I think one band that has remained a constant in my life is Within Temptation. Ever since I discovered them in 2007 I think I’ve been on their hype train. I remember it being a quick turnaround to fandom. As a kid and well into my teen years I watched music video channels on TV—specifically, Kerrang. For you kids out there, it was probably the best way to discover new music before the advent of YouTube, social media and streaming platforms. Even in 2007, two years after YouTube’s release, it was still some of my favourite programming. The level of effort that went into music videos was amazing, you’d get some duds, but for the most part, it was a valued way of presenting your new singles. Being on TV, artists only had a few seconds to grab your attention with their video before audiences chose whether to leave a song on or not. It was like the wild west and I think this is where I started to cultivate my music taste. I distinctly remember sitting in my living room one afternoon and binging the content KerrangTV was pumping out and that afternoon is when I first heard Within Temptation. Their single “The Howling'' came on and I don’t think I could even accurately describe my feelings. The slow build into the thunderous cacophony of gothic metal was something that struck me right to my core. It was like nothing I had ever heard, mostly having grown up with country, classic rock, pop punk and nu-metal. The intimidating orchestral strings, the heavy riffs of the guitar and the angelic vocals. Man, it was so far up my alley, it felt like the music that I’d always wanted.
I would, inevitably, head to YouTube to listen to more of their songs. I quickly followed that up with songs like “Angels'', “What Have You Done Now” and “Frozen” and if I’m brutally honest it was the beginning of my love affair with symphonic rock and metal. It truly felt like a gateway drug. However, I don’t think I would become a ride-or-die fan for some time later. Hell, I wouldn’t see them live for the first time until 2014. From there and then I was just a fan of their music but not in the same way as other bands. I think it would take some time before I would become heavily invested in them. I bought a copy of the album The Heart of Everything and I would put that on repeat and I would check out other bands within the genre, such as; Nightwish, Delain, Visions of Atlantis and Kamelot. Varying my taste even more. I was growing my collections and diversifying my fandom into many different artists and bands.
I do remember a specific event happening regarding them. One day I remember just being in my room and my Dad would enter the room as if he was going to punish me. He had that stern look on his face, that threatening face as if I’d just royally messed up something serious. He said, “Why didn’t you tell me about Within Temptation and why didn’t you tell me they were so good!”. We laughed and laughed. I had already gained somewhat of a reputation as a music aficionado so it was a bit of a joke at my expense. Yeah, I got my Dad hooked on them and that’s how I came into possession of their earlier work such as The Silent Force and Mother Earth, which I still have in my collection to this day. In later years, I would convert both my mother and my older brother into fans of their work.
Anyway, outside of the trip down memory lane, what is the point of this blog? Well, hang on to your cotton socks because I think I’m getting there. There was something special when 2011 rolled around. It’s the second of April just six days after my 19th birthday and I was walking around town and wandering into my local HMV and there it was, I saw it, Within Temptation’s new album, The Unforgiving. I bought the more expensive special edition and took it home to listen to. When I tell you that I replayed this album a lot, just believe it. I loved this record. It took me completely off guard. Songs like “Faster”, “Shot In The Dark” and “Sinead” were stand-out singles. The album as a whole just had such a different bite and feel to it. It’s dawned on me in recent years that it was this album that turned me into a ride-or-die fan of the band. Even though this was such a departure from their previous material. If I’m being honest, it was because it was different. This was my first experience of a band making a pretty significant deviation from their previous records. It also served as a pivotal album in my musical taste expansion. It was an album I remember loving all too well and I was just starting to get this blog off the ground on PureVolume.com.
That dear reader, is what I want to explore. The evolution of this band through the eyes of a fan. Through the eyes of someone who started their fandom during that career transition phase. Everything from their first album Enter to now and the work they are doing today. I will admit that I am not a complete authority, I might be just some music nerd with a blog, but, if you’ve read this far maybe you’ll want to read a little further. A bit of background first of all. Within Temptation started as a group in 1996, after going through a few different iterations, they have turned into one of the genre staples of the heavy-metal world. Along with contemporaries, Nightwish, Epica, Kamelot, Therion and the various projects of artists like Tobias Sammet and Arjen Lucassen, they were a key part in crafting what would be known today as the symphonic metal sub-genre, or at least, our modern understanding of it. Without a doubt, Within Temptation cemented themselves in this world with an iconic sound that is so recognisable, even through the years and many different lineups and style changes, they’ve always managed to maintain a persistent core to their overall sound.
