The third album from founder of BACIO DI TOSCA Dörthe Flemming, this is no less spectacular than the others and is certainly something to tell the world about as, as albums go they don't come much more accomplished and inspired than this. This very beautiful album begins in gentle operatic style with 'Das Herz ist mir bedrückt' before wandering to a dark electronic feel that's very disturbing in its intensity making this an interesting welcome to the album. The album titled track 'Hälfte des Lebens' again starts with what could take for high opera before going off in more or less the same vein as the first. This combination works beautifully and leads us to the interesting waltz that is 'Lamentationen' and very different in favour to the inaugural tracks. It has everything, a deeply disconcerting childlike rhythm, gorgeous, effortless vocals and clashing symphonic instruments behind a music box sound that really makes this track stand out. 'Ist mancher so gegangen' begins with the sound for children playing and is a straight and sombre demonstration of fantastic vocals, with no cleverness, no tricks, no smoke, no mirrors, just a simple and unforgiving showcase of this remarkable singer's talents. 'Himmelstrauer' with it's mournful cello and piano is a master class in melancholy whilst 'Vergebens' is back to creepy Electronica but no less good for it. The diversity of this album is incredible and 'Der Schmerz' is another subtle and wonderful exploration of human pain and suffering in the most heartbreakingly gentle way. 'Rüchgedenken' gives us more high opera, this time simpler, no Electronica whilst 'Gestutze Eiche' would stand alone as an instrumental in its haunting beauty were it not for yet more exemplary vocals. 'Reue' and 'Ich war einmal' are almost polar tracks, the former being more staid and resolute in feel whilst the latter is a wandering and indulgent meandering track, full of atmospheric reverb and emotion. 'Verborgenheit' starts with a simple xylophone and cello, as if by a child, before elaborately criss-crossing and making way for a strong and dominant vocal that holds it all together beautifully. 'Der Weihe der Nacht' is a lovely penultimate track, but they have it absolutely right in leaving 'Maria durch ein Dornwald ging' until last. It's purely breathtaking in its slightly medieval style and the simplicity of it's arrangement and a truly love ending to what has been one of the best albums I've ever reviewed for sheer technical excellence and all round gorgeousness. Review by "Maddi Isaacs" (www.reflectionsofdarkness.com).
RATING: 7 / 10
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RATING: 7 / 10
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