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I’ve seen a lot of talk about Lotus Thief being post-metal or post-rock or post-whatever, but let’s get something straight: Their latest, Oresteia, is a rock opera, and a damn good one. Remember The Who’s Tommy or Husker Du’s Zen Arcade? Yeah, I know, they all happened before you were born, but that’s what we’re looking at here. A concept record telling a story over its length. Except instead of a deaf and blind pinball wizard, the source material comes from three linked tragedies by Aeschylus: Agamemnon, Libation Bearers, and The Eumenides, a 2500-year-old trilogy of plays known collectively as Oresteia.
Lotus Thief’s self-designated genre of “text metal” might still be the best way to think of them. Having grown from a one-off contribution to a Botanist album, the band has put out three striking albums inspired by and devoted to books. Oresteia is probably the most ambitious in scope and sound. The project has grown into a full-fledged five-member band, helmed by frontwoman Bezaelith and her otherworldly vocals.
Given the plays used as inspiration are Greek tragedies, you can probably guess the general themes. In "Agamemnon", the titular King of Mycenae returns from The Trojan War only to be murdered by his wife, Clytemenstra. Revenge is called for, of course, so in "Libation Bearers", Agamemnon’s son comes back, as ordered by Apollo, and commits matricide. His son then flees, pursued by "The Furies", seeking justice for his act of...seeking justice.
The music itself walks right up to an intersection of artful rock and musical theater, of all things. Just a step or two further, and Lotus Thief might have gone over the top for my own tastes, but they walk the line between the nerdy sincerity of musical theater and a more natural expression of feeling that you’d expect from such a skilled rock/metal band. Tension builds and flows with the plot of the plays, but even if you knew nothing about them, the vocal and instrumental performances are top flight. There are no searing displays of technicality, but it’s not that kind of music--this is music based on superior songwriting and flawless execution. The interludes between the songs that represent the plays set the appropriate moods (“Banishment”, “Woe”, and “Reverence”) flawlessly, cementing the show-stopper pieces together seamlessly.
And those vocals. Way back in 2014, I was listening to Rervm while recovering from surgery. I missed the release date of Oresteia. because this time my fuzzy buddy, Marshall the Cat, was having surgery while I simultaneously suffered from a turn-your-body-inside-out stomach virus. It’s bad luck, but it’s hard to think of a voice I’d rather have in my ears at these lower times. Bezaelith croons, soars, and even snarls with a little 70s rock swagger in "Libation Bearers". Some may find the harsh vocals too few and far between, but they act as perfect counterpoint to the rest of the bravura performance.
Will some find this all a little too much? Too dramatic, too literary? Sure, maybe. But it’s their loss. If Lotus Thief decides that their next album will be an ode to the phone book or the source code for Microsoft Windows, I’ll be listening.
