Customer Reviews

Sleepy Buildings

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Sleepy Buildings (2004). The Gathering's second live album.

I've been listening to The Gathering for almost a year now, though I guess you could still say I am fairly new to the group because I only own two of their albums so far. I bought Mandylion(1995) first and fell in love with Anneke Van Giersbergen's lovely vocals and the ethereal, gothic heaviness of the band that was backing her up. Then I found Nighttime Birds(1997) and enjoyed that about equally. Of course after this album, the band began to take an experimental trip into less heavier realms and more focused songwriting styles. I was a little hesitant to give the rest of their catalogue a try because everywhere I looked, there were mixed reviews claiming that when the band dropped the metal, the band also lost its edge. That immediately set off my B.S. detector, so going against their judgment I saw Sleepy Buildings in the stores and figured "Why not? It can't be that bad."

Thankfully, not only did I enjoy this one, but I'm tempted to say that this is quite possibly The Gathering's most essential release.

Now, I'm generally not a fan of live albums, much less accoustic offerings of live concerts, but there's something special about this quiet Netherlands concert that really stood out to me. For one, it's supposed to be "semi accoustic", meaning that the distortion has been nearly all stripped away, yet there are still plenty of guitars, piano, and keyboards to keep the structure. All emphasis is placed solely on the heavenly voice of Miss Van Giersbergen. And from what I've heard she has never sounded better! The band has come a long way from its doom metal roots, and likewise her voice has improved over the years. Although SB takes place in front of a crowd, you almost wouldn't guess it, as the band has perfected their playing in a live setting. It's the kind of show you'd hear in a small, cozy theatre as opposed to an open arena.

The songs are all slow-paced and take on a melancholic tone throughout the whole performance, so if you're coming here expecting a roaring power concert then you should steer clear. Otherwise, SB is a majestic show of stripped-down tunes found on nearly every previous studio album (except for the new one Souveniers(2003)). I quite enjoyed the newer versions of 'In Motion Part II', 'Shrink', and 'Eleanor', all songs from Mandylion and NB. I especially love the power that's conveyed with the quiet overtone in 'In Motion Part II' and how it breaks into full power during its single chorus near the end. Quite a nice surprise. 'The Mirror Waters', 'Stonegarden', and 'Like Fountains' are all completely revamped and "Anneke-fied" versions of their originals found on the first two albums. I have yet to listen to the originals, but they all impress here. 'Sleepy Buildings' is a new brief piano-based track performed specifically for this performance. The rest of the tracks all belong from the three newer albums, with 'Saturnine' and 'Red Is A Slow Colour' being favorites of mine.

Perhaps the only complaint that I have is that the crowd seems absolutely vacant during the songs, and forced inbetween them. But other than this, I have no real qualms here.

In the end, the Gathering proves that its real essence lies in the powerful melodies they produce and the voice fronting it all, not in the volume levels of guitar distortion. These were what factors attracted me to the band in the first place, and metal or no metal, at the heart of it all the band has maintained their edge in its purest form. Not something you can say about a lot of bands. Forget Norah Jones and those other wannabe soft contemporary FM pop bands that put you into a coma. SB is how its done! Now I can't wait to buy How To Measure A Planet(1998), If Then Else(2000), and Souveniers, because if SB is any indication, then these other albums will be just as essential, if not more so than the rest. Highly recommended to the bigger Gathering fans. Don't buy it first, but get it at some point.

Replayability: moderate. Perfect for the occasions when you need something relaxing to listen to.

Recommendations:
-Any of The Gathering's albums from Mandylion onward.
-Anything by the band After Forever (Floor Jansen is another pretty voice)
-'Mother Earth' by Within Temptation (Sharon Den Adel is also very good)

Having been listening to this band for many years, I find that I love them even more with every album. When this semi-acoustic album was released, I wasn't quite sure if I was going to enjoy it as much as their electric work. I was wrong, however.
The combination of Anneke's voice and the soft instrumentals is superb. Looking back to albums such as Nighttime Birds or Mandylion the evolution that Anneke's voice has gone through is astounding. (both albums I still absolutely adore). The passion on this CD is almost to the equivalent of seeing them live. (not quite...but almost)
On this album they also bring back Like Fountains (Almost a Dance), Stonegarden, and The Mirror Waters (Always...). Now, I know all you metal phanatics out there who love The Gathering for their former heavy style are thinking that acoustically, that must be atroscious, and with female vocals, even worse. However, I believe that they are absolutely gorgious tracks, and done extremely well on the entire bands part.
Tracks such as Amity, Locked Away, and Travel are absolutely haunting with the amount of intensity. If you are a true Gathering fan or if you just want to purchase a truly beautiful album, I would definitely recommend picking up this album.

