The first album after adding “Rosarius” to the name and changing former female counterpart to Tomas, Chelsea Krook, with Rose-Marie Larsen, sees a marked improvement on The Triumph Of Light, but at the same time still far away from the magnificence ORE would reach when the vision of the band and its expression started to fully mature.
It is of course impossible to think of The Wedlock Of Roses as anything but half of the complete experience, made complete by ORE’s second album Make Love, And War – The Wedlock Of Equilibrium released the following year. Though both contain standout tracks as well as what could be characterised as fillers, I think The Wedlock Of Roses is the weaker of the two. In general, though, the progression has been favourable, and there’s less of the rather boring ambient-inclined industrial, and a stronger neofolk feel. The production is a lot more powerful and clear, and the heavier use of actual melodies instead of industrial drones adds tremendously to the music. Tomas’ vocals, still spoken word, sound much more confident and powerful, truly becoming the center of attention, which is well and good, because the lyrics are worth paying heed to. The thematics haven’t radically changed: erotica of a decidedly subversive kind, national romantic mysticism, religion all mingling together into a provocative and thought-provoking whole.
All in all, whilst having its share of flaws, The Wedlock Of Roses is quite an enjoyable album. It is also the product of an artist that has matured and started to realize their true vision, but is still only halfway there.