Any album from Finnish melodic death-thrashers Mors Principium Est is of great interest. This is album number 7 (no, I hear you say) but whilst the title may not be exciting, the prospect of listening to it is. It’s amazing to think that the band have been going for 20 years now, but having followed them all the way since “Inhumanity” (2003) right up to the last album “Embers of a Dying World”, the energy and sophisticated technical musicianship have always been at the heart of it, with, in my ears at least, a step-up over the years in levels of production and aggression.
There’s a template sound that I associate with this band, and here it is on the fire and brimstone opener “A Day of Redemption”. After a very brief symphonic intro, the scene explodes into a colourful array of melodic thrash riffery and aggressive vocals. But it’s that irresistible flurry of guitar sophistication which would tell you that this is Mors Principium Est without any prior knowledge. Yes, there’s Norther, Kalmah and Children of Bodom, and it’s in that zone but with Mors Principium Est and to be fair Norther and Kalmah it’s about the song and the energy and the headbanging, rather than “hey, look at how good I am, I’m a rock star and have a Cadillac to stand on”. This is a different and more intense type of showmanship. There’s a rawness in the production. Just what the metal doctor ordered so let’s go on to the next one. Of course, “Lost in a Starless Aeon” is fast paced, unspeakably rapid fire and heavy.
“My shadow is not for sale” roars the vocalist as the tempo steps down to allow for a chorus. The song twists and turns, overflows with energy and instrumental sophistication and as the tempo reduces to that chorus, there is majesty in the air.
“In Frozen Fields” is more sinister and harder to grasp without losing the core elements. For me it’s outside the dramatic world which “March to War” immediately recreates. Fast and furious, it’s a battle to keep up with all this lightening guitar work, rapid drumming and technical riffage. The band chant the song title in unison before we sail away into solo plucking heaven (had to be careful writing that line). The attack continues with the rousing and anthemic “Rebirth”. “Reverence” is a short instrumental interlude to remind us that there’s epic melancholy out there, before the sonic waves of “Master of the Dead” hit us. The start is dramatic as the song builds up to typical controlled melodic metal catchiness. The keyboards add a little twist. Drums trigger, the singer growls audibly, there is symphony and of course a sublime and smooth structure and guitar work. There’s even a proper finish. Now and again I would get distracted as I listened to something which reminded me of earlier albums. “The Everlong Night” fell into this category, reminding me of something off, if memory serves me correctly, “Liberation = Termination” (2007). Technical melodic riffage is once more at the fore on “At the Shores of Silver Sand” which bowls along in its jolly way before we are plunged into dark and dramatic darkness. The transition is smooth, as are all transitions. After a solo, we return to the fast and, by Mors Principium Est’s standards, light riff. This song contrasts light and dark and does it very well. In fact, the lyrics are typically morbid, as is the case with “My Home, My Grave” which closes the album. That insistent guitar line feeds further life into this most expansive and dramatic song, which caps off a thrilling album in great style.
You could argue that it all sounds the same as the band’s previous albums, but if you haven’t heard Mors Principium East before, I would say to you that it’s dazzling and exciting. If you have heard Mors Principium Est before, I’d say to you that the style is recognisable but it’s still dazzling and exciting. “Seven” is fresh and brutal and a feast of hard and fast technical sophistication.
(9/10 Andrew Doherty)
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