Author: J

German darkwave artist Theatre’s Kiss has once again cultivated an astoundingly gothic post-punk album. Let’s talk about it.

An Artificer of Atmosphere

Since I first stumbled upon Theatre’s Kiss in 2020, I’ve remained entranced by their atmospheric melancholia.

Everything about the musical project is intentional, from its black metal-inspired aesthesis to its esoteric lyricism. While separate albums retain a distinct “vibe,” there’s a characteristic Theatre’s Kiss flair throughout — a flair for the enigmatic, emotional and elaborate.

“It’s all about atmosphere,” is the artist’s adage. “Nothing else matters.”

It’s clear that the project, headed by the corpse-painted Fassse Lua, comes from the heart. And its newest installment is no exception.

Suppress Your Memories

“Marie / Chronicles of a needful being,” is the official second chapter of the Theater’s Kiss musical universe and, according to Fassse Lua, a passion project.

Described as a tribute to The Cure — specifically the album “Faith” — “Marie” is about “the fear of being alone and dealing with yourself.”

The story of “Marie,” a character teased in the March EP “II,” is that of a girl’s descent into addiction.

“From that moment on,” Fassse Lua says in an Instagram post, “there’s no turning back. In her addiction, she longs for the moments that allow her to forget everything.”

This idea comes to the forefront with the album’s first track, “Fluch,” or “Curse.”

Into the day
Masquerade mode on
Routines that push me into…

Inhale the death

Supress your memories
Embrace the agony

“Fluch” by Theatre’s Kiss

What I find interesting about this release, as opposed to albums like “Self-Titled” and “Liedensmeloiden,” is the volume of information presented to the audience.

I’ve always been intrigued by the mysterious and borderline-elusive nature of Fassse-Lua, the unnamed — and basically un-faced — progenitor of such trancingly woeful beats.

For the most part, the audience is expected to infer the meaning behind various tracks.

For “Marie,” however, we’re granted not just context, but a storyline. And for me, that completely transforms the listening experience.

Endless Sorrow

Constructed so as to give the impression of a single, continuous song, “Marie” represents a waxxing and waning of misery as the album’s titular character struggles to reconcile with her declining mental health.

Some tracks are moody, laden with drums and despondent strings (“Pillows of Repression”) while others are light and airy, reminiscent of the soft sadness seen in “Self-Titled” (“Numb”).

The more prevalent use of drums also gives the album a distinct post-punk edge, as opposed to the darkwave vibes of earlier projects.

Reading through each song’s lyrics adds another layer of intrigue. For example, we learn in “Peer Pressure” that it was Marie’s romantic partner who served as her entrypoint into drug use.

Our first try ruined everything

We gave up on ourselves
We thought of nobody else
What we had in common
was the painful urge

“Peer Pressure” by Theatre’s Kiss

There’s simply so much to talk about with this album. To avoid writing a dissertation, I’ll finish with an assessment of my favorite track off the album: “Deceased Dreams.”

Alternating between jangly, ethereal energy and the utterly dour, “Deceased Dreams” represents the sudden crush of hard-hitting reality. But rather than deliver a barrage of punches, it presents an esoteric dance.

What I really love about this track is its sudden deluge into German — the first instance of its kind across the span of Theatre’s Kiss — and the perfectly sweet vocals of Fassse Lua to go along with it.

Final Thoughts

While I’m not sure “Marie” is my favorite project by Theatre’s Kiss, it’s certainly the most interesting.

The album’s development of a diegesis through lyricism and imagery is exciting in a way not many artists can deliver.

I find myself playing detective, piecing together bits of information to try and uncover the bigger picture. Perhaps that was Lua’s intention, or perhaps the true enigma of “Marie” comes from its personal roots.

Either way, I look forward to traversing more of this lyrical world.

-J