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The Seduction of Ingmar Bergman Downloadable. The Seduction of Ingmar Bergman Promo. The Seduction of Ingmar Bergman 33 rpm. Expand all 6 issues. Its weird concept even by Sparks standards. I deeply admire this bands 40 year crusade to sell as little albums as possible but in terms of something I'd actually like to listen to this is a bit of a mixed bag. As usual for a Sparks album the lyrics are brilliant. It's witty, it's funny and it's bitingly critical of Hollywood.

It's doubtful that you'd want hear most of the spoken sections more than a few times. Even the songs, whilst good, don't rank up there with their best stuff.

"Seduction: A Rock Opera" (Off-Broadway Show)

So 5 stars as a funny and ballsy concept but only 3. The Seduction of Ingmar Bergman is the strangest Sparks album yet made, and that's saying a lot. Let's begin with the premise: This is the sort of "what if? So, yes, this is a concept album and could almost be called a rock opera, although the music rarely rocks like Tommy , and lead singer Russell Mael - who is often quite an operatic vocalist - is kept largely to speak-singing roles, primarily as Bergman's limo driver.

In fact, much of this album features spoken parts, including many in Swedish. Whoever portrays Bergman has a wonderfully rich, textured, and resigned voice.


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Thanks to Ron Mael's brilliant compositional skills, this album is more than just an arty exercise. It's actually oddly compelling. But, of course, its appeal is limited. As a huge Sparks fan, I like it a lot, but I wouldn't recommend it to very many people. That said, The Seduction of Ingmar Bergman is quite an accomplishment. A ludicrous concept and performance that is designed to be purely eccentric and deny any commerciality. As such to be applauded.

Editorial Reviews

But not designed so I'll ever listen to it more than a few times Published. Perhaps my brain is slightly scrambled It's not easy to deal with a radio musical. Sparks have realized it with consciousness and a good precision but sometimes it lacks strenght. The idea that Bergman goes to Hollywood is narrated in a ironic way but sometimes lyrics and music solutions are not so fresh or innovative. Soon, the protagonist realizes aligning people is also a way of having control over them.

Track listing

As Sammet explains, "It's a journey where he is looking for answers for some questions about his own existence and that leaves its mark on his philosophical worldview as well. Those twelve songs represent key moments on this journey and then it's done. You should be able to interpret it for yourself in the end. Regarding the album's title, Sammet commented: The opening track and single " Mystery of a Blood Red Rose " was intended to have Meat Loaf as a lead singer, and his management was initially positive about having him perform on the album, but for unknown reasons they ultimately declined.

Describing the second and longest track "Let the Storm Descend Upon You", one of the last to be written for the album, Sammet commented: After "The Haunting" had been written, Sammet was thinking of who could be the guest singer for it, and it had to be someone "who would be both theatrical actor, but at the same time dramatic vocalist and the song was very very eery [sic]. And I imagined somebody who should sound like a crossing between something very flamboyant and the Child Catcher in Chitty Chitty Bang Bang ".

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He thought of Dee Snider after exploring his record collection, [8] though he considered him a non-obvious choice due to the song being very different from " We're Not Gonna Take It " and " I Wanna Rock ". Sammet describes the early version of "Seduction of Decay" as "an epic heavy metal version of ' Black Dog '" meant for a singer like the young Robert Plant.


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Herbie Langhans, who guest performs as co-lead singer, sung his parts an octave lower than Sammet at Sascha Paeth 's suggestion, so that their voices sound more different from each other. Sammet acknowledges that the result has been labeled "gothic" by some. The reviewer for the Myglobalmind Online Magazine wrote that Ghostlights was heavier, more mysterious and darker than the previous album The Mystery of Time.

He also lauded the sound production and arrangements by Sasha Paeth which underlined singer Tobias Sammet's vocals. The Sonic Seducer's reviewer wrote that the album had "no musical limits" and that all guest singers harmonized well with Sammet's vocals. Adapted from the album credits.

The Seduction of Ingmar Bergman - Wikipedia

From Wikipedia, the free encyclopedia. For other uses, see Ghost light. Revealed Artwork and Tracklist for "Ghostlights " ". Retrieved 22 November Spark Rock Magazine in Czech. Retrieved 14 January Retrieved 7 February Retrieved 21 May Metal Hammer in German. Retrieved 22 January Sonic Seducer in German. Retrieved 23 December Retrieved 11 February

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