Therion - Theli (1996)

The one thing I’ve always loved about Therion is that they keep surprising me at almost every turn with the direction they take with their music. Theli was made soon after Lepaca Kliffoth, and showcased the band moving towards a more operatic style.

Theli achieves the interesting blend of operatic, symphonic and who knows what else that Therion is perhaps best known for. Whereas Lepaca Kliffoth was a transitional phase, Theli represents the style that Therion has morphed to, and will keep for several albums and years to follow (and since we’re talking about Therion, this means that while they remain recognizable, they sure as hell keep introducing variation into their work).

So, how about the music itself? Well, Theli is composed more or less in the form of a single work. Beginning with a prelude, stopping in the middle with an interlude and ending in a finale, the album functions as if it was the soundtrack to some fantastic opera, telling tales of strange and eldritch events. All the songs are tied to each other in some way, so as not to stand out too much. The songs retain their unique sound, and when played back to back become a grand compilation of feelings ready to carry you away to the sea of obscure magic and myth.

Identifying stand-out songs in the album is a little difficult to me, as so many of them are so very, very good. If I had to give one, which stands above all others, it would be “To Mega Therion” with its generous use of operatic female vocals and extremely dynamic structure. Like many of the songs on the album, use of peculiar melodies and Therion’s heavier roots form a glorious symbiosis in “To Mega Therion”, which is pure fuel for imagination. Other peculiarities worth mentioning include “In The Desert of Set” with its blend of nigh-middle-eastern melody, and “The Siren Of The Woods” which slows the album to a tranquil, beautiful end, before throwing one final thrill with “Grand Finale/Postludium”.

Theli is definitely worth checking out if you have a taste for strange music, and good music in general. Therion’s songs are extremely evocative, and their new direction was first showcased in Theli, making this album an interesting starting point for those who might be more averse to Lepaca Kliffoth and Therion’s earlier albums.

Verdict: Epic Win (9/10)

http://www.megatherion.com/

Pain of Salvation - Remedy Lane (2002)

Daniel Gildenlow is a giant blow hard. You don't really have to look further than BE where he had fans call his phone, pretending it was God's answering machine, so they could leave him a message. Unfortunately for the musical world he did manage to produce at least two albums that could be considered masterpieces and a couple of other good, not great, works. Remedy Lane is the one of those two albums. Its an example of everything I like about progressive music, compelling and new rhythms driven by expert musicianship and emotion, rather than a showy solos and stuff.

The album starts with the typical prog intro track then moves into "Ending Theme," which has a nice heavy riff and catchy chorus, but suffers from some rhythmic spoken word part in the middle that comes off as a bit silly. "Fandango" follows and where the real meat of the album picks up. I don't have the musical vocabulary to describe the various prog stuff that goes on here and in other songs, but suffice to say there are quite a few varying rhythms in the music here that are percussive and hitting yet restrained. Like the previous song, this one has a somewhat silly vocal section that comes off a bit like rapping. The idea apparently is supposed to represent to halves of a person, or two people in a relationship, but really it could have been done better, but that's Gildenlow for you.

He is, no doubt, a talented singer with a unique voice. As a lyricist he can be hit and miss. Sometimes he tries to hard, sometimes he produces the next track on the album "A Trace of Blood." In this song he laments the miscarriage of his child to a driving piano melody and flighty lead guitar that devolves into a more appropriate heavy riff.

The highlight of the album for most listeners is probably "Chain Sling." It opens with a slight guitar riff that builds a bit before Gildenlow comes in with his voice at possibly its highest pitch. Here he plays with the idea of dueling voices again, but it comes off much better than the rap in Fandango. This is the song where the whole idea behind his band comes to fruition and is exemplified in a chorus that sums up the emotional core of the album.

There are a handful of slower softer tracks on the album that are quality, but maybe not as complex as the heavier tracks. "Rope Ends" and "Waking Every God" are probably the other two stand out tracks to those mentioned. Have faith though! It is not all praise for Gildenlow, because for some reason two-thirds of the way through the album he decides to assault your ears with a terrible synth piece that revolves around some of the musical themes from prior songs. Who the fuck knows why its in there, maybe he couldn't get anyone to call his answering machine at the time.

