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Usually, I associate heavy metal with volume and aggression, harshness and velocity. These are the features why I like this music. Doom metal has its right of existence, no doubt about it. It just does not belong to my favourite styles. The discovery of slowness does not make my day. It is a rather boring matter, at least in my view. Yet there is no rule without exceptions and the doom genre does not leave me completely cold. That´s the point where Candlemass come into play. Their albums never fell below a solid level. Even rather crude outputs like "Dactylis Glomerata" or "From the 13th Sun" has their moments. However, the masterpiece of the Swedish legend is definitely their self-titled full-length. Their first albums may have gained cult status in the eyes of some beholders, but the musical content of "Candlemass" is more or less unbeatable, among other things because of the vocals. This is where Messiah Marcolin comes in. His full voice creates dramatic, aggressive and desperate moments, depending on the needs of the respective song. Maybe he is an eccentric and insufferable egomaniac, but his vocals on "Candlemass" leave nothing to be desired. Too bad that this full-length became the farewell performance of this charismatic monk at the microphone.
Because of being no expert for this genre, I am unsure whether the album delivers pure doom. Some melody lines have a certain pop appeal. I suspect that real doom metal fans may have problems to get used to the here presented approach. Candlemass do not eschew to perform relatively cheesy lines (for example, the soft chorus of "Seven Silver Keys") and they are thankfully not totally immune against comparatively fast rhythms ("Black Dwarf" and "Born in a Tank"). But the band also scores with heavyweight riffs and ironclad harmonies that benefit from the warm and vigorous production. Highlights such as "Assassins of the Light" and "Copernicus" have to be mentioned in this context. However, the crucial thing is that almost every single piece deserves the highest praise due to the maturity of the song-writing. Mastermind Leif Edlund has composed songs that lie in very close proximity to perfection. The overdose of epic, elegiac and woeful riffs is admirable. Even the relatively brief instrumental "The Man Who Fell from the Sky" impresses me. It is actually a very simple number, but its stoic yet merciless riffs have a huge impact. The strong and metallic sound makes sure that the guitar work does not fail to have the desired effect. The riffs generate an unreal atmosphere so that the falling man is taking shape before the inner eye of the listener.
Unfortunately, the stylishly packed album narrowly misses the full score. "Witches" cannot be blamed as a letdown, but it tastes like a slightly stale Swedish light beer. Ironically, another minor flaw is the bonus track. When does mankind gets rid of so-called bonus tracks that cannot compete with the regular songs? The here presented last number contains some good basic ideas, but not only due to its sudden ending, it leaves a semi-finished impression. Its noticeable lack of substance cannot be kept hidden. My enthusiasm for these two songs has therefore waned over the years. However, the mediocre pieces only represent a pitiful minority. "Candlemass" has become engraved in my mind as a poignant album that shines with both the necessary variance and the emotional force. A lot of its songs rest safely at the highest tier of doom and no change is in sight.
Wow, this has to be the heaviest Candlemass album to date. This is certainly my favorite album along with Nightfall. Although, this is completely different from Nightfall.
Maybe this s/t is slightly comparable to a few choice tracks off of Chapter IV, granted this production is superior and a far more consistent album on a whole. Having Messiah back in the fold makes all the difference in the world.
This is his finest vocal performance since Nightfall. What I mean is that he is singing more within the song. I have often thought to my self that he tends to over sing on "Ancient Dreams" and "Tales..". Too much vibrato, Messiah would often sound like he was trying out for the opera. I guess that is like saying to a lead guitar player, "you're playing too many notes". Too much wanking, if you will. Yes, you have the talent, but it doesn't quite fit the song.
Okay, saying all that, when Messiah is on his game he is the best. He hasn't necessarily toned down on this album, all the energy is still there, rather he sounds much more pissed-off and aggressive. Listen to Witches and it sounds like he never has in the past, and it sounds fucking great.
These songs are all fucking heavy. Maybe Lief's side project band Krux rubbed off a little. The opening riff in "Copernicus", is a skull crusher. It goes from the heaviest shit you can imagine, to a softer passage, back into the heaviness. Brilliantly executed. Just a fucking fantastic song. "Black Dwarf "has that "Symptom of the Universe" pulse to it. Along with "Born in a Tank" are the only real Sabbath vibe songs here. It is still total Candlemass though, not like the Sabbath worship found on "From the 13th Sun". All the tracks are good on this album, except the instrumental I could pass on. "Seven Silver Keys" is the most reminiscent of the past. Messiah singing like the glory days in this melodic number. Probably the most melodic song on the album. Nice use of atmosphere with the keyboard.
The keyboard wasn't really introduced into Candlemass until Chapter IV. More or less used as a backdrop. Had Messiah sang on Chapter IV I think it would've been much better. Not to knock on the previous singers, but Candlemass seemed to fade into oblivion after he left. Well, at least for me. Its too bad Messiah left the band again. No one was able to fill his shoes in the past, and it looks like they shouldn't make that mistake again. I look forward to hearing them team up with the powerful voice from Solitude Aeternus.
Well, at least they'll go out on a high note with this classic lineup. The last word has already been written about this album a thousand times, but I don't care. If you got this far then maybe you're interested in seeking out this album. I hope to one day see this revered with the classics. If you're unfamiliar with this band, then you can do no wrong with starting here. Try and find the Digipack with the bonus track on it. After that buy Nightfall and Epicus, then thank me later and buy me a beer.