The band has released eight studio records and six live albums recorded at individual tour dates and shows. They have also released several EPs, compilation albums and remixes that can be supplementary material for the die-hard fans. For the purposes of this article, I will be sticking to the studio releases alone. So without further delay, let’s dive into their studio releases.
This album is a far cry from what the band is today. To the point where you can’t believe the same mantel is placed on all their records. However, there are scraps of elements that would be continued into their further career. What does that even mean? Well, like I said before they went through different iterations. This can be marked as version 0.5 or prerelease Within Temptation. This is not the version of the band that you’ll ever see live in concert anymore. However, that doesn’t mean it’s completely alien to their current output. It does mean that this version of the band is not something that’s brought out a lot anymore, if at all. Enter is a much slower, more methodical record. It fits pretty well into the gothic doom realm of heavy metal. While Within Temptation would continue down the gothic route, the slow-paced chord progressions of doom don’t come out in their music anymore. If I could say one thing about this album, it’s interesting. Like, as a record the album is very ethereal and atmospheric. It does a great job of setting a tone and sticking to it. I enjoy this album for its ambience and overall general vibe. The keyboards played by Martijn Westerholt add a vibrant quality that gives every song a charm, and this is something he would continue into his future project Delain. The songs are wrapped together with a tidy little bow, which is Sharon’s vocal work. Even this early in their career, her vocals act as the signature for the band's sound. There were a lot of bands that sounded like this but none with the vocal talents of Sharon. She can effortlessly navigate between the passages and her vocals cut through the sound like a hot knife through butter.
I think the word that most accurately expresses what it’s like to listen to this album is intriguing. It’s a fascinating listen if you’re in the mood for it. You can tell this is Sharon and Robert’s writing. However, I don’t think I would recommend it to all. It lacks any memorable hooks and the album floats around a lot. There’s a lot of atmosphere and effect and I think some of the songs go on for a little too long. I would only say check this out if you’re bored with their other songs but still have a hunger for more content or if you just want to hear the band’s origins. The big song to remember on this one is “Restless”, which was the first and only single for the record. It’s a song that’s remembered fondly by old-school fans and, I will admit, it’s a beautiful melody. It’s the only track on this record that I would say is an absolute must-listen.
Still, this album was the start of something great and I think Robert and Sharon knew they had something special, so they ran with it. I’m delighted they did and felt like there was enough steam in this engine to push forward because what would come next would be, what I would call the definitive start to the band.
Widely regarded as their breakthrough album, Mother Earth is where Within Temptation became the band they’re known as today. Massive sound, catchy hooks, larger-than-life scope. They just cracked the code on this one. Not just coming up with a stellar record, but making a monumental shift in tone. Going from the drudgy doom sound of Enter to the brighter and more commanding sound of Mother Earth, it’s a triumph, to say the least. I will say this is not my favourite Within Temptation record, I just like it a lot. Their sound went from this ethereal and otherworldly to a more folky and enchanting sound. I think many people associate this album more with the concept of Celtic metal. It has instrumentation elements that feel like they were pulled from Arthurian folklore and lyricism that focus on that of the fae and fantasy characters.
I think the reason that this album worked so well is because of those hooks. Every single song has a hook that just sticks in your brain. Be it the choir stings in the riff of “Ice Queen”, the sweet melody of “Our Farewell” or the twinkling piano riff of “Never-Ending Story”. Every moment of this album has something that will linger in your mind long after the album is over. The production is a real step up on this album. Sharon’s vocals continue to be the central focus, but the other instrumentation is amped up too. However, I do feel that a lot of the production can be a little muddy here and there. There are just moments that don’t land for me however its high moments far outweigh the low points. Saying that I can understand why some of the fans hold this album in such high regard. It feels like the album where they came into their own. The album where their sound started to have that signature tone that would captivate the fans.
However, for me, I think this album could be more impressive. I don’t often revisit it. I think the singles “Ice Queen” and “Mother Earth” will always be a special part of their live sets and they’re the only singles you need to acquaint yourself with if you plan on seeing them live. There are some gems in the mists of the record. “Dark Wings” is a particular favourite of mine and one that I would include on playlists for symphonic metal. I think what fans love about this album is that it has that epic quality. It’s an album that takes you on a journey. The lyrics are beautiful, the music is well-composed and there are moments where this album rises to the occasion. Still, this isn’t their final form and the band had some way to go.
