Skymning - Machina Genova (2004)

Skymning had really found its lane with Artificial Supernova, and if anything, Machina Genova takes them further down that direction with an even more electronic, industrial sounding evolution of the death and thrash metal which formed the basis for that sophomore. The cyber tendencies have now crept deeper beneath the flesh, with electrodes pumping through the band members' veins, and yet they manage to do this without switching over to exclusively electronic percussion or losing the impulsive death/thrashing of the guitars. It feels like a band that adapted its electronic personality, rather than an electronic band that just decided to punch a few guitars into its recording software. And it's still bloody exciting, arguably even more so than its predecessor, since there's a simpler, punkish energy to some of the guitar riffs.

Groove metal, industrial metal, a little thrash, Machina Genova exists at the nexus with an interesting hustle and flow to its percussion, and guitars that center in a lot on chugging rhythms and then lots of quirky techniques above them to represent circuit boards, assembly lines or whatever other mechanistic vibes are going through their brains. The bass has a great flow to it, occasionally reminding me of the mid to late 90s Voivod stuff with Eric, and this has the most interesting drumming of their catalogue because it's so adept at emulating more purely industrial bands. Lots of weird little riffs on tracks like "Scrapleech" and "Swallow the Holy Piss" keep the record pumping fresh, but there are also a lot of more familiar, thrashing rhythms, as well as a few that might teeter a little too much towards the nu metal sound, but never more than, say, Prong did, a band that continues to have some parallels to these Swedes, only over a much larger catalogue.

This is a very good album overall; it might not have left quite the impact on me as its predecessor, but I will certainly never argue that this was successful at mutating them even further away from their roots in a positive direction which kept them distinct from their Swedish peers. It's certainly a nastier and more pissed off sound than Artificial Supernova, but still maintains plenty of atmosphere and a few surprises that will keep you guessing what's around its welded corners. It's a bit of a bummer that the band decided to call it quits after this was released, but I can never fault them for quitting while they were ahead...there are no disappointments in their discography, and I think the small handful of folks who would track such albums as this down will be quite thrilled with what they discover.

Verdict: Win [8/10]

Skymning - Artificial Supernova (2002)

If Stormchoirs was a sign of its times, then Artificial Supernova might be seen as AHEAD of its times. Since three years had already passed, I could hardly call this an abrupt shift, but the band members obviously looked around at the landscape and decided to forge ahead rather than remaining one in a crowd of melodic death metal scenesters from the country of Sweden. Granted, industrial or futurist elements in metal were hardly novel after the turn of the century, but for a band in that particular melodic scene to start incorporating more grooves and electronic elements in this specific was felt rather unique. Sure, In Flames, Soilwork, Darkane, all had a very contemporary vibe about them, not shying away from synthesizers and other modernizations, but Artificial Supernova had a way of sounding like organic industrial metal, that is, performed with the mechanic aesthetics to the beats, but with the normal array of instruments.

It's still melodic death metal at its heart, and tracks like "Shadowed (Astral Silver)" and "Exoskeletal X.T.C." still had some of their best individual riffs and guitar lines in that style, but even then they are tempered with some weirdness, like the bizarre pickup in the latter tune's bridge where the drums start to shuffle along and all manner of noises are thrown in. It's actually quite involved here, and the beats reminded me a lot of Prong when they had transitioned from gutter thrash into the industrial region through Cleansing and Rude Awakening. Skymning just remembers that the focus should be on the guitars, and thus this is an endless riff onslaught which just never really lets up, and always rebounds from wherever it tries to stretch the envelope the furthest. It's so well written that I can't think of even a moment or two here in which I started to lose interest, and despite being over two decades into the future of its manifestation, this one still feels fresh.

The production, too, is so much richer than on Stormchoirs, which clear and potent guitars, lots of nice effects filtered through the melodies like, and a uniform, machine-like step to the drumming which is the perfect seat for all the myriad awesome riffs. Vocally it's cleaner than the debut, but still using the rasped style with a few samples. The bass is much more important here, and really the whole mix kicks ass of even stuff like In Flame's Reroute to Remain which felt a bit too compressed. The Swedes had moved on to bigger exposure with a release through Candlelight and Blackend, and really I cannot tell you why this one didn't succeed. Perhaps the audience was turned off by its evolution away from the power metal-infused melodeath, but many bands at this time were exploring new ground, and not nearly as well as Skymning. Easily my favorite of their catalogue.

Verdict: Win [8.5/10]

Skymning - Stormchoirs (1999)

Another gem from the Invasion Records roster, Skymning arrived onto the Swedish melodic death metal scene with an even more pronounced reliance on the former half of that genre. Essentially, they were writing power metal tunes and slathering the sorts of growled vocals you'd expect form their peers right on top of them. Certainly, bands like a Dark Tranquillity or In Flames could also be equated to using traditional, melodic metal aesthetics, but this group took it to a whole new level on their debut. You could imagine this entire record with a different vocalist and it might sound like a large number of Euro power metal acts, and I'd also say that in that capacity, it might not wind up with more of an impact that Stormchoirs did. Having the nastier vocals does the music a service, since it wouldn't be considered expert level in that more accessible genre.

It's a rush, a pretty good album for those who were diehards for melodic death metal at the time, but I do have a few surface complaints. The cover artwork and digital logo look pretty bad in retrospect, and I find the production to this one very washed out, and not in a particularly memorable way that just places it in an older studio era. Also, while the riff patterns were quite exciting for their day, nowadays they feel rather predictable since we've heard them all so many times since. There wasn't a novelty to the songwriting here as, say, a Soilwork or Darkane had, and again I think that's because the actual songwriting was being confined more to carrying these glorious power metal anthems forward, hell there are even some harmonies here (as in "The Question") which harken back to Iron Maiden and direct NWOHBM influence. But when the time was right, and this melodic death style was enormous here in the States due to the popularity of At the Gates or In Flames, I think Skymning would have banked a lot more if they only had better exposure. Right time, right place, wrong band?!

I like the music, but a lot of the components do feel dated, from the mix on some of the drum kit to the overall lack of power in the instruments. Not the compositions, mind you, because they blaze forward with abandon, but the heavier, faster passages sound a bit murkier than when they tear out some gleaming harmony. They have some softer parts where the bass becomes prominent, again reminding me of Steve Harris and Iron Maiden, but they don't exactly set up the ensuing elevations into harder riffing very well. It's apparent that Skyming also grew tired of this style, and potentially also thought of it as being more trendy than interesting, and so their later albums showed a lot of progression and growth, but there's no question that Stormchoirs had a potential which would have been realized with greater exposure and top notch production budget, and I think they were initially one of the more hype Invasion bands because their style just hit the mark at that exact point in time.

Verdict: Win [7.5/10]