Dark imagery is at the centre of this work by Resonance Room from Italy. The tones and structures are in the mould of Katatonia, Anathema and Moonspell, and there’s a leaning towards the progressive end of things. But what dominates “Untouchable Failure” is a gothic atmosphere and all the dusky moods associated with that world.
The obsession with dark imagery comes through at every level. Although melancholic, the song structures are solid. There is richness but it’s as if Resonance Room want to repress it. This is a shame. Instrumentally, each track hangs together well. There could be an explosion of colour but seemingly the band want us to stand around gloomily with our heads bowed. Katatonia’s songs are gloomy but engaging, As I listened to “So Precious”, I reflected that I was listening but detached. In fact after the kaleidoscopic opener “The Great Insomnia”, the repressed sound disguises the fact that there’s much on offer here. The pursuit of dark atmospheres leaves the rest behind. Some may find a complete experience in this but I revelled only in occasional moments. “New Life” has a good build-up and borders on the spine-chilling in its steady insistence. Resonance Room fill the air with metal melancholy. They are good at this. Still better is “Naivety and Oblivion”. At last there is life in the instrumental work. The singer, whose voice reminds me of something between Moonspell’s Fernando Ribeiro and the guy from Icehouse, supplements the power and … at last … the colour of this dramatic track.
As the album progressed, I found myself thinking that it was going on a bit. “Unending Loss” and “Prometheus” were forgettable and lacked the progressive edge of some of the earlier tracks. The tempo of “Naivety and Oblivion” is maintained on “Outside the Maze” but instead of bursting out as it threatens, save a short drum burst, it reeks of repression. There’s nothing wrong with any of it but the way each track is held back is frustrating. Resonance Room do however unearth a jewel in the quieter “A Picture”. Rising in its intensity, the singer demonstrates a nice voice and the soft drum patter adds a lightness of touch. This band has the tools but the house they’re building is somehow incomplete. The final track has melancholy, and images are conjured up of Novembrine crumbling buildings and greyness but minus the power. “Faded” captures my image of the album as a whole in its title and atmosphere.
“Untouchable Failure” matches the accompanying description of a “melancholic and decadent Progressive Gothic Metal opera”. Erring as it does towards gloomy depths does it no favours musically. There are some great moments and musical ideas, but had it been allowed to expand beyond the template and break out, there could have been so much more here.
(6.5 /10 Andrew Doherty)
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