| Released 1999 on Neue Ästhetik Multimedia | |
| Re-released 2000 on the Mercyground Label | |
| Re-released 2001 on Metropolis Records | |
| Tracklisting • Lyrics • Soundbytes • Order | |
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Vinnie Apicella A heavy storybook of dark romanticism, archaic in nature, mold the illustrious theatrics found on Evidence of Heaven. Faith's guitar work is scalding, fiercely driven over Richards' haunting vocalics. Sonically, the band's demeanor is roughcast around dripping poetics, specifically on 'Scars Flown Proud.' This particular cut is raging with the fear of fear, but also welcoming the beginning of the next life. It's eerie in the manner that Richards' confident lyrics build momentum, making such complexities apparent for the remaining songs on the album. Chanting swirls on 'The Chorus of the Furies' for an illustrious soundscape, but the mystery comes alive on the acoustic tinged 'Importune Me No More.' Supposedly written by Queen Elizabeth I during the 16th century, the song strips Faith and the Muse's usual blackness for a gentle, more internal composition of lovelorn and independence. The honesty of the track is quite enchanting that such fabliau is reincarnated. 'Reine La Belle' also has the same effect. Faith and the Muse weren't too careful with the overall production with this album, for they allowed themselves to freely achieve artistical perfection at their own level, especially William Faith's multi-instrumental compositions.. -
MacKenzie Wilson |
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| Unlinked titles do not have lyrics or do not have lyrics available • Go to Music to hear Evidence soundbytes | |
| 1.
Joy * |
Album
Credits All
instruments and voices performed by William Faith and Monica Richards
(except *) Version
NAM0010: Version
MGCD003/MET209: Layout, Artwork
and Design by Monica Richards Original
lyrics by Monica Richards, |
| We
Are The Inheritors: The Evidence of Heaven Welcome to
the silent war, to the world we never hoped to gain What
little good intentions seem In every
dance no steps are placed And every path mistakes are made Gliding from
room to room all cast in celebrated gloom With no where yet to
rest our
head You Are A Wonder And I Will Sing Your Praise Shattered In Aspect It's time
to let go Time to spend some time alone We have outlived
ourselves By many a ruined year Like the violence
in dream-dead eyes The reflection of a thousand tangled views We could outlive
ourselves It's time
to let go Time to spend some time alone We're ready for a new age of innocence The Chorus of the Furies "The lyrics are sung in Latin, inspired by Aeschylus and attributed to Cicero's De Oratore. - MR Eripite nos ex miseriis crudelis Terras, eripite nos ex faucibus eorum, quorum crudelitas nostro sanguine non potest expleri. Loose translation: "Rescue us from our Misery, from this cruel land, rescue us from the jaws of those whose ferocity can never be satiated with our blood." Patience Worth In efforts to give closure to an old ghost So you've
returned to lengthen my shadowTo once again shatter my windows With arms too wide to hold just one Too small to heal the world Go on Were it but
words that called me home Relayed the dream that beckoned you
beyond Hell is an empty house haunted by a child's voice Dead Leaf Echo Tell your
secrets to the ground the dampened leaves and broken twigs And if you
had found her three hundred years before If you hover
here you'll feel her amidst the dust and silence, in bones and
withered leaves And if you
find her three hundred years from now Oh my dear ones Seize the day Through the Pale Door Welcome my
dear please take my hand It's wonderful here it's really quite
grand Dancing and
reeling We move beneath shadows We've hung from the ceiling Chapter &
Verse the lyric takes flight Red is the day as red is the night Laughing and
screaming A wide-awake nightmare Diseased and believing Welcome my dear please take my hand It's wonderful here it's really quite grand Shadows now
descending To join in the Madness The song never-ending Plague Dance Suffer the
ragged dances the supreme debt to Nature Closing the
gap between heaven and earth Divine or
diabolical the vacant face of youth Denn Die Todten Reiten Schnell Behold this
pale offering whose essence feeds your every need
Wake
the Walls of Remembrance Sing tenderness my silent
ones Your eyes of wonder Behold
this frail offering These weighted words fall as Autumn
leaves Importune Me No More Most likely written by Elizabeth I, late 1500's When I was
fair and young, and favor graced me How many weeping
eyes I made to pine with woe Then spake
fair Venus' son, that proud victorious boy, Eftsoones
he spake these words, such change grew in my breast Go, go, seek some otherwhere Importune Me No more Reine La Belle Should I let
me guide me All that lies before me Agony is the moment created Redefined and riveted And If I lay
beauty behind me and below me Syllables to coat the cracks where Memory shatters without language Beauty lies
before me Beauty lies above me Beauty lies behind me Beauty lies
beneath me Belief remains The mind ultimately reigns This song
was written by Paul Williams for the movie, The Phantom
of the Paradise. BACK TO TOP
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"Evidence
of Heaven" was conceived out of the silent, dismal memory of a
fallen comrade and amazingly enough comes across as perhaps their
most dynamic and diverse. While there remains a plentitude of
spirituality and soft focus in this deep exploration of the other
side of life,"The Chorus of the Furies," "Patience Worth," acoustically
tuneful, and touching, and then there's "Dead Leaf Echo," which
like a sudden brief twist of a rain cloud, let's off an outpouring
of emotion, featuring a writhing melody bed over evocative lyrics
and beckoning, the female voice never as prominent as here, nearly
Kate Bush meeting Enya in an otherwise startling setting - Fleetwood
Mac in an age of modernity where uneasy is the feel but splendorous
without bewilderment. And at the half way point, just before arriving
at their conceptually-inspired "The Haunted Palace (In 3 Acts)"
and seven songs further, we're nearly left to ponder whether this
was in fact the same source responsible for the stimulating club-reared
mix of "Scars Flown Proud" which a lifetime ago it seems, nearly
impossible but a further reach for the complexity and character
shown by an inimitable combination destined to extend their already
broad range of talent.