Verdict: Epic Win [9/10]

http://www.painofsalvation.com/

Waning - Population Control (2008)

To dub Waning simply black metal would not be doing the band justice. They possess a very warm fabric within their tone which is strikingly different than many other bands in the field, yet for all intensive purposes...the vocals and style of blasting, driving riffs fits well into that category. They also have an almost sludgy side to them, doom-driven yet unerringly melodic. Formed from the ashes of a band called Slaughtercult, they've certainly taken a step forward. Population Control is sure to stand out to anyone looking for some progression to the black metal style, similar to how bands like Enslaved have adapted.

The conversational yet noisy intro recedes into the solemn chords of "Shades of Grey", which repeat for a short period to encapsulate the listener into this universe of modern black impulse. Vocalist Robert Johansson has a deep, throaty take on the expected snarling, and he needs to if he is going to match the walls of guitar and machine-like drummer. "Left to Hate" resonates with a shining pattern of chords and some disgusting vocals as it transforms a sunny day into a grey and thundering mass of sludge. "Swarm" is an unforgiving onslaught of double bass and melodic yet hopeless sounding chords. "Crowning Apathy" moves at a slower pace with some subtle mystery to its catchy driving rhythms. "Further Down the Strain" is fast and intense, and the title track begins with an interesting sample of a Christian lady encouraging the flock. The final track "Hollow" starts with some mellow acoustics and then builds into a pretty engaging rhythm of sludging beneath Johansson's verbal vitriol.

This album has just the perfect mix to accent the band's guitar heavy tone and the extremely tight drumming. I'd like to see the band become a little more creative in some of its song titles but this is just because I'm an anal retentive prick. For what is offered, Waning do a fine job with the debut, and I'd easily recommend it to anyone who wants a modern, urban, nihilistic flavor to their black metal with an emphasis on mood over extremity.

Verdict: Win [8/10]

http://www.waning.se/

Irrbloss - Bloodline (2009)

This is the full-length debut of Sweden's Irrbloss, a folk/black metal hybrid who are riding off a pair of decent demos in the past few years. Bloodline is a solid offering with a professional sound and some well-written tracks, sure to please fans of the pagan black style.

"Norse Horde" opens with a glorious, churning riff interspersed in blast beats. The chords used mirror the title well, and there is an excellent riff at around the 2:48 mark which will have you pounding your mead horn. "Keep on Walking" builds upon its opening chords as it weaves a melodic tapestry of Viking-like metal that should do any fan of Moonsorrow proud. "As We Lived" has a great lead-in riff with an air of mystique, and gets even better during the fetching verses. "Gaze Upon Me" is largely a slower piece with some truly majestic melodies amidst its faster bursts. Other excellent tracks are "Heresy" with its brief acoustic opening; the rocking "Midwinters Eve", and the dense title track which ends the debut.

Bloodline sounds fantastic, like the work of a far more experienced band. All instruments are balanced below the vocals of Irrbloss (yep, oddly he uses the same stage name as the band, which is Swedish for 'will-o-wisp'), which are well delivered snarls. The album has enough texture and depth to it that fans of other pagan black bands of quality would probably find it worthwhile. So if you're a sucker for Moonsorrow, Enslaved and the like, give them a listen.

Verdict: Win [8.5/10]

http://www.myspace.com/irrblossband

Anata - The Conductor's Departure (2006)

Technical death metal, as a genre, ranks barely ahead of breakdown-riddled mallcore for me. I suppose I just don't understand the appeal of listening to a solid wall of musical masturbation; the genre only seems to exist for people who lrned2shred but never bothered attempting to write interesting music. Thank god Anata are here to combat my sweeping generalizations (har har). The Conductor's Departure is an absolutely phenomenal album, easily one of the best things to come out of Sweden in the past few years (which is saying something).

The opener, "Downward Spiral Into Madness" is a great indication of what's to come: complex, memorable, epic, beautiful? It is, quite simply, five and a half minutes of death metal perfection that sets a ridiculously high bar for the rest of the songs to meet. Riff after riff attempts to dislodge your sanity, building up to a majestic lead that stays around just long enough to lull you into a false sense of security before throwing you back into the chaos. A hectic solo later and the majestic lead returns, leaving you with the feeling that your mind has just been violated in the best possible way.

