In May 1997, Autumn Tears released their second full-length album, "Love Poems for Dying Children, Act II: The Garden of Crystalline Dreams". Erika left Autumn Tears after the release of "Act II" to pursue writing her novel. New vocalist Jennifer LeeAnna was recruited due to her extensive experience and tremendous talent. The first release of "Act I" was originally supposed to be limited to 2000 copies and sold out quickly, but due to an overwhelming amount of requests it was re-released with a new layout and artwork in 1998. All tracks were remixed and remastered. As a bonus, an additional and exclusive track titled "The Intermission", was also included on the repress, in which Jennifer LeeAnna made her debut appearance.
In December 1999, Erika rejoined Autumn Tears as a full-time member.
In July of 1999, Autumn Tears released a mini-CD titled "Absolution". In June of 2000, The band finished their third full length album and most epic release so far, "Love Poems for Dying Children, Act III: Winter and the Broken Angel".
In 2004, after four years of silence, the band recorded the album "Eclipse", which is described in Autumn Tears' official homepage as "the most epic, conceptual, and fullest neoclassical piece of music they have ever offered. Lush strings, acoustic guitars, and woodwinds accompany soaring orchestral soundscapes, painting the backdrop for a staggering array of vocal performances that range from operatic and classical solos to Baltic choral passages and duets".
In 2007, after a decade evolving, the band has finally shed its shell of neoclassical darkwave and gothic sound, in place of a more traditional classical and chamber music style. Drawing influences from such masters as Bach, Brahms, Hayden, Mahler and a host of others, Autumn Tears boasts rich and diverse musical arrangements based on music theory. In place of the usual keyboards and samples, "The Hallowing" employs fully live, authentic classical instrumentation including a live string section, woodwinds, oboe, french horn and haunting, operatic vocals. The album was originally limited to 1000 copies, but due to very high demand, it sold out within three weeks, and was soon re-released with an improved layout.
Immediately after the release of "The Hallowing", the project has been put on hold.
Members
Current line-up
Ted Tringo - composition, arrangements, original lyrics
Laurie Ann Haus - lead and backing vocals, revised lyrics
Terran Olson - flute, clarinet
Greg Ball - strings, snare drum
Session musicians
Cathleen Torres - French horn
Maya Glovinsky - oboe
Tanya Brody - harp
Angela Hsu - violin
Emily Packard - viola
Past members
Erika - lead and backing vocals, composition and keyboards
Jennifer LeeAnna - lead and backing vocals, vocal arrangements, composition and keyboards
Discography
Albums
1996 - Love Poems for Dying Children, Act I
1997 - Love Poems for Dying Children, Act II: Garden of Crystalline Dreams
2000 - Love Poems for Dying Children, Act III: Winter and the Broken Angel
2004 - Eclipse
2007 - The Hallowing
Mini-CD
1999 - Absolution
A Joyless Occasion
Autumn Tears Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Of bird wings on the wind
Celebrating the moonlight
Midnight sings to the rain
The thunder
Shakes the melting snow
Onto you bed of stone
Gods are poets
In the tranquil air we breath
An endless symphony
Take comfort now
And touch the earth
Graceful waves
Crashing on distant shores
Solace in you solemn grave
This serenade is yours
Sleep peaceful now fade
The lyrics to Autumn Tears' "A Joyless Occasion" convey a sense of mourning and loss, but at the same time, they are imbued with a sense of beauty and transcendence. The first line, "In the silence, I hear a song," sets the mood for the rest of the song, which blends natural imagery and ethereal language to create a scene of profound sadness. The singer hears the song of birds and the celebration of the moonlight, but it is all tinged with a sense of melancholy. The midnight hour brings rain and thunder, and the natural world seems to mourn along with the singer.
The mention of "Gods" in the third stanza highlights the sense of transcendence and spiritual connection that runs throughout the song. The natural world is a symphony, and the singer and the deceased are both part of that larger pattern. The singer encourages the deceased to "take comfort now / And touch the earth," as if urging them to find peace in their final resting place. The final lines, "Solace in your solemn grave / This serenade is yours / Sleep peaceful now fade," bring the song to a close on a note of acceptance and tranquility.
Line by Line Meaning
Contributed by Skyler O. Suggest a correction in the comments below.