Once again we see the Swedish death metal guru Rogga Johannson involved in yet another project, ably assisted by Peter Svensson (Assassin’s Blade) on bass/backing vocals and Lars Demoké (drums). This is on top of his collaboration with Paul Speckmann which has also been released recently. Mr Johansson is probably the most prolific death metal musician around and there barely seems a year that he hasn’t been involved in some form of release whether his own projects or as a guest. He could probably do with having his own website called Roggapedia! He’s like a death metal Agathocles the way he churns out releases most of which are well worth getting hold of as this trio of musicians offer something slightly different by incorporating darker elements into the song writing. In June of this year the band released their debut which situated itself within the melodic death metal sphere, an album that was sort of finding its niche culminating in this sophomore that is fully focused and knows exactly where it is going on every song.
The slightly melancholic riffing on opener ‘Suburban Nightmare’ has a dark toning courtesy of a slower style as this band is not the blasted variety you might expect. Maintaining an upbeat tempo the song possesses deep vocals which contain a crisp clarity. The deft melody of the guitar work continues into ‘The Other Ones’ where a catchy beat decants into the songs relatively moody aura. It is here that you’ll start to think this album has a slight gothic texture primarily due to the atmosphere generated even though the song is entrenched in melodic death metal. ‘The Calling’ is excellent, layering the Gothic styling superbly but retaining density and heaviness ensuring it’s credentials are firmly death metal oriented. The song is loaded with melody too due to the infective hooks that are embedded with an empowering emotion that is tangible.
Whether the band agrees with me but ‘Yog-Sothoth (The Key And The Gateway)’ is doom death but as it progresses it delves into a more sorrowful ethos that had me thinking about an old German act Evereve on their first couple of albums minus the clean vocals. It is the smooth transition in pace that really catches the ear manifesting as that Gothic darkening at the fringes producing a supremely addictive track. There are no weak songs here, just songs you may prefer over others ‘94 Bloch Lane’ is as tuneful as anything on the album but it is songs like ‘Trapped’ that really grab your attention with its snare roll intro sequence leading into a charging mid-tempo rocker I particularly enjoyed.
Moody and suffused with sadness ‘Escape’ has a lingering opening riff embellished by a haunting guitar hook before the song silkily transitions to a slightly higher tempo. The mournful riffing and deep vocal line work symbiotically as the song plunges gracefully into a semi-acoustic phase complete with desolate hook. Another pick for me is ‘Eve Of Triumph’ which harnesses a faster speed but still saturated with melody as the song has a lighter approach but ingrained with a forlorn guitar melody situated on top of the mix. The song even unleashes cool double bass periodically which increases the opacity as the song drops into a bereft isolated riff to truly capture the Gothic darkness. Closing the release is the short ‘Another Ending’ a despondent outro of sorts where the vocals take on the doom death style fully as again the guitar hook is sombreness embodied.
Definitely a release with a difference, the album has subtle Gothic hints, a truly blanketing melodic shroud that fans of the darker edge to melodic death metal will be completely immersed in. A fine release indeed!
(8.5/10 Martin Harris)
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