Someone please explain to me how monumental exposure and success continues to elude the Gathering? With every recording, they've shaped their sound into new aural landscapes, sometimes brooding and aggressive, sometimes gentle and warm, always fresh, beautiful, and inspiring.

I didn't catch onto the Gathering until Anneke joined the band with the Mandylion LP (1995). From then on, album afer album, I've been repeatedly impressed by the skill with which this band experiments and evolves. Emerging from "death" metal (call it what you will), the Gathering now defies classification, except perhaps breathtaking.

On Sleepy Buildings, the Gathering re-tools a set list spanning the band's career (including pre-Anneke tunes) to fit into the familiar semi-acoustic format of an MTV Unplugged. The arrangements are not much different from the originals; but the restrained amps and intimate setting of these performances really allow Anneke's vocals to shine. And if you tend to forget about Hans, Rene, Frank, and Hugo behind her, it's only a credit to their talents as musicians.

Sleepy Building stands in contrast to the Gathering's other live release, Superheat, as pull is to push. Whereas the Superheat record pulses with the electric frenzy of band's powerful stage show, Sleepy Buildings instead crafts a more peaceful persuasion like the tide. If Superheat is the Gathering's alarm call, this record is their lullaby.

And still the Gathering remains (in my opinion) one of the best-kept secrets in the music industry!?! I personally can't understand why they haven't hit big, even just once (especially when a band as derivitive as Evanescence can debut at the top of the US charts). Perhaps their new label will better position the band, increase their airplay, and hopefully book them more tour dates outside of their native Netherlands and EU.

In the meantime, whether you're a long-time fan or one of the newly initiated, do your soul a favor and add Sleepy Buildings to your collection (though If_Then_Else may be more palatable to those not already in-the-know). And please, at every opportunity, share this music with your friends, give it lip-service, and take pleasure and pride at being "in" on the secret.

I've said it before, the Gathering is a very hard band to classify. "Sleepy Buildings" doesn't make the question any easier to answer. Here in the States, they tend to be lumped in with Goth bands, or Dark Wave, Prog-Rock or whatever. In Europe and their native Nederlands, they're still considered "Metal." None of these cliques really fit. History, marketing and distribution may all contribute to the confusion among fans and critics. Fortunately, the band is anything but confused about themselves, their music, or their direction.

I was turned onto the Gathering when "Mandylion" was released, and enjoyed the logical follow-up "Nighttime Birds." Then like most fans, I was struck by the sharp turn of "How to Measure a Planet." The experimentation of that album was apparently a release and a revelation for the band, as they've stayed the course ever since. Shedding away the dull conventions of "metal," they explored all new landscapes on "If_Then_Else," the "Black Light" EP and "Souvenirs."

Though the BPMs and power chords may be diminished on the Gathering's newer material, don't mistake subtlety for weakness. There is still great power and force in the music though it arrives now like a storm, not a sledgehammer. At once menacing and beautiful, the Gathering's music arrives like atmosphere, like clouds, drifting between warm and cold, light and shade.

These strata are provided through virtuosity in the studio. The Gathering is obviously energized by the recording process. Listen beyond the chords and beats to the sounds, reversed loops, and complex arrangements. If they don't labour over every detail in the studio, their intuition is simply amazing. Rather than sounding too shiney, or too thin, or too muddy, the production layers each element like distinct brush strokes on canvas.

So how does this studio mastery translate as a live performace? I saw the Gathering perform live back in 98 (?) in support of How to Measure a Planet. Straight out, it was a rock and roll show, complete with all the spacey sounds from the studio. Each member of the band is a very talented musician and performer. Where I was a casual fan before the experience, I became a rabid fan once I saw them live. This tour was captured by the "Superheat" album.

Could "Sleepy Buildings" better capture the energy of a Gathering live performance? Well, not exactly. "Sleepy Buildings" is really more of a concept than a your typical live album. It serves as a vehicle for the Gathering to re-work and re-introduce older material. At the same time, it's also a stop-gap between "Souvenirs" and the aniticipated (as yet un-named) studio album to be released in 2006.

And the label "Semi-Acoustic" may be a bit of a misnomer, as it implies "half" of the material is acoustic. More accurately, half of the instruments played are acoustic, but every track seems to have some electric instruments somewhere in the arrangements. This is hardly a concern though, or even noticeable, as the instrumentation only serves to support and deliver Anneke's soaring vocals.

As a whole, "Sleepy Buildings" feels a bit little weak, perhaps even drowsy. Some of the tracks drift into grandiose AOR-like arrangements, making me wonder if the live audience got a bit restless in their seats. Others songs seem like fragments that never really come together. But for me, the album is worth the purchase if only for the new interpretations of "Saturnine," "Amity" and "Marooned." Granted, I really like the studio versions of these songs; but the treatments given here are different enough to sound fresh and still be powerful and chilling (my heart breaks a little every time I hear Anneke deliver the lyric "You don't see me, cause I don't have much to say").

