Within Temptation - The Unforgiving

The 34 second introduction of “Why Not Me" is suitably fitting for an album based on the concept of mediums, lost souls and redemption: The enticing whispers set the basis for the album to the backing of mysterious orchestral playing.

Waiting not a second longer, the band produces an airy orchestral beginning to “Shot In The Dark". It is clear the band hasn’t lost any enthusiasm for music over their 15 year life: Sharon’s energetic vocals give a decent contrast to Jeroen’s bass playing; however the orchestra in the middle of the song drowns out the brief but otherwise impressive guitar bridge. A great start to the album, but not the one I would choose to entice new listeners.

Harder edged that the previous song, “In The Middle Of The Night" opens with theatrical bass and violin playing, reduced only slightly whenSharon’s strong vocals come into play. The coordinated aggressive guitars and orchestra create a stronger overall package than “Shot In The Dark", with a more varied listening experience.

“Faster" and “Iron" sandwich “Fire And Ice" in a world of smoke and metal. “Faster" works wonders with the imagination, being an epic song to open a concert with: drums and guitars working their magic with Sharon on her knees singing that chorus; while “Iron" harks back to the 80’s metal scene with epic drums and chugging guitars, while remaining loyal to Within Temptation’s style. “Fire And Ice" is the softest song on the album, starting as a ballad but slowly growing into a performance just as strong as other songs on the album, the sad angelic vocals and soft instruments are a breath of fresh air from the increasing intensity of the album.

“Sinéad" is my favourite song on the album, its soft introduction quickly picks up into a symphony of vocals, guitars and orchestral music. Unlike “Shot In The Dark", the orchestra is more passive, so it’s possible to enjoy other instruments. The relaxed ending leads effortlessly to “Lost", the only other ballad-esque song besides “Fire And Ice". The progression of “Lost" is more gradual, however, and the chorus doesn’t have the same power. While it won’t please all metal fans, it suits the sadder nature of the vocals and slower guitars.

There’s an instant switch of playing style from “Lost" to “Murder", as its name suggests, “Murder" is much more aggressive, beginning with theatrical strings and sawing guitars before unleashing harder edged vocals. Sharon’s singing, naturally, never sounds forced or harsh: it’s an interesting diversion from the previous songs, contrasting well with the album.

I feel some songs would benefit with a little more guitar time and a little less orchestra; nevertheless it is sure to please many Within Temptation veterans and attract countless more followers. “The Unforgiving" is a brilliantly complete album, incorporating a variety of playing styles; and boasting a plethora of distinctive qualities. Recommended.