A few years later the band would return in a big way and were armed with two new permanent members. In 2001 after the release of Mother Earth, they recruited guitarist Ruud Jolie and keyboardist Martijn Spierenburg, who are still in the band to this day. The Silent Force is probably one of the strongest works I think the band has ever put out. It was a shift from Enter and Mother Earth, in the sense that I feel the band were after a new market. A market that had been created by bands like Evanescence and Lacuna Coil. Yet, they went after it differently. Instead of straight-up copying the alt-metal or nu-metal styles, they blended their original symphonic music to fit that sound. In a sense, it took the gothic ideas and themes of Enter and the more operatic feel of Mother Earth and did a magic fusion dance. What you get from that is a bombastic album that has that over-the-top feeling whilst, at the same time, getting that bass-heavy doom and gloom that gives that proper heavy vibe that metal fans crave.
This album is highly regarded because it came out of the gate swinging with some punchy singles. “Stand My Ground” is a massive single that caught everyone’s attention, heavy on orchestral strings. “Memories” is a touching ballad that’s beauty is immeasurable. Then you have “Angels” which is a song that is still a hallmark of their live shows. When you put such a good foot forward, it’s no surprise that people clamoured for the album. Even when you look under the surface the album tracks are fantastic. Some of my favourite tracks are “Somewhere” featuring the vocal talents of Anneke van Giersbergen, “See Who I Am” and “Forsaken”. I’m sure if you spoke to other fans they’d give other favourites. The album is stacked with bangers. It’s overall a very well-made record.
The production is on a whole other level than what had come before. I think the sound hits so damn hard because everything is layered so well. Also, everything is layered in the right way. Even with the orchestral instrumentation laced throughout the sound the core sound of the band still comes through. The guitars, bass and vocals all sparkle and shine on The Silent Force. I think another reason this album’s production feels different is the change of producers and record labels. The last few albums were handled under DSFA Records and a range of producers were working on them. Anthony van den Berg, Lex Vogelaar and the band themselves worked on Enter. Then Anthony van den Berg and Oscar Holleman took on Mother Earth. However with The Silent Force, Daniel Gibson and Stefan Helleblad took over the production desk and it was produced under GUN Records in Europe and, more importantly, Roadrunner Records for the rest of the world. Roadrunner Records were huge players in the rock and heavy metal world at the time. For a time, it felt like every big name in the rock and metal world was signed to them. It did wonders for them as this album sounds bigger and bolder than their previous work.
From a lyrical aspect, this album packs a heavy punch. With words that cut through deep to the bone. They fuse fantastical concepts and ideas with meaningful and personal themes. The big singles like “Angels” and “Stand My Ground” convey this quite well. They’re songs that have quite enchanting lyrics that are metaphorical of real subjects that Sharon and Robert wanted to talk about. While this is not new for them, I think it’s far more noticeable on this album and for their records going forward.
After what feels like a long preamble. We’re finally at the album that got me into the band themselves. The Heart of Everything feels like a defining record, at least from my perspective. It’s an album that sums up everything that Within Temptation was in the past but also laid the groundwork for what they would become. It had a melodic symphonic feel but also it had that more alt-rock edge that they would hone and refine going forward. Returning to produce the album this time was the team of Gibson and Helleblad. They did a great job working on the Silent Force so it made sense to bring them back for this one. Also, this album had a whopping five singles to promote it. "What Have You Done" Released: 14 February 2007; "The Howling" Released: 1 May 2007; "Frozen" Released: 11 June 2007; "All I Need" Released: 12 November 2007 and "Forgiven" Released: 12 September 2008. All of the singles were excellent and I feel are still some of the strongest songs of their entire discography. Especially “The Howling” for a big over-the-top style anthem and “All I Need” for a beautifully written ballad.
The album on the whole is extremely entertaining to listen to. Each song flows into the next and everything is just at the right balance. No one element of the instrumentation feels like it dominates. The music is just evenly balanced throughout the record. From the opening sweet yet melancholy notes of “The Howling” to the bittersweet ending notes of “Forgiven” I think this album keeps its well-balanced production to its dying breath. Purely on a composition level, this album sounds incredible. For me, it’s still the absolute gold standard for symphonic metal. I think certain elements work so well here. One of the bigger selling points for this album, for me, is Shron’s vocal work. Which is much more toned down for this album. She still manages to hit those beautiful high notes. Yet on this record, we have a much more reserved and tempered vocal performance. It hits you from the first song “The Howling”. You can hear the shift in tone in Sharon’s vocals. It’s something that slaps you in the face and it fits so well with the tone of the record.