Perfect for a rainy day or (as I envision it) background at a coffee house, this album is a pleasant distraction. But take the time to listen more closely and you'll find many other sonic treats to enjoy. For the hardcore fan, it's a must. But for the newcomer... you may want to build an appreciation through the Gathering's studio work first (I recommend "Nighttime Birds" and "If_Then_Else", their most immediately accessible records).

Well, what can I really say. If your reading this than you can count yourselves among the lucky who have discovered this band. Not only will the vocals melt you, the whole atmosphere and sound takes you on a journey in a way only a handful of bands ever have for me. Just count your blessings and give it whirl....its terrific.

One can gauge the depth of a band's talent at least in part by their ability to adapt to a different approach and have it work. Such was the case with Alice in Chains' brilliant release "Jar of Flies" and such is the case here. When a loud electric goth-style band like The Gathering can put out a simplified, more skeletal CD like this one and have it hold together so beautifully, there is obviously talent to burn. The singing, playing and writing are beautiful. My only tiny gripe is that the overly-long applause between songs broke the mood for me, but I made my own master CD with most of the applause removed and Voila! even picky 'lil me is happy. Buy this disc.

The Gathering in their newest album sleepy Buildings has proove once more why they are one of the most influential bands in this days , after "souvenirs" were they eliminated almost completely the heaviness to develop a sound more like "massive attack" they offered to us semiacustic versions of their best songs even that songs from their death metal period, to transform these songs in new harmonies with a whole new structure and perspective and progresive sound in many of these tracks, the musical concept this Deutch band owns now is very interesting and fascinating , experimentation is present in every one of the last three albums they have released and hopefully they will continue in search of new sounds and amazing songs to offer to us
HM

This will ultimately be one of the Gathering's best albums, period. More than just a live album, I'm sure you may already know that it's a "semi-acoustic evening."

Anneke's voice sounds better than ever, and each song becomes a whole new experience sonically. They even have new, "Annekefied" versions of songs from their early years as a melodic/symphonic death metal band which sound simply GREAT. Also, the new song, "Sleepy Buildings," is quite good (and they are kind enough to include the lyrics for it!!). Finally, such older favorites as "Amity," "Eleanor," and "Red is a Slow Colour" get a whole new polish here.

Not for casual fans of the Gathering, however; this is best appreciated by people who are familiar with their "normal" sound (although with a band as fearlessly experimental and progressively original as the Gathering, there is no such thing as "normal").

The Gathering owed Century Media an album so we get this, and it's a treasure rather than a throwaway contractual obligation. In fact, it makes a nice companion to Pain of Salvation's acoustic album _12:5_, although the Gathering has Pain of Salvation beat in this milieu.

_Superheat_ was the usual live album. _Sleepy Buildings_ on the other hand is a "semi acoustic evening." Instrumentally the album still has quite a few electronics and synths and, uh, electricity, but piano and acoustic guitar make up the center of the sound. The "acoustic live" connotations seem to be the main factor, as the music is stripped down with lots of breathing room. There are no tracks from their latest studio release on The End Records, _Souvenirs_, but part of that sound is continued here. These songs are very atmospheric, always changing but in subtle ways, less rock qua riff-based music. It's all quite ethereal and narcotic, and the re-imagined sound benefits past songs like "Travel" which move in and out of the atmospheric waves of sound and were less successful previously. The album is comprised uniformly of slow songs and they are rearranged quite densely, so the album isn't much of a fun album to throw on and let it play. You have to listen fairly closely to be aware of the reams of texture. Finally, and perhaps most importantly, Anneke van Giersbergen's voice has never sounded so heavenly. Her improvement in singing over the past few albums has been dramatic, and she outdoes herself on the older songs, with silky performances rather than the rather awkwardand faux-operatic originals. A new track, "Sleepy Buildings", is a vaguely jazzy piano & voice ballad. Some of the _older_ older tracks (read: pre-Anneke) rise from their cheesy and/or dated sound and become much better and quite different. It doesn't always work entirely well: "The Mirror Waters" has a dragging structure and weak development, same with "Like Fountains". But those songs are still pretty good, I s'pose, and they both have good parts. "Stonegarden" has amazing guitars and singing though. My favorite is "Red Is a Slow Color", which is very different, very creepy, and strange.

If I were you, I would buy it.

Like most of the shleps who still fall for this group, I believe they were done as a creative force 5 years ago. Nighttime Birds was the last decent album they did, everything after that was pure trash, including this piece of junk, which, by the way, I wasn't stupid enough to buy, just sample. Hate me if you will, you European jam-lovers, but WHO CARES???