Funeral Party ‎– Serpentime

Label:
Silent Scream Records ‎– SSR-002
Format:
CD, Album
Country:
Released:
Genre:
Style:

Tracklist

1 Pawns 6:14
2 Liquid Sky Days 6:40
3 3 Never To Be 6:06
4 Salvation In Dreams 8:13
5 In Arms (The Loving War) 4:18
6 The Harpooning Harp 6:17
7 Sweet Suffering 9:41
8 Serpentime 6:23
9 Untitled 1:10

Companies, etc.

  • Glass Mastered AtNimbus

Credits

Notes

Recorded at Silent Scream Studios, Rochester, New Hampshire, USA.

Track 9 is not listed on the insert.

Barcode and Other Identifiers

  • Matrix / Runout: MASTERED BY NIMBUS
  • Matrix / Runout: SERPENTIME (V)

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Reviews

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May 21, 2012
"Pawns" is an upbeat track with a bright sheen, set against a shiny grey combo of restrained guitar, subtle bass and shimmering drums. The vocalist's strength shows through immediately, a solid, tuneful voice, difficult to compare, coping easily with the switchback tune. "Liquid Sky Days" is a slower track with a nice icicle guitar sequence set against a strong backing which soon becomes apparent as the perfect canvas against which the vocalist paints her purring voice - a blend of LIZ COCTEAU & SIOUXSIE, yet calmer, as honed & warm as the instruments themselves. "3 Never To Be" has a sound not unlike the latter-day, more atmospheric FLEETWOOD MAC - the music might be a touch heavier, but the feeling's there. "Salvation In Dreams" is a little slower & stranger, the intro combining a colourfully-textured feedback with odd metallic straticulate guitar spines. It maintains it's odd, almost mysterious sound throughout, yet remains a catchy song with plenty of hook. And it's here the vocalist nods towards LIZ FRASER's sound - slow, but in no way slovenly. "In Arms (The Loving War)" opens on a huge combination of synthesiser & FX, heralding an almost Medieval cathedral song with huge organ chords & the vocalist's strength & harmony giving it a heavenly, worshipful sound - a nice mixture of images makes this one of the album's more interesting moments. "The Harpooning Harp" puts back onto a more even heading with a medium-paced, mellow pop song, again with elements of FLEETWOOD MAC, yet the vocalist sounds more like a cross between SIOUX & CHRISSIE HYNDE - again blended vocal harmonies play a strong part in the overall sound, with it's nice violin motif. "Sweet Suffering" again has a twangy Folksy guitar sound, combined with a heavy earthbound electric guitar, making it sound like a reflective JOY DIVISION, a Goth sombre atmosphere lightened by the singer's strong, characterful voice. "Serpentime" opens to dramatic horror-film soundtrack chords & FX. It moves into a more solid Rock area, again with elements of Gothic pomp. At one point it sounds almost as if it were moving into a cover version of "Space Oddity", changing course into 'MAC territory again. A final, unaccredited piece closes the album on a whirling, mashing Experimental trip which still manages to maintain the FUNERAL PARTY characteristic sound.
FUNERAL PARTY are VALERIE FORGIONE on vocals; DeZZEN FORGO on guitar & keyboards; RUBEN LAYMAN on bass; SCOTT JOSEPH PATALANO on guitar & keyboards; ASH WEDNESDAY on drums, keyboards & firedrums (!), with guest musicians QUINN PEARL on violin & sitar, and PHIL CIROCCO on 2nd backmasked guitar.

Originally reviewed for Soft Watch.