If you’ve ever been drawn to the theatrical side of metal, then you’ll find a lot to appreciate with “T.I.M.E.” – especially during its early moments. The third album release from Marble, wastes no time recreating that special feeling of being at a live production. “Welcome to the Theater…”, the flamboyant announcer exclaims in the intro of “Through the Veil” (the round of applause from the audience adding to the general immersion): “…where everything is fake, but nothing is false“. And with this shared paradox, the show begins.
Though the cast may be unbeknownst to some listeners, it is fairly obvious that all of them are ‘old stagehands’. The technical proficiency of each band member shines through from the very first act. The Italian sextext play a mix of symphonic metal that has strong progressive elements incorporated and showcases a penchant for a more aggressive performance style than is usually standard for the genre. The leading lady, Eleonora Travaglino, is not excluded from this observation either, as she hits every note with a raw power and emotive impact. An impressive feat considering the combined decibel output of her artistic companions, a roster which includes: Paul Beretta (Lead Guitars), Omar Gornati (Guitars), Daniel Fleba (Bass), Jacopo Marchesi (Keyboards), and Norman Ceriotti (Drums).
“Through The Veil” sets the expectation bar even higher as the music steps in – the band clearly indulging in some fun early on with its Dream Theater-esque instrumental groove, before yielding to the presence of Travaglino and her commanding vocalism. As a fitting context, the lyrics recite a tale of guilt and tragedy. But the mood is lightened considerably with a dash of 70s-inspired synth sounds towards the end. “The Jester Duplicity” gives no such reprieve for the audience – bolting out of the gates with a blisteringly inhuman speed and intensity (especially on the part of Ceriotti). Ivan Adami (Stranger Vision) also enters the stage to join in a duet; his gravelly tone providing a strong counterweight to Travaglino.
While most of the songs on the album are inspired by female figures (as depicted by their theatrical playwrights), the one which most people will recognise appears in “The Sleepless King“. Based on Shakespeare’s Macbeth, Travaglino is naturally acting the role of Lady Macbeth in this number. It has that instant “single” quality; very accessible and catchy. Although this piece still finds ample time to unleash a slick torrent of solo guitar and synth melodies, despite it being a little more streamlined for radio.
All hail the Sleepless King,
Marble – The Sleepless King
has been crowned by my own will
I can’t wash away the blood stains
on my hands remain
the burden of my pain
The standard continues to be upheld in solid entries like “Face of Deceit” and “Aftermath“, as the album now settles into its established formula. The latter culminating in a colossal breakdown of sorts, with weeping guitar notes sustained over blasts of double-bass kicks. While “Voice of Awareness” kicks things off a bit differently with its more tender keyboard arrangement. Travaglino adds more nuance and vulnerability to her singing as well, to pair with the lyrics: “I’ve become invisible // You have forgotten // In your eyes I’m incapable // To be a mother nor a spouse”. This softer side of Travaglino is appreciated, as is the increased visibility afforded Fleba, whose robust bass playing here is even responsible for connecting different phases of the composition.
“The Garden of Despair” adds a dash of neo-classical flair to the proceedings. Even for this decidedly slow- to mid-tempo affair, there are still a handful of instances where Ceriotti can be heard drumming his heart out on the bass drum. And I honestly love the lack of restraint and quick injections of energy. The brassy-rich sounds of a cathedral organ herald the start of “Heliosyncrasy” and this dynamic track introduces the growling phonics of Clode Tethra (who also returns for the final song). While “Smile In Decay” ups the epic levels further with plenty of orchestral strings and the inclusion of vocal ensemble Gruppo Vocale Calliride. It all coalesces to the final climax that is presented in “Theater Is My Essence” (revealing the mystery behind the acronym of the album’s title). The statement is undoubtedly true, given everything that we have already witnessed on this album. But Marble still demonstrate this one last time – delivering an ending to a body of work that is truly deserving of a rapturous curtain call.
Verdict: With T.I.M.E., Italian-based Symphonic Metal band Marble have proven once and for all that they are masters of theatricality. While not quite reaching the same heights of the classic works that so inspired them, it is nevertheless a highly entertaining show, and one that will almost certainly leave you wanting an encore.
