Laudare – Requiem [Things You Might Have Missed 2024]
By Killjoy
Requiem is a concept album in the truest sense. Laudare, a young group from Leipzig, Germany that promotes its music as “violent poetry,” chose to follow one of the oldest musical themes: a Requiem Mass. All lyrics are in Latin and taken directly from the liturgical text of a Catholic Mass for the Dead, which puts Laudare on a well-trodden path with the likes of Mozart, Verdi, and countless other famous historical composers. This association is reflected in the music of Requiem, wherein Laudare have assimilated classical chamber music into their modest brand of post-metal. Rather than mourning the death of a specific individual, Requiem is an ode to the concept of death, “the inevitable, that we fear so much and that makes us human after all.”
The members of Laudare have matured rapidly as composers since their formation in 2017. I presume this is largely due to the arrival of cellist Almut Voigt. Her cello is allowed equal—and often greater—opportunity than Daniel Kaltofen’s guitar to carry the lead melodies. This places Requiem in a similar space as Anareta’s debut from last year, though the absence of the violin and viola gives Requiem a deeper, warmer sound. True to the theme, grief and mourning manifest in diverse ways. Sometimes with a doleful croon from Voigt or Kaltofen laced with tender piano, cello, or acoustic guitar passages (“Hostias,” “Rex Tremendae”), but more often through the anguished growls, screams, and wails of bassist Marie-Luise Thurm (best exemplified in “Offertorium”). The transitions between these two extremes are some of the smoothest I’ve ever heard, much to the benefit of the overall pacing of the record.
Requiem is a perfectly balanced affair with incredible synergy between all four band members. The first track, “Introitus,” opens with all three vocalists singing in reverent harmony, then shifts to Thurm’s biting barks embellished by female choral notes from Voigt. The cello and bass guitar complement each other, particularly during the quiet passage in “Quid Sum Miser” that leaves the two of them exposed. Drummer Oliver Ruß1 deftly matches whatever tempo and intensity is required, from frenetic rhythms (“Sanctus”) to soft drum rod taps (“Lacrimosa”) and rim clicks (“Quaerens Me”). As if all of this weren’t enough, they even collaborate with a live choir—courtesy of Unichor Leipzig—in a few of the latter tracks. The choir elevates the music to epic proportions in the finale of “Lacrimosa,” and when the powerful chorus of voices is punctuated by chilling screams is the high point of Requiem.
Like an obsidian dagger, Requiem is beautiful, delicate, and piercing in equal measure. Not a single note feels out of place; every single second is supremely sublime. I can think of nothing that I would change after dozens of listens. Even the total runtime is an ideal 42 minutes. With this, their sophomore full-length, Laudare ascend to a higher echelon of composers. Violent poetry, indeed!
Tracks to Check Out: “Dies Irae,” “Quid Sum Miser,” “Lacrimosa”
Show 1 footnote
- Who left Laudare shortly before the release of Requiem.
#2024 #Anareta #ChamberMusic #GermanMetal #Laudare #MomentOfCollapseRecords #PostMetal #Requiem #ThingsYouMightHaveMissed2024
/ Chœur de Radio France / Maîtrise de Radio France / Mikko Franck / Anna Prohaska / Meryl Streep
„Die ‚Messa da Requiem‘ berührt im Grund jeden. Vor allem, wenn sie so grandios interpretiert wird, wie im Staatstheater Darmstadt. […] Das Publikum quittiert die Aufführung am Ende im Stehen mit Ovationen. Verdient.“
November 11
20:00
Staatstheater Darmstadt
11:00