Evidence of Heaven

Album review

Monica Richards and William Faith spool their archangel glory and Celtic auras to spawn a dramatic third album, Evidence of Heaven, the first for the duo's Mercyground label. A heavy storybook of dark romanticism, archaic in nature, mold the illustrious theatrics found on Evidence of Heaven. Faith's guitar work is scalding, fiercely driven over Richards' haunting vocalics. Sonically, the band's demeanor is roughcast around dripping poetics, specifically on "Scars Flown Proud." This particular cut is raging with the fear of fear, but also welcoming the beginning of the next life. It's eerie in the manner that Richards' confident lyrics build momentum, making such complexities apparent for the remaining songs on the album. Chanting swirls on "The Chorus of the Furies" for an illustrious soundscape, but the mystery comes alive on the acoustic tinged "Importune Me No More." Supposedly written by Queen Elizabeth I during the 16th century, the song strips Faith and the Muse's usual blackness for a gentle, more internal composition of lovelorn and independence. The honesty of the track is quite enchanting that such fabliau is reincarnated. "Reine La Belle" also has the same effect. The Faith and the Muse weren't too careful with the overall production with this album, for they allowed themselves to freely achieve artistical perfection at their own level, especially William Faith's multi-instrumental compositions. Looking back at 1993's Elyria and 1996's Annwyn Beneath the Waves, the Faith and the Muse are cathartically aiming for more depth and desire. Evidence of Heaven is a decent effort in achieving such emotion.
© MacKenzie Wilson /TiVo