna say this again) the drum and double bass playing is just perfect.
In 2006, South Carolina vocalist Sarah Black and bassist Braxton Ballew formed Valentine Wolfe. Their style of "steampunk macabre" music involves operatic soprano vocals reminiscent of Sarah Brightman over solo double bass, dark electronica beats, and metal riffs. So what makes them steampunk? The inclusion of industrial elements, the rock opera feel of the album as a whole, and the fact that they consider themselves composers of "dark decadence." Black's dreamy vocals glide effortlessly through the dramatic quicksand of beats in "A Thousand Little Deaths" and then just as easily become almost jarring during "Black, Black Kisses" amid the clash of industrial beats. This music would appeal to fans of operatic dark metal or artists like Emilie Autumn, Rasputina, or Within Temptation.
Performers Valentine Wolfe, a gothic duo from South Carolina, played Thursday night starting at 10PM. Their style infused heavy hitting bass with harmonized eerie vocals. The duo did not stop there—they added to their milkshake of macabre with a drum machine and electronic harmonies. Using the strings on the double bass affected a very nice touch to the complexity of the music.
Their style is not simple; they easily flow into many genres using their unique sound, blending gothic, vaudevillian, and electronic. Valentine Wolfe have created a sound that is as unique as it is mesmerizing. It captivated me and certainly had the audience enthralled.