Starting out as yet another side-project for the always busy Candlemass founder, leader and main song writer Leif Edling, Avatarium soon took on a life on its own when Edling just didn’t have the time or strength to fully promote another band. Edling wrote the two first records by himself but since then his involvement in that department has been less and less by each album and on this record Edling co-wrote only one song. Still, since all the previous records are really solid affairs, singer Jennie Ann Smith and guitarist/producer Marcus Jidell has no problem managing the song writing department themselves.
Opener and latest single “A Love Like Ours” starts out slow, brittle and fragile like a sparse, blues-tinged folky ballad. It’s darkening, mellow and atmospheric and melancholic where the inserted violins increases the folky vibes. It’s quite low-key with gorgeous vocal-lines where Smith’s almost angelic voice contrasts masterfully with the gloomy sounds. Things heavies up when Jidell’s edgy and crunchy guitar comes in bringing along a tough and almost stoner-like beat giving the tune an almost sinister approach. The contrasts blends brilliantly and creates a magnificent dynamic. As a whole, the song is phenomenal and it doesn’t exactly lower my expectations for the rest of the album.
Second single “Stockholm”, Edling’s only co-write here, follows with a dark, ominous and doomy riff. The verse takes a slow, stripped and held back path with some folk-prog undertones where acoustic guitar and vocals dominates the sound-image but when the rhythm section comes in, the song takes on a chunky groove which blends brilliantly with Smith’s almost hypnotic vocals. The chorus takes yet another turn and goes into late 60’s/early 70’s Classic Rock with a captivating melody-hook before the heavy and edgy riffage returns. It’s a big, melodic and memorable number that really grabs a hold. Very good.
The leading single and the album’s title-track holds an upbeat groove with acoustic guitars in a faster pace where some almost psychedelic vibes blends with direct vocal melodies that shows a slight pop-flirt. The foundation is still pretty heavy and the chorus is effective and even catchy. The whole tune comes on as quite unpredictable, almost a left-turn but it’s a magnificent tune for sure. Dark, held-back and with soothing vocal-lines, the low-key and fragile “Psalm For The Dead” quite abruptly changes face when distorted and gritty electric guitars brings along a tough yet held-back drum beat and takes the song into a darker and heavier territory. It’s delicate and subtle and holds a gorgeous arrangement with an at times eerie atmosphere. Good one.
“God Is Silent” starts off with with held-back guitars inside an ominous and haunting soundscape but soon takes on a more upbeat and direct rhythm when the guitars comes in and creates a stompy groove. When the chorus arrives, Jidell’s doomy and gloomy guitar comes chugging in bringing with an Eastern flair, somewhat Ritchie Blackmore influenced. The returning verse this time holds on to the heavy guitars and doom-riffage with a faster and grinding passage following before it goes back to the slower, heavy pace. It’s a slow-burner for sure but what a powerful and striking slow-burner it is. Awesome.
Another slow-burner, “Mother, Can You Hear Me Now” follows, this time in the shape of a ballad where electric guitars rubs shoulder with acoustic ones and keyboards. The vocals are sparse and down-to-earth but also gloomy, saddening and mellow. We also get a meaty yet down-beat and gentle drum-beat. It’s a soulful tune with a brilliant main-melody where Smith’s captivating voice sends shivers down my spine. A beautifully melancholic number. I love this. On a more straight forward note “Nocturne” is an upbeat and uptempo Hard Rock number with some classic 80’s Metal riffage on a punchy beat. It do bring on some doomy vibes and darker twists but it is a direct and in-your-face tune. While still melodic, Smith’s takes on a more aggressive approach vocally. It’s the album’s fastest track but it also holds a distinct and melodic refrain. Very good.
Closing track, the instrumental “Transcendent” starts out slow and held-back with solemn acoustic guitars and a spacey and slightly psychedelic atmosphere and a levitating main melody. It changes shape from the mellow to a kicking rhythm with distorted, gritty guitars and a sinister and dramatic violin that gives the song a saddening and dark touch. Even though it’s an instrumental track you get the feeling that the album ends quite similar to how it started. I admit that I prefer songs with vocals before instrumentals but this is a damn good piece of music.
Every time I get to listen to a new Avatarium I’m reminded of how weird it is for a non-doom fan like to me to downright love this band. This is the band’s fifth effort and I still haven’t heard one bad song from the group and this album do not change that fact. It’s also very nice to be able to state that Avatarium can hold water without Edling and stand on their own to feet, which they do – and then some. I love the fact that while Avatarium’s foundation is Doom Metal it’s also a place they necessarily don’t have to dwell in all the time, that they step outside the box and look at things a bit differently. But first and foremost it’s about writing great songs and giving them a stellar production and that’s what Avatarium does here – and have always done. Another splendid effort in the band’s catalogue.
8/10
More Avatarium reviews:
Avatarium
The Girl With The Raven Mask
Hurricanes And Halos
The Fire I Long For
Tracklist:
1. A Love Like Ours
2. Stockholm
3. Death, Where Is Your Sting
4. Psalm For The Living
5. God Is Silent
6. Mother, Can You Hear Me Now
7. Nocturne
8. Transcendent
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