BLACKSTAR DIAMOND is the second output of the german / swiss metal band FORTY SHADES. It is the solo project of the singer and guitarist of the german Gothic-Metal Band CREMATORY: Tosse Basler. However, this is not another offshoot from the Gothic scene, but an atmospheric, progressive, powermetal loaded concept album.
The type of lyrical processing goes hand in hand with the musical performance, despite its 11 very multi-faceted songs. The album, consisting of ballads, mid- and up-tempo numbers, produced by Kohle Kohlmannslehner (CREMATORY, SIEGES EVEN, POWERWOLF, ABORTED), offers a variety of material without ever losing the thread.
. . . Almost seamlessly, the lyrics describe a tyrannized earth community beyond the individual song, with slaves, high-tech military, and sophisticated research around 5000 AD. A universe with many planetary communities and different forms of existence. Created by deities on the principle of dualism and a very special planet, the BLACKSTAR DIAMOND, in which the deities must banish the ultimate darkness and evil in order to maintain the balance of power in this universe. The theatrical outfit with robes, brocade coat, masks and top hats are a logical consequence and support the passionate, passionate performance of a realistic vision of the future . . .
Download the full Concept Script „Tales of Blackstar Diamond“
CAMERA SILENS opens up a journey to the inner self supported by highly atmospherical soundscapes and mystical lyrics performed by leadsinger Tosse alias Lord Charon (CREMATORY). The chant expands between a clean voice to metal-rock and sometimes even passages of death-growl.
. . . The substances of the lyrics on Camera Silens deal with the Aleister Crowley Tarot, ancient Greek and Egyptian Mythology as well as the tragedy of caducity, loss and suicide, power, abandonment and not to forget the finiteness itself. Divided into three parts, it describes firstly the fate of Prometheus, who unauthorized gave fire to mankind. He was punished with immortality, but to endure the torture of a growing back liver being eaten daily by an eagle. The second part deals with humanity in its immense arrogance. The personified God places the barrel of a loaded gun on his tongue, finger on the trigger, symbolically as a demonstration of power to be able to blow away humanity at once. Finally, the last and third part shows God in the example of the christian religion taking responsibility in front of his own created „Last Judgement . . .