The single I think everyone knows and loves from this record is “What Have You Done Now” featuring the vocals of Keith/Mina Caputo (of the band Life of Agony). That song is such a powerhouse of a single and it would be a telltale sign of things to come. The way that Sharon and Caputo bounce off of one another on this song is a masterstroke of songwriting and production. The line-by-line trade-off between the two singers and the harmonised vocals during the chorus, all came together so beautifully. Then you have the titanic song that is “All I Need”. A beautiful song that, almost immediately, stole my heart. It’s a song where poetic flair meets literal bluntness. I think this is where the band changed. Instead of the operatic wonder of “The Promise” or the soft passionate heart of “Somewhere”. “All I Need” became the new emotional template for Within Temptation songs going forward, whether they were aware of it or not.
The Heart of Everything is a transitionary record. It marked the end of the band being solely focussed on symphonic metal and into their arena heavy metal phase. This is why I wasn’t overly surprised by what was to come next.
I think when the single “Faster” dropped there were many that were taken back. However, I think this was a statement piece. This stirring rock number was their way of moving into their new sound. This was the first single off of their 2011 album The Unforgiving. A concept album that would have interconnected music videos and comic books and the whole album is a concept record. Now this was 2011, so comic book origin stories were huge, mostly thanks to the Marvel Cinematic Universe becoming pop-culture. This record is such a huge achievement for the band. Gibson and Helleblad once again return to the production desk and at this point, they and Within Temptation work so well together.
The album concept comes together so well with each song layered into the next and the story building throughout the record. I think from a lyrical standpoint, this is where Within Temptation became their most creative. You can tell they were having so much fun crafting the story and characters and setting it to music. It's a bold record with memorable, quotable lyrics. It stands out to me because if I'm singing a song from them there's a big chance it's a song from this record. The singles “Faster” and “Shot In The Dark” remain part of their set to this day and you can guarantee that when it gets to the chorus from those tracks.
From a production side, this album sounds nothing like their previous albums, which was a big point of contention in the media and the fandom. Some people loved the change and some didn’t like it. I loved it! Yes, it’s not the gothic-inspired symphonic metal with all of its bombast and pageantry. This was a definite shift towards arena metal. Still filled with massive sounds but now more bouncy and colourful. Songs like “Sinead”, “A Demon’s Fate” and “Shot In The Dark” stand out as anthemic hits that wouldn’t feel out of place at a rock-themed karaoke night. Also, the band ventured into power-metal with tracks “In The Middle Of The Night” and “Iron”. That’s not to say that the symphonic metal was completely gone. The album closer “Stairway To The Skies” proves that. It felt like the band were taking a lot more chances, and I think it paid off for them.
It was a bold step for them for sure. I think it was a needed change in direction. It felt like a spark had been lit underneath them. Sure, some in the hardcore gothic symphonic metal crowd weren’t the best pleased. For those of us who were ready for something new, this was exactly what was needed. A fresh take and a new life for the band. Something that would drive them forward for the next few albums.
After The Unforgiving, it was unpredictable as to what would come next. Their next project was going to be their most experimental yet. Hydra is such an interesting record. From the outside, this album might have felt like a return to the status quo. However, this album is such an enigma. However, looking back on it, I think the hype outweighs the actual album. I think there are some outstanding songs individually but I don’t think it comes together as an album, it feels like a collection of songs. This album brought a few changes; the production, the lineup and, most importantly, the guest stars! As a fan in the UK, this album is a big one, it debuted at number 9 on the UK album charts. Though it’s not my favourite album from them, I can appreciate the bold style choices made on this record.
Producing this record, Daniel Gibson was manning the production desk alone as Stefan Helleblad had now moved to perform on the record as the third guitar player along with Robert Westerholt & Ruud Jolie. They also shifted their record labels, this record being a joint production between Nuclear Blast Records, Dramatico Records, BMG Records, Universal Records and the band themselves. Pretty much everything I’ve said so far about them still applies. Their production has been in top form since The Silent Force. Hydra is no exception, I don’t think anyone can deny that their music sounds epic. The booming drums, the flow of the bass, the overtones of the keyboards and the fierce roar of the guitars, all just sounds so magnificent. However, the genius of this project was something that I don’t think many were prepared for. That is the core theme of the album. The exploration of the genre of rock itself.
