Ariana Savalas’s album defines a new genre of music: orchestral goth rock. OGR is not atonal noise though, this album is a carefully defined, lightly textured throw back to tunes that relied on a subtle interplay of melody and clever lyrics to set a specific mood. Ariana knows her strengths and plays them like a Stradivarius; she stays completely within the boundaries of her talents and makes the most of them.
The Dead Dance is not a happy album. “Honeymoon” might be considered light hearted, but the overall feel is wistful, sardonic, but not bleak or depressing. The musical accompaniment is largely Ariana’s piano and a string quartet with an occasional rhythm section;. The one exceptional instrumental contribution comes from the trumpet of Brian Newman on a jazzier reprise of “Memory”. This album isn’t the soundtrack for your next dance party. It is the soundtrack of a foggy morning with a hot cup of tea, a warm blanket, and bittersweet memories.
The Dead Dance is the epitome of a solo endeavor. Ariana wrote all the songs except “Ghost of the Chateau Marmont”; her piano propels all the music, and her voice is the unquestioned focus. And Ariana’s voice is well worth listening to. A smooth alto with unerring pitch, her diction allows each phrase to convey at least two emotions. Ariana’s lyrics are the treat at the center of this confection. Placed in their musical setting like a fine diamond, these words bear listening to multiple times with each listen revealing another layer of meaning.
But don’t get the idea that OGR is mopey music for the misunderstood. Ariana’s album may deal mostly with loss, regret and contempt, but Ariana live presents a bawdy spectacle of hilarity. And that contrast is slyly implied in even the bleakest song. Ariana’s wit is what saves this album, as unhappy as it may be, from bringing you down. Ariana the lyricist, even as she suffers from cruel lovers, disappointed affections or loss of Hollywood dreams, is keeping her head held high, looking you in the eye, and winking.
