The Bloodline - Where Lost Souls Dwell (2006)

The Bloodline's sophomore album Where Lost Souls Dwell does on the surface seem like it might have fallen into the dorky, superficial trap that I had mentioned on my review of Opium Hearts, but it becomes immediate upon listening that this is cast in much the same mold as its predecessor, only a bit brighter, better balanced and dare I say it, more 'fun'. It's clearly improved in the production department, and that does drain some of the drab murk from the songwriting, but they also make a better implementation of electronics, and the seductive female vocals become more prominent since I believe both Roman and Kemi are now contributing about equal in that area. You've still got the growls, the soaring, simple guitar leads glazed over the top that elevate it all to a level it would have otherwise un-phased, but there's just a lot more to appreciate, both obvious and subtle.

For example, the strangely pick-me-up vibes of "At the Waters of Lethe" cede to some trailing feedback and horn-like blaring ambiance to set up the really somber "Final Journey" which gives off vibes of a match up between late 90s Tiamat and Theater of Tragedy. The vocals arrangements on this one in particular are quite nice, because it's like you've got the guttural/ethereal exchange plus some more ambient vocals off in the background, and despite the minimalism of its chords and structure, it's potentially the most hypnotic track they wrote over both records. They go much further with the pure electronic experimentation in the title track than they'd previously attempted, and then change lanes for the fun Goth/pop intro to "Cut the Chords" which then smacks you abruptly with the sorrowful lead and chugging. At times, there can feel a risk of The Bloodline losing control where her vocals might drift a bit too distant from the rest, and this reminds me a little of another German Goth band, The Breath of Life, with its unnerving but beautiful singing.

So, I approached the album groaningly because its cover photograph looked like it was meant for David Bowie or Dead or Alive or some 80s pop of that nature, and was pleasantly surprised that the duo had put in some work to improve their style. Granted, if you loathe all things simple and Goth inflected when combined with the heavier guitars and growls, Where Lost Souls Dwell is not going to change your mind, but if your record shelf includes titles like One Second, Skeleton Skeletron, Musique, or half the Lacrimosa discography, this one is adept enough at combining the vibes of Gothic doom metal and pop that you might have a good time with it. It sounds a lot better than it looks...perhaps not six years worth of evolution from the debut is evident, but it's a catchy escape which doesn't bog itself down with too much cringe.

Verdict: Win [7/10]

The Bloodline - Opium Hearts (2000)

Germany's long been central to the Gothic metal world (and adjacent styles like Industrial/EBM), but it's always been a double edged sword. Many of the artists are quite qualified and serious, capable of penning a couple good tracks at least, but they also come off as harbingers of the medium's most goofy aesthetics, often to the point of caricature. How many crazy contact lenses and colored faux-dreadlock extensions can we really stomach? There's got to be more to this corner of the 'dark music' spectrum than its narcissistic overreach...fuck, the Sisters or Mercy did it with only shades and leather. The Bloodline is another of many acts who took a crack at the Gothic/doom metal style back when groups like Theater of Tragedy or Crematory were established, but faded very quickly into obscurity...

And to their credit, the debut Opium Hearts is no joke. It's rough around the edges, and somewhat derivative of other German acts like Pyogenesis or the abovementioned Crematory, and that makes sense, since one half of the duo, Roman, was a bassist and songwriter for the former. Perhaps the material here is an attempt to bridge backwards from that group's experimentations with pop and indie rock, to the morose death/doom of something like Sweet X-Rated Nothings, but the difference is the more electronic percussion and industrial lite synths and effects which drive the array of chords and mournful metal leads. The vocals are largely focused on the grotesque guttural, though they will occasionally layer in some ethereal female vocals tastefully. This is definitely not your full-blown, overproduced EuroPop Goth metal written for an arena with seven or more musicians, loads of orchestration, but rather it's more subdued and sultry, at times comparable to Betray My Secrets but without the world music angle.

The biggest issue I take is that it's a little dull. Even when a catchier piece like "Opened Eyes Dream" is chugging along and then gallops into its minimalistic but effective bridge melody, you just start to expect some sort of climax that never arrives. The atmospherics and effects are decent and remind me of anything from lower tier 80s pop and New Age, but they lack the confidence to stand out once the melodic guitars and growls arrive. It's sad and serious, even when they go for a peppier mid pace tune like "Lost Souls in the Land of Delight", a CLEAR nod to the Sisters, but most of the tracks feel as if they're merely reaching the cusp of quality, and the album lacks the production and push to go all the way. Don't mistake me, this is better than I personally expected, and it's not musically or lyrically tacky before a few genre tropes, but I can understand why this might be ignored in place of other bands' more vivacious explorations of the niche.

Verdict: Indifference [6.5/10]