While nothing else quite matches the brilliance of the opener, it would be unfair to say the quality drops in any significant way. Every track (and hell, almost every riff) is memorable, from the sudden prog-esque guitar break break midway through "Better Grieved Than Fooled" and the great buildup and follows to the whiplash-inducing opening riffs of "The Great Juggler." Even the brief interlude, "Children's Laughter," is expertly crafted and, even with the pleasant, almost haunting acoustic guitar, doesn't feel out of place at all.

Each member of the band is extremely talented with their respective instruments; drummer Conny Pettersson lays down plenty of blisteringly fast blast beats and insane fills, while the guitar duo of Fredrik Schälin and Andreas Allenmark weave intricate melodies and shred fast enough to make you wonder if they're even human. Bass also plays a major role, with Henrik Drake's magnificent basslines sitting as high in the production as the guitars, which is a very welcome surprise given the genre.

Fredrik handles vocal duties too, but stands out a little less on that front. Not to say the vocals are bad, mind you, just unremarkable. His voice complements the music well, though there's not really much variety; there's some raspy grunts, and in very few instances, some slightly higher-pitched raspy grunts. Lyrics are also worth mentioning, covering subjects ranging from love and depression to religion, which is generally more interesting than discussing how many ways you can stuff a baby into a meat grinder.

The Conductor's Departure is Anata's masterpiece. Every song is fantastic, every solo, tempo shift, and interlude perfectly placed. It's an absolute essential for any fan of heavy or technical music. I'm running out of adjectives for "really fucking good," so I'll just leave it at that.

Verdict: Epic Win [10/10] (my god owes me an apology)

http://www.anata.se/

Falconer - Among Beggars and Thieves (2008)

I had never been much of a Mithotyn or Falconer fan before, so you can imagine my surprise when the latest album not only made my year's end list for 2008, but actually had me listening back through their earlier catalog. Among Beggars and Thieves is probably the best amalgamation of folk and power metal I've ever heard. I didn't think it could every be done properly but I am glad to have been proven wrong. An amazing performance by returning vocalist Mathias Blad is matched note for note by an excellent display of musicianship and songcraft.

"Field of Sorrow" opens to the distant call of synthesized winds and pipes, soon to be buried in the blazing power rhythms and rock tight drumming. Blad's voice enters, blunt and manly but possessed of just the right amount of melodic edge to ensnare you. The track picks up into a charging power metal anthem which should please fans of the European style, yet it's all Falconer. "Man of the Hour" assaults with another bewitching power metal rhythm, busy guitars flowing all over the vocal line, and a great chorus in which the metal occasionally cuts out for some glistening flutes and folks. "A Beggar Hero" in an exercise in earnest acoustics and a lovely exchange between Blad and a female guest. "Vargaskall" begins with choral chanting and then some of the sickest guitars on the album, with a very Mithotyn feel to them (continuity!). Blad sings this one in the native tongue to nice effect. "Carnival of Disgust" is a slower metal track with some amazing chorus lines, guitars here once again delivered with technical precision and extreme catchiness. "Mountain Men" has one of the best speed/folk metal guitar riffs I've ever heard, winding and complex before it parts way to the symphonic verse. Again Blad's skill must be taken into account as he weaves through quick flurries of folk, flawlessly meshing these once disparate musical forms into a perfect whole. "Viddernas Man" is another folk rock track with Swedish vocals. Beautiful. "Pale Light of Silver Moon" again delivers the technical speed metal fury, with some great leadwork. The remainder of the album is equally glorious, with "Boiling Led" leading the way and the epic "Dreams and Pyres" to round it all out.

The mix of the album is superb, considering just how much is actually going on it really delivers the backbone. The great Andy LaRocque (King Diamond) did wonders recording this. Female vocals are used only sparsely and never in an offensive or cheesy way to deride the music. Stefan Weinerhall and Jimmy Hedlund deliver their riffing with a fury, and the rhythm section of Magnus Linhardt and Karsten Larsson keep up easily. I can't think of a single gripe except that one or two of the tracks are ever so slightly weaker than the rest. Even the lyrics are good.

Lower decks were flooded,
Chaos and agony.
The morning air was filled with an aria of cries.
Crewmen jumped the rail now
Choosing ice before the fire.