This album feels so surreal to listen to a fan of the band. While some songs play to Within Temptation's strengths as a band. Some completely come out of left field. I think the two songs that feel out there are “And We Run” and “The Whole World Is Watching”. That would be due to the contribution of their guest features. The former, “And We Run” features a verse from the American rapper Xzibit and the latter “The Whole World Is Watching” features alt-rock vocalist, Dave Pirner from the band Soul Asylum (or Piotr Rogucki from the band Coma for the Polish version of the record). I think what makes these songs so jarring is that they are such a world away from what we know Within Temptation to be. “And We Run” feels like a merging of two different styles but somehow it all comes together. The gloriously anthemic chorus flows so well into the rap verse. Xzibit’s delivery matches the tone of the song so well. If you have told me, as a kid, that the host of Pimp My Ride would feature on a Within Temptation song and that it would be a top 10 song from the band, I wouldn’t have believed you.
However, I think “The Whole World Is Watching” is even more surreal. At least from my perspective, especially the version with Pirner. Soul Asylum is a band that I would never associate even close in the same scene as Within Temptation. I don’t think many fans exist in the centre of that Venn diagram. Except for me. Anyway, this song feels so authentic to the early 90s college rock (or adult alternative) scene. This was a special feeling for me as a fan of the band and this alternative style of music. It shows that not only does Within Temptation have great reverence for the alternative scene but they could very easily slip into it.
The rest of Hydra could be chalked up to the standard sound of the band. Many of the songs feel like they could have come from The Heart of Everything or The Unforgiving. Those two songs opened the door for them to experiment further. Which is something that would lead to the band's most contested record.
Resist is an album that well and truly divided the fandom, from what I read and those that I’ve spoken to in the years since. I remember reading the online discussions when the singles were coming out. Professional critics loved it, but there was a corner of the audience that was not enthusiastic about the sound. This album feels so different, so alien, so not Within Temptation. Yet, at the same time, the band had already shown a pedigree for playing with their sound so I’ll let you be the judge. The lead single for this record was “The Reckoning” which features the vocalist of the band Papa Roach, Jacoby Shaddix. Even though they still have that level of bombast, we’re now a world away from songs like “The Howling” or “Stand My Ground” and so far away from songs like “Ice Queen” or “Mother Earth”. I think from here we’re through the transitional phase of the band and now firmly in the arena metal era. Within Temptation is, from here on out, whatever they want to be. I think this whole process was them shaking off their labels and embracing being able to make whatever they wanted to make.
I remember buying Resist and being completely shocked by the sound. While some songs provide that old comfort like “Raise Your Banner” or “Supernova”. Some songs feel so strange, like “Mad World” or “Holy Ground” it was a mixed bag of a record for me. However, over the years since its release, I’ve grown to love it more and more, because it’s so different. So how did we get here? Well, I have some thoughts. This record brought on a new producer, along with Daniel Gibson (who has been working with the band since The Silent Force) we have Mathijs Tieken assisting in the production. The band had also been on the road a lot, in and out of the studio a lot and also, they had just grown as artists. I think they felt it was time for a new sound. Something to add some extra spice to their live set and flesh out the setlists even more. This is evident in how their set lists have changed in recent years. The single “The Reckoning” and the power anthem “Supernova” have become the figurative centrepiece of their sets and for good reason. “The Reckoning” is a great call-and-response song for the crowds and “Supernova” sounds impressive and bold enough to take the place of older ballads.
The songs on this album feel different. I think that’s because there are no clear symphonic elements, for lack of a better description. I would say the traditional symphonic elements are replaced with more electronic or techno elements. It has a different soundscape that’s interesting to listen to. I think the reason I’ve grown to love this album so much is because it feels like the band just having fun with their sound. Do they have a heavy symphonic sound? Here, have “Raise Your Banner”. Do you like pop-infused heavy metal? Listen to “Trophy Hunter” and so on. It does have everything that we love about them and more. It’s a bold and creative record. Sure it’s not true to the source symphonic rock or metal. However, I think it scratches the same itch.
So, what have we had up to now? The gothic darkness of Enter; the whimsical nature of Mother Earth; the captivating passion of The Silent Force; the iconic brilliance of The Heart Of Everything; the game-changing anthems of The Unforgiving; the genre-bending Hydra and the enthusiastic mix-and-match of Resist. So, I think there had to be a time when the band would just let off their fury. An album that would be just flat-out heavy metal. That’s where Bleed Out comes in. If there’s one word that I’d use to define this record it would be, anger. This is a passionately angry album. A lot happened between the last album in 2019 to this album's release in 2023. The world changed dramatically and for the worse in a lot of cases. A worldwide pandemic, international wars, political and social divide. You can tell, those are some of the things that played on Within Temptation’s minds when writing this album. I think that’s why this album cut through so well.
