In Flames, pioneers of the Gothenburg Sound style of melodic death metal have had a long career. Several line up shuffles over the years have seen the band distilled to two long standing (but not founding) members, Anders (vocals) and Björn (guitars) and this latest version of the line up now includes former Megadeth and Nevermore guitarist Chris Broderick. After some disappointing releases during the 2010’s, 2019’s “I, The Mask” being an exception to this, the legends are back with their 14th album “Foregone”. Thankfully, despite some of the subpar releases, the band are still a formidable and fantastic live act, something which has helped them with this transition to a dominantly melodic metal/alternative metal style and helped them stay relevant. So we have to ask the question; is there more left in the bag of tricks, or are In Flames starting to flicker out on the song writing front?
The answer to this question for those who wish to approach with an open mind is tricky to answer. Those who claim the band haven’t put anything good out since 2000 or 2006 will easily dismiss this latest release and I will be honest, as someone who has been very critical of the band’s releases since 2008, I hadn’t held much hope for them. ‘I, The Mask’ was a good melodic metal album and “Foregone” follows in its footsteps so to speak. The catchy melodic hooks, iconic harmonies and expressive vocal delivery are all there and they all work well with each other, helping create a well-rounded sound which draws inspiration from moments in previous releases. In comparison to their last few albums, this is another step towards a more consistent sound which will both appeal to open minded fans and the die-hards.
After the acoustic instrumental, the opening salvo of tracks hits hard. The heavy groove driven by the powerful low end is loaded with energy and there is a fierceness in the sound which many would agree, has been missing for plenty of years. ‘The State Of Slow Decay’ hammers away with its fast paced verses whilst the choruses have a slower pace with a sing along feel and the sweet sounding solo is what you expect from an In Flames lead spot. ‘Meet Your Maker’ has a real heavy edge to the pounding groove riff underpinning it, very reminiscent of the early 2000’s days (Reroute To Remain and Soundtrack To Your Escape) and ‘Bleeding Out’ has the potential to be as massive sounding live as the anthemic ‘Cloud Connected’ is.
The two part titular track pairing ‘Forgone pt1’ and ‘Forgone pt2’ are a strong finish to the opening half of the album. Part 1 is raw and aggressive, arguably one of the heaviest points on the album with its pounding pedal tone riffing and gratuitous double kick bursts. Snarled vocals with a commanding delivery tie in with big bodied hook laden choruses and it’s a sharp shot of adrenaline for any listener. Part 2 on the other hand seems to take inspiration from the golden era of In Flames; that late 90s run of releases. The slower, more melodic composition has the slight folky edge to its riffs which was present in some of the Whoracle and Colony tracks and the emphasis on melody allows for some big heavy riffs to swing in. It’s a great contrast in a 1-2 format and it serves to cap off a strong opening half.
‘Pure Light Of Mind’ tends to lean more to the melodic metal edge of the In Flames sound. Still bearing the iconic hooks in the melodic fills, the track has more of an emphasis on the atmosphere, one which is painfully raw and open, much like the expressive tracks of the modern In Flames era. ‘The Great Deceiver’ has hints of Clayman era In Flames in its sound with its tight delivery and explosive choruses and ‘In The Dark’ seems to bridge the early 2000’s with its pounding low end focus tied into sharp leads and scathing vocals. Seems too good to be true so far with how engaging this release has been.
‘A Dialogue In B Flat Minor’ gets an award for a ridiculous title and it’s certainly got more in common with the newer sounds of In Flames. It still has the great melodic work but it lacks the fire of previous tracks, reminding us that despite the apparent reconnection with their roots, In Flames are a melodic metal band these days. The soloing is spot on though, so I’ll give it that. ‘Cynosure’ opens with the big meaty riffs once more but it’s when it hits the verse which draws attention. The rich bass driven progression has a haunting melody and it synergizes well with the vocals. The swings into distortion loaded riffs and the big choruses give it moments of massive sound and it’s a definite improvement on the previous track. Closing the release is ‘End The Transmission’ and it starts off big with a crunching pedal riff and raw vocal roaring. Steady paced and pounding, it hammers away before easing off briefly before slamming back to the hammering chorus. It’s a solid groove metal offering with the trademark In Flames melodic flavouring and it serves as a good end to a surprisingly solid release.
I had doubts over this release. I expected more of the melodic metal focused approach, so getting a more melodic death metal orientated album is fantastic. I can’t put a pin in it and say that ‘In Flames are back!’ But what I can say is that this is a long overdue return from a band who have such a legacy and helped shape metal in the 90s and 2000s. Let’s run the Jester Race one more time people!
(8/10 Fraggle)
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