Any questions? This kicks serious ass, so much so that I feel very wrong in having ignored the band in its former years. I have yet to track down the bonus tracks for the Japanese/Digibook release, if so I'll update this review. This is exactly what I want to hear out of a power/folk metal album, and it's a fucking travesty that this has come and gone already with very little fanfare.

So I'm bringing it. Heralds, sound the trumpets. Buy this album immediately, you apathetic parasites. My will is your command!

Verdict: Epic Win [9.5/10] (nail down the traitor)

http://www.falconermusic.com/

Tiamat - Clouds (1992)

The first few albums from this Swedish act were decent slabs of death and doom, but Clouds is the true turning point in their career; where it became clear they were destined for so much more. It may not have the psychedelic, crushing weight of its successor Wildhoney nor the abstract brilliance of A Deeper Kind of Slumber, but in its day, Clouds was a pretty monumental effort.

As soon as "In a Dream" opens with its somber acoustic guitars and ambient synthesizers, you know you are in for a trip. The crushing guitars of its verse perfectly elevate Edlund's vocals to their brutal best, and the melodies and organs create the beautiful evocation of true mystique. "Clouds" is almost mid paced with some creepy melodies and a nice shuffle groove to switch riffs. "Smell of Incense" is even better, a Celtic Frost vibe propelling it into its catchy and simple vocal pattern, but the true joy is the great death metal riff contained within. The smell of incense takes me high! "A Caress of Stars" is glorious doom, the melody of the guitar evokes perfect sorrow, and the song is a pretty nice precursor for the next album Wildhoney. Hedlun's whisper of on my head, in my heart and my blood is supple and sensual. "The Sleeping Beauty" is another similar track, with a very doomy riff lapsing into a calm verse driven by keyboards and sparse guitars. Love the masculine gang chorus. "Forever Burning Flames" is one of my personal favorites here; grooving rhythms give way to another of those final, killer death metal riffs of Tiamat's career, and Edlund's vocals sound sick.

Bodies are courses where maggots are turning
Souls are flames that are forever burning

I for one would love to have Edlund start a pure death metal band at some point. "The Scapegoat" offers another wonderful surprise in its mellow acoustics and climactic symphonic chorus. Then I turn to you and say...I worship Lucifer! "Undressed" takes us out with more the band's gothic landscapes and a bizarre but beautiful ending.

This was pretty classic material, it possessed a lot more ambition than Sumerian Cry or The Astral Sleep and I was quite taken with it. I still am. I've always been a Tiamat fan, even in their more openly gothic phase way ahead of this, but it's the trio of Clouds, Wildhoney and A Deeper Kind of Slumber that the band will always be legendary for. Easily recommended to fans of gothic death/doom or unique and quality metal in general. And if you're named for a draconic Babylonian sea goddess, you've got quite the legend to live up to.

Verdict: Epic Win [9/10] (liars don't listen)

http://www.churchoftiamat.com/

Dismember - Massive Killing Capacity (1995)

1995 was a pretty big year for Swedish death metal. At the Gates released their classic Slaughter of the Soul which would change the landscape of metal worldwide, and the melodic death scene was starting to make a large buzz around Dark Tranquillity's The Gallery. But for one of Sweden's original death metal demolition teams, Dismember, it was just business as usual, as they issued their third full-length. This is never a band I've been entirely in love with, as I don't find many of their albums to be consistent: a few good tracks, then the rest I can pass on. And while I still enjoy Life is an Everflowing Stream (their debut) most, Massive Killing Capacity is one of their better overall efforts.

"I Saw Them Die" starts off slowly with a pummeling, groovy pace, some somber melodies play alongside the chords and the track should please any fan of the Dismember/Entombed style. The title track has some nice death metal tones and a chugging verse. "On Frozen Fields" is one of the best here, with a melodic riff that eclipses into a doomy set of chords beneath the vocals. Other strong points are the pluggy and thrashy "Wardead", the dark and groovy "Justifiable Homicide" and of course the catchy "Casket Garden" which spawned its own EP.

The entire work roils in that typical Swedish tone, but Dismember have delivered a pretty clean production. Unfortunately, this derives the music of some of its sloppiness and heaviness, which in the case of these sorts of bands, is almost always preferred. Massive Killing Capacity is a tight album, and fans of Entombed's Wolverine Blues or Clandestine would enjoy it as a backup, though this band has never gone very far down the death'n'roll path of their peers (you can hear a smidgen of that style on this album but nowhere else in their career).

