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25 tablatures for Tiamat

Tiamat - A Deeper Kind Of Slumber (9/10) - Sweden - 1997

Genre: Gothic Rock
Label: Century Media
Playing time: 60:05
Band homepage: Tiamat


  1. Cold Seed
  2. Teonanacati
  3. Trillion Zillion Centipedes
  4. The Desolate One
  5. Atlantis As A Lover
  6. Alteration X 10
  7. Four Leary Biscuits
  8. Only In My Tears It Lasts
  9. The Whores Of Babylon
  10. Kite
  11. Phantasma De Luxe
  12. Mount Marilyn
  13. A Deeper Kind Of Slumber
Tiamat - A Deeper Kind Of Slumber

This smooth and magical album is written by one of the best songwriters in the Gothic scene: Johan Edlund. A visionary with a clever mind and infinite passion towards music that sums up the best of many contrasting shades: darkness and light, bliss and pain, sweetness and agony, white and crimson, angelic and funerary.


“A Deeper Kind Of Slumber” does not want to be cuddled by hardcore Metal heads and neither do they want this soft serenade of a Gothic Rock album, the sole criteria demanded here is your imagination. Sure TIAMAT was a Metal band in the early years but no more and after releasing some albums in black dyed Gothic shapes and doing fine as a band, I doubt they’ll ever go back to their past sound.


This is my favourite TIAMAT album; my favourite because of the dreamy atmospheres it generates into my room, listening to this album on a moonlit night just sends me somewhere beyond. Not one second sounds forced or unwilling; this is where they wanted to go, this is where Edlund wanted to go. I’m sure the task was planned, that he had ambitions to make an album with grandiosity; in my opinion he did more than just graduate, he penned a fucking illustrious epic. It also sounds like Edlund is just following his heart, like it was a natural step from “Wildhoney”.


Opener “Cold Seed” is the only piece of heaviness (though it’s far from being Metal) on the album, the rest is as diverse and inspiring as can be. PINK FLOYD is one influence apparent in many of the songs (“Atlantis As A Lover”, “Phantasma De Luxe” and the luminous ten-minute epic “Mount Marilyn”) and Edlund himself being interested in not only Heavy music gathers big inspiration from Psychedelic Rock music, different keyboard sounds, Eletronic beats and the Alternative Rock scene. These non-Metal influences (as well as the use of oboes, sitars, flutes etc. etc.) are used when needed and believe me the integration of these elements are absolutely necessary. A less surprising move is the use of female vocals courtesy of Birgit Zacher who has worked with SENTENCED on their Gothic couplet “Down” and “Frozen”. The experimentation is never ceasing and raised to its most extreme form in the song “The Desolate One” which many fans find ridiculous. Pay no attention to these fools, it’s a very good track and definitely a part of the album.


Every album has been sort of an artistic growth process for band leader Johan Edlund; the singing of Edlund’s tearful lyrics adds a very lonesome layer to the overall sound of the album; the albums 60 minutes portray the personality of a questioning, introspective and open-minded individual; as he sings, almost serenades, the words you just want give some compassion to the poor guy. Also a great lyricist the title track has some of his best lyrics: “Meet me on the other side, where as a rose I will wait...” don’t go crying on me now.


I just can’t find enough words (or time) to describe this album: a lot of people don’t appreciate what is done here but if you ask me I think it’s one of the most important albums of the nineties. Metal should be progressional. These guys started out Metal then progressed into a unique lost sound not too many Metal bands could achieve or even would dare to tread upon. I’d like to give it a full score but somehow I feel Edlund’s ultimate masterpiece lies somewhere in a not so distant future. (Online February 29, 2004)

Frodi Stenberg

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