Gibson and Tieken return to produce this album and once again they make the band sound massive. I think this album sounds so much bigger than Resist it has a commanding presence that doesn’t leave. Every song has gravitas and weight and when you’re tackling some of the subjects they chose to take on, yeah, it’s perfectly understandable as to why. The way the band incorporates other metal sub-genres like metalcore and djent just feels so natural. As if these tones and sounds were always a part of the band. Going from Resist to Bleed Out is an interesting experience for sure. Going from the relative fun of the former to the booming roar of this record paints a picture indeed. Songs like “We Go To War” and “Wireless” have that real edge to them that bursts with fire and punches your senses. The dramatic songs like “Don’t Pray For Me” and “Shed My Skin” feel more familiar. Even the more pure-entertainment songs like “The Purge” and “Entertain You” feel heavy in both music and lyrics.
It feels like something kindled deep in the band's core and unlocked something darker. I mean, Within Temptation has always been gothic but this feels like something more brutal. If we go back to their first record Enter, we get the same feeling. Whereas there it was more undefined and new, this is a refined band that has spent decades working on a sound that would best keep the listener invested and entertained. Enough to take on that message embedded in the lyrics. As you can tell, Bleed Out became one of my favourite Within Temptation albums. For me, it stands out as a captivating and powerful listening experience. I like it because the songs a well-written and produced. I love it because it feels like a record that no one else could have done. It had to be Within Temptation, from the scope of the album to the personal nature of the lyrics to the clout to be able to release it.
So I’ve spent over five thousand words now talking about this, what is my final take on all of this? What was the point of all of this? Well, if you haven’t, by now, checked out this band then I would highly recommend them. I just wanted to go over their discography and assess their sound over the years. The band has been through so much and so many different sounds that they aren’t the same as when they started. However, there are fingerprints all over their sound that even through their different incarnations you can still tell it’s them. Their evolution is one to be looked at with intrigue. Going from the dark doom and gloom gothic rock to the titans of arena style heavy metal. There is something to be appreciated about them freeing themselves from the shackles of labels that are insisted upon them to make whatever they want. So we, the audience, see them. See them for who they are as musicians, as writers and as people. At the end of the day, that’s something I think can be lost with a lot of bands. As some chase the audience and bow to popular taste, Within Temptation feels like a band on the outside, yet they’re one of the biggest names in modern heavy metal.
For me, as a fan of the band, I’ve learned to appreciate their art for what they make of it. Sure I don’t love every song they’ve made over the years. I’m not a blind yes man that just accepts whatever I’m given. Hell, if you ask me to rank their albums it would look very different from others in the journalism world and in the Within Temptation fandom. Even with all of this, I appreciate their art on two different levels; emotional and logical. Emotionally, the records that grab me are The Heart of Everything, The Unforgiving and Bleed Out. They’re the albums which I love for the emotional ride they take me on. I will always have a deep love for the way songs like “Don’t Pray For Me”, “Stairway To The Skies” and “All I Need” capture my attention and bring me to the verge of tears. However, if I were to look at the discography logically, as in which album has the best-constructed songs, I don’t think I’d be surprising anyone when I say The Silent Force, Mother Earth and Hyrda. These records stand above the rest when you think about the band’s music on a compositional level. It all comes down to what perspective you look at their music with.
I think what all this comes down to is learning to appreciate art for the art and not as a commodity or entertainment. I see so many people who hate it when bands change and shift in sound, or move away from a known collective. You see it all the time, any time a band or artist releases new material, you’ll always get a section of the fandom who will compare it to the years gone by rather than appreciating the song in a vacuum. I was like this for the longest time. I’m not going to pretend that I didn’t buy Resist and immediately compare it negatively to The Unforgiving or The Heart Of Everything. It was when I removed myself from the ever-critical fan persona and judged Resist on its own merits that I learned to find enjoyment in the art that one of my favourite bands had put effort into.
Overall, I’d like to thank the band for being so uncompromising in their writing over the years. They’re a band that makes the music they think is interesting, they don’t let people tear them down, which is so admirable. So yeah, I’m Mick and I love the band Within Temptation and I welcome you to enjoy a band that means so much to me. Even if you dislike their sound or maybe you’ll only like one or two songs. That’s fine, I would just say appreciate them for the art they make and not some predetermined bias that you may have to this style of music.
If by any chance the band read this… Thank you for the music!
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