Verdict: Win [7.5/10] (the blaming days are over)

http://www.myspace.com/dismemberofficial

Proud - Fire Breaks the Dawn (1984)

Another of those countless 80s metal acts to emerge, release a good album and then suddenly dry up and disappear, Fire Breaks the Dawn is nonetheless proof that Swedish metal had a pulse long before the advent of the country's death and black metal scenes at the turn of the decade. They possessed the typical power/speed metal style of the day, equal parts Maiden, Priest and Sabbath, with a less ambitious vocal presence (but by no means weak).

The strength of this album lies in its guitars which are always fetching melodic grace and catapulting the songs above average. "Star Fighter" is your average mid-paced metal anthem on its surface, but the classical tapping before the chorus and the beautiful brief lead bursts are what drive the track. "Echoes from the Past" moves at a bluesy, shuffling trot, and once again during the chorus a new guitar melody breaks forth and transforms the song. "United World" starts at awesome with some slower guitars almost like a nation hymn, then a dirty 'eavy metal riff with some descending, moody octave chords. The dual leads later in the song are excellent. "No Losers" has a mean but catchy groove to it, and again some wonderful guitar melodies with a neo-classical feel. The deep male choral vocals are also a nice touch. The title track begins with some powerful acoustics, but this is no power ballad, as the majority of the track is verse chorus verse chorus metal. "Dark Lady Forest" is one of the faster tracks here, and one of the best; its searing melodies part into pure 80s speed metal, and the vocalist Anders Magnell shines as his voice elevates. The riffs are great, the opening melody is almost a precursor to Running Wild's more melodic mid-career period. "Crucified" once again delivers on the band's classical influences for a gorgeous intro melody, another of the best tracks, and perhaps the most enduring. The album closes with another of its strongest "Star of the Masquerade", again dripping with gorgeous melodic leadwork.

In all, the album holds up well. It had a pretty good mix for its day, with all instruments in check and a nice bass mooring its highly melodic texture. Magnell wasn't the greatest vocalist but he gave it his best; his performance is worthy of the music. It's unfortunate the band's career was so brief, but at least they left a few of us with a positive memory. The album was re-issued on Old Metal records last year, so you may still be able to track it down if interested. Collectors and purists of the melodic 80s style when metal was pretty much just metal should find enjoyment with this.

Verdict: Win [8/10]

(the band hasn't existed in about 25 years...and sadly there is no website available)

Bestial Mockery - Christcrushing Hammerchainsaw (2002)

As if its title alone weren't enough to warrant inclusion into any discriminating heathen's music collection, Bestial Mockery's full-length debut also delivered a serial killing 10 tracks of primal blackened hyper-thrash metal in the vein of Venom and Bathory. But be warned: this is not the type of album you go into expecting melodies or chorus hooks. It's not the 'riffy' style of thrash. It's anchored in simplistic black metal rhythms and blast beats which occasionally lapse into crunchier thrash metal breakdowns. The hilarity and savagery of this band are the saving graces.

"Bestial Warfare" begins with a snaking, relentless battery typical of the Swedish proto black metal, slowing only for a doomy segment below its wild solo. "Suicide Blasphemy" has a bit more of a thrash breakdown amidst its nonstop torment. "Bestial Satanic Sacrifice" is one of the best tracks on the album, with a punky thrashing verse riff and some throatier vocals. Other searing songs include the Marduk-like "Warfuck", "Morbid Invertation", the grooving thrash of "Chainsaw Inkarnated" and the death metallic rhythms of the title track.

The album is mixed simply as one really needs for this style. Drums are tinny, guitars are dense but laid back in the mix, bass audible, and Master Motorsåg's snarl is as pure as they kum. Christcrushing Hammerchainsaw is not the band's best album, despite having the best name. I prefer Gospel of the Insane and Slaying the Life, but the difference in quality is marginal. Bestial Mockery are no longer with us, but their albums are well worth tracking down if you like extreme hybrids of black & thrash metal (think Bewitched but far more aggressive) or unforgiving early black metal.

Verdict: Win [8/10]

http://www.myspace.com/bestialmockery666