Entwine

Dieversity

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AllMusic Review by

The 1990s gave listeners an abundance of artists (some European, some American) who embraced the electro-goth sound -- that is, goth rock that is heavily electronic and favors a lot of high-tech studio maneuvers. Electro-goth (which can sound great in clubs, especially S&M/bondage clubs) doesn't require a full-fledged band; an electro-goth act can easily consist of nothing but a vocalist and a producer/programmer. But there are other goths who prefer a more guitar-based, hard-rocking approach -- and for them, goth metal can be an attractive option. Not all guitar-based goth music is goth metal, but goth metal is certainly a valuable part of guitar-based goth. And those who like their goth with a lot of loud, crunching guitar can't go wrong with Entwine's Dieversity, which is relevant to both goth metal and goth rock. This Finnish band has the dark, gloomy, brooding outlook one expects from goth, but it also plenty of guitar-crunching aggression (although Entwine is glossier and less heavy than other European goth metal bands). Dieversity, which was recorded in 2003, is never an exercise in loudness for the sake of loudness; when these Scandinavians turn up the amps, they are amplifying their love of melody. This is a highly melodic effort, and Entwine -- as hard as they rock -- bring a strong sense of craftsmanship to this 43-minute CD. Their melodies and harmonies would still sound good without all the amplification; in fact, if Entwine had been forced to unplug and make Dieversity a totally acoustic album, their material would have no problem holding up. Finland, like other Scandinavian countries, has plenty of brutal-for-the-sake-of-brutal bands, but Dieversity is not an exercise in brutality -- passion, yes, but not flat-out brutality. And the Finns' commitment to both passion and melody serves them well on this rewarding effort.

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