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
Thrush and Wake
Autumn Tears Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
With a feathered pulse
The aged thrush
Bound to death's dark wing
Silently it asks
"Do we need joy?"
Than shame and loss
Morning choir sings
To warm the hearts
Of crueler beings
As they take my wings
Autumn Tears's song, "Thrush and Wake," is a hauntingly beautiful piece of music that speaks to the complexities of the human experience. The lyrics begin by describing an "ancient sound" that can be felt with a "feathered pulse." This sound is embodied by an "aged thrush" that is "bound to death's dark wing." The thrush appears to be silently questioning the necessity of joy, wondering if it is worth the pain and struggles that come with life. The lyrics then suggest that joy may be nothing more than "shame and loss," hinting at the idea that even the most joyful experiences in life are fleeting and ultimately lead to pain and suffering.
The second stanza of the song describes a "morning choir," presumably made up of other birds, who sing to "warm the hearts of crueler beings." This line suggests that the beauty of life, as embodied by the music of the choir, is lost on those who are wicked or indifferent. The final line of the song speaks to the singer's sense of loss, as they feel that their wings have been taken away from them.
Overall, "Thrush and Wake" is a powerful exploration of the themes of life, death, joy, and loss. The lyrics are layered and complex, inviting multiple interpretations and perspectives.
Line by Line Meaning
Feel the ancient sound
Experience the resonance of long-gone eras
With a feathered pulse
Emphasized heartbeat akin to that of a bird
The aged thrush
The old, tired bird
Bound to death's dark wing
Inevitably connected to death and the unknown beyond
Silently it asks
Without making a sound, it poses a question
"Do we need joy?"
Wondering if happiness or contentment is necessary
It's nothing more
There's nothing else to the truth behind the matter
Than shame and loss
Besides remorse and losing something important
Morning choir sings
The birds in the morning are chorusing
To warm the hearts
For the purpose to make the hearts full of fondness
Of crueler beings
More sadistic creatures
As they take my wings
It refers to the painful loss of something valuable or essential
Contributed by Dylan Y. Suggest a correction in the comments below.