Since 1994, William Faith and Monica Richards have created romantic myth-rock with flashes of their shared punk roots. Their only real stylistic contemporaries are Eric and Lisa Hammer (Mors Syphilitica).

After the consistent elements among the first three albums (and one retrospective, "Vera Causa"), "The Burning Season" is a sharp slap up the side of the head. All the usual emotion and drama are present, but with a fiercely updated atmosphere. Ain't no "Sea Angler," ain't no "Reine La Belle." The beats are faster, the vocal tactics are more varied, and there's an honest-to-God guitar solo!

The intro "Bait & Switch" is a warning shot of deathrock across the bow. Then POW!-"Sredni Vashtar" has an even faster beat and relentless rhythm. Seven years ago, Monica sang "Come to life my second skin / Come protect the madness locked within."
Well, now: "Time to drop the seventh veil and let some madness wander in."

The trappings of Renaissance and Celtic music I've come to expect are stripped away, even on songs of historical legend like "Boudiccea." Much of the instrumentation and song structure runs 1980s-present. A notable exception is the funeral-jazz "Gone to Ground." A controlled weariness creeps into Monica's vocals here, and it works.

The title track has a very cinematic feel, with Creatures-style drum programming. Overall, this CD has less low-end thunder and music layering than the previous releases. It sounds like the greenery has been burned away. Still, it isn't a TOTAL departure; Monica's vocals on "Boudiccea," "Whispered In Your Ear," and "Visions" are in that gentle, comfortable mid-range she and the late Kirsty Maccoll own. William's acoustic guitar is as soothing and intricate as his electric guitar is energetic. Speaking of which, the old-school punk declaration "Relic Song" features the aforementioned solo, with a hilarious sample of a cheering stadium crowd. It's gallows humor (exhibit A: page 2 of the lyrics, bottom right corner), and it works for me.

"In The Amber Room" is a seductive ethereal piece, with NIN-esque electronics and soprano vocals that harken to Liz Fraser (Cocteau Twins). William puts a twist on the wrath he brought to "Trauma Coil" with "Failure To Thrive." He doesn't yell this time, but the anger and admonition are clear: "A torch to the error and a cold hard look in the eye." The truth-seeker Diogenes would like this tune.

No, this CD isn't a retread of the first three. Faith and The Muse are artists; it's not SUPPOSED to be. They don't sound tired - they just sound tired of the petty aspects of this big, cyclical journey we endure. ("This is not a darker age / Just the turning of the wheel.")

As for the gentle closer "Willow's Song:" this may be the ultimate Third Date Song. Monica wore bells on her ankles while recording this one. After about two minutes, ankle bells may be the ONLY thing you're wearing. Trust me.


Incredible! Their best work yet!   January 19, 2004
 4 out of 4 found this review helpful

"The Burning Season" is the fourth and best studio album from one of the trailbreakers in goth. The lyrics are exquisite, and the additional programming and treatments by Chad Blinman take the band to a new level never reached before. Every track takes the band to a new level of grandeur that succeeds beautifully, making Faith and the Muse goth royalty forever. As well, Monica Richard goes all out with her voice and reaches new notes I've never heard before, especially in "Visions". Talk about getting the tingles every time I hear it! She's dreamy in "Boudiccea" and "In the Amber Room", intimate in "The Burning Season", jazzy in "Gone to Ground" and she rocks out in "Sredni Vashtar" and the "Relic Song." Of any project Faith and the Muse have ever done, "The Burning Season" is Monica's finest and clearest vocal performance yet. The same goes for William Faith. He's left the spoken word poetry behind and comes through with one of Faith and the Muse's most incredible songs ever: "Failure to Thrive." Hypnotic and disarming, it'll haunt you for years after you hear it. Get ready for "The Burning Season"--Faith and the Muse's most fully realized album yet!

I hope everyone who reads this checks it out --especially anyone who misses Siousxie and the Banshees. "The Burning Season" is magnificent. By the way, if you haven't heard Faith and the Muse's remake of "Running up that Hill" off their "Vera Causa", you have not lived!

...


This CD Is Bound To Stir It Up!   July 11, 2003
 3 out of 3 found this review helpful

As an appreciator of F&TM, I find their latest release an unexpected and welcome departure from their "usual" musical stylings. Monica Richards and William Faith are the ultimate artists; not only musically but visually as well. The music on
this release couldn't be more exquisite and the visual is just as equal and fitting to the music. The album is an eclectic mix of music that validates that the talent of these two has evolved. As true artisans, they know not one limitation and are driven by their own instincts and talent. They prove over and over again that they are in control without interference; they choose to be true to themselves. I have no doubt that this new album will stir up controversy amongst the die hard F&TM appreciators. I believe that is exactly what Monica Richards and William Faith thrive on! The Burning Season is not to be missed!


Verse   February 7, 2004
 3 out of 19 found this review helpful

Well I bought this album based on the sound bits offered by Amazon it came off as having a "Siouxsie & the Banshees" flare with a "This Ascension" twist to it, but what I found was fairly pitiful.

I hear Verse in every song but rarely to never do I hear chorus, bridge or intro that is any extention of the verse. Cut and dry the songs on here are done within the first minute they start. The irony to my "seeming" bashing is that this is quite a bit stronger then alot of the Metropolis lables bands and offers a more accesible sound then many of the lables boring vampire-techno hacks. The gothic and darkwave music of late; actually since 1998 with the death of the brilliant, Rozz Williams and the break up of the relentlessly fun and pretty "Switchblade Symphony" seems to have no more power points to offer. Seems the freedom offerd to morbid children and the lack of shock that goth now has over society has plagued it with an inability to do what it knew to do. Adaptation is something the music of the modern dark seems to lack. I think its about due time to have a great new dark band with a awesome inovative sound, so I promise to keep looking for it. Sorry people but "Faith and the Muse"... these Siouxsie/Creatures/This Ascension imatating 2 dont have anything but a poor monotonous rehash to offer.

Untill then I offer you bands such as "Rheas Obsession" who seem to have something for being a modern dark band as long as they cut out the middle eastern Loreena Mckennit rehasing and stick with a more bass heavy approach. I happen to be listening to and old favorite, 1986's "Horse RotorVator" by "Coil"(I adore this album) and wonder where inovation has gone.


Time to grow some teeth!   October 21, 2003
 2 out of 2 found this review helpful

Wonderful new album! This one starts off with more of an edge. A high energy album that shows off more of William Faith's talents. Monica Richards' vocals take on a harder edge, and the groups musical versitility shines through yet again. ("Compare Sredni Vashtar" and "In the Amber Room") This album steps away from their familiar Medaeval and Early music themes for a bit and jumps full force into the 21st century's Techno/industrial world.
Definately another triumph showing the groups talent as musicians.