As good as the Dutch band’s start was, it seemed that it wasn’t enough for them. As much as “Always…” and “Almost A Dance” put The Gathering on the map, it was clear that Rene and Hans Rutten, in particular, had infinitely greater potential for something more than their first two albums, which, while decent, were typically doom/gothic metal. The turning point had to be a major one, and of course Lady Luck had to lend a hand. I don’t put much stock in luck, especially when it comes to artists’ careers, but often it manifests itself in the form of the right person appearing at the right time. That person was none other than Anneke van Giersbergen, a singer whose musical roots lie in jazz, blues, and folk. With her ethereal (the very definition of the word) voice, she perfectly embodied the inspirations of Rene and Hans, who had, in turn, developed their sound and playing to a very high level while also exploring new paths. But it wasn’t Anneke’s voice only. Her lyrics revealed a deeply emotional person with a reverence for nature as well as for the deepest human emotions. To borrow the title of the first track from this collaboration, Rutten and Anneke seemed like strange machines ready to produce something truly new. So these Strange Machines were set In Motion, and the result was named Mandylion.
A masterpiece that not only no other musician dared to touch—or even come close to—but also set the bar for the band itself, despite the exceptional albums it continued to release, both with Anneke and with her replacement, Silje Wergeland, years later. “In Motion #1 and #2,” “Eleanor,” and, of course, the title track were destined to leave an indelible mark on the band, though that doesn’t mean the other gems on this album fall short in the slightest. Who could possibly remain unmoved upon listening the ten-minute “Sand & Mercury”?
“Mandylion” will forever be objectively the best and most significant album by The Gathering, I’m not saying in the genre, simply because the Dutch band is a genre unto itself.
Moni Lazariston and Lycabettus Theater seem like the ideal venues in Greece to present “Mandylion” live and in its original form, marking Anneke’s long-awaited return after 18 full years. So, on September 24 and 26, this will take place in Thessaloniki and Athens, respectively. This rare opportunity should not be missed, because I think it’s highly unlikely to happen again.
Dimitris Kazantzis