‘Candlemass’ is back… and with the best album since 1989’s ‘Tales Of Creation.’ Honestly, I had both high hopes and doubts about this album. I wasn’t very psyched about the Candlemass releases after 1990, but here, Messiah Marcolin was on vocals once again. With him singing, what could go wrong? Fortunately, very little did go wrong.
The band is back to their old style, as could be heard on classics such as ‘Nightfall’ and ‘Epicus Doomicus Metallicus.’ The great catchy riffs are back, vocals amazing, and Marcolin’s voice didn’t seem to have weakened at all. The same power and commanding in his voice is still there, as are both the familiar and loved high-octave vocals, and some lower ones, which add more singing variety to the album than to the previous Candlemasses.
The riffs are back and (dare I say?) they’re better than ever. Great melodies, catchy rhythms, same heavy distorted noises as always. They remind me of classic Black Sabbath on this release more than on any other Candlemass, and manage to create the same unforgettable atmospheres as Iommi in classics like ‘Paranoid.’ The amazing production of this album makes this fact ever better. The guitars are perfectly mixed with the drums and vocals, and the bass on here is about as close to perfect as you can possibly get.
Choruses are also catchy as hell, sounding epic and legendary like always. Candlmass matured by miles, and that is clean on this album. Supplying with a lot more sophisticated songwriting than I ever anticipated, this was yet another good surprise for me. Every time you listen to this album, it grows on you some more, and you notice something fresh and new. This is one of those few albums I can put on repeat and listen through a couple times without starting to get bored.
The godfathers of Epic Doom metal definitely didn’t disappoint me with this release. If anything, my liking of this band doubled. Just when I didn’t think they had anything left in them, they managed to supply me with yet another pleasant surprise. Candlemass is back… and better than ever!!!
How often does a band try something really fresh and innovative instead of copying the thrills of the past after a reunion? Some guys prefer not to release anything in the fear of destroying their legend (the original Black Sabbath), or they create something uninspired and unoriginal, with old and repetitive ideas and cliches in order to please their fans (Judas Priest).
That's not the case of Candlemass! Abandoning part of their early epic feeling and the religious, mythological, or fantasy themes they focus, for the first time in their history, on the drama of every-day life and agony. More doom than epic the new Candlemass sound darker than ever before. It seems that the change of Leif Edling's philosophical approach (he does not accept any metaphysical explanation about the human fate) affected the music itself. It is very interesting to hear the lyrics of "Born in a tank" for example, a song talking about a man buried in the fake safety of his home, being in fact imprisoned by the politics. No more devils or angels, no Satan or God, but just human beings...
Don't expect the thunderous enthusiasm of previous albums such as "Nightfall". What someone should expect from some guys around 45 is maturity, not youthfull energy. Candlemass are more sophisticated than ever before, with the intention to speak out the truth. The result of this effort is breathtaking. Although Messiah does not use all his vocal range (like his singing during '80's), he prefers to insist on darker vocals that fit perfectly the mood of this album. The other players have retained their dexterity and good shape and, most of all, they have chemistry. You cannot pay attention to the good work of a single musician, but to the whole music in general. It gives me the impression that not even a single note is unnecessary.
I strongly believe that this album is their best. I didn't realise it at the first time I heard it, but after some more careful listenings I understood why the best albums are the growers, not the instant thrills. When you want to express something deep and original, there is no way to make it easier, in order to be understood by the idiots or the lazy ones.
2005 is really shaping up to be a promising year for the Doom Metal genre. It seems that numerous Doom Metal bands are making a coincidental yet seemingly unified presence that just might over shadow the saturated genres of metal markets such as Power Metal, Death Metal and Black Metal. With releases from Draconia, Swallow The Sun, November's Doom, soon to be releases from Trouble and a Black Sabbath reunion tour, we now find Candlemass adding something to the mix.....
Back in 2003, I reviewed Candlemass' "Doomed For Live-Reunion 2002". This release was just one step in a process that would lead to something I had hoped for back when I wrote the review......a new studio album!
"Candlemass" is the band's first release through Nuclear Blast and first studio album with Messiah Marcolin back on vocals since "Tales of Creation" in 1990. "Candlemass" was recorded in part at Polar studios (ABBA, GENESIS, LED ZEPPELIN) in Stockholm, Sweden.
Well Candlemass fans, the new release is their best effort since "Tales of Creation". This album does a fine job of mixing slower pounding, more doomy styled songs with some mid-tempo ones. You'll find classic tinges of Candlemass all throughout the album, as well as a few surprises. In many ways, this album gives the listener the feeling of such Candlemass classics as "Nightfall" and "Epicus Doomicus Metallicus".
The production is very good. The recording and mix between the drums and the bass provide an excellent, low range response that gives the songs some much needed bottom end. something that seemed to be missing on previous Candlemass albums. The trademark Sabbathy guitar riffs are as heavy and catchier than ever. Some keys are used but they are very low in the mix and seem to be there to add some atmosphere and highlights. And what would a Candlemass album be without the vocals of Messiah Marcolin, the one ingredient that really gives this band an identity and whose voice is much more dynamic now when compared to his work in the past.. He uses the full range of his vocals and doesn't over use is throttle capabilities. He sings with as much power and clarity today as he did back in the late 80's, early 90's. He also adds some interesting vocal styles unlike he has on previous Candlemass albums. He goes from very low ranges to his more familiar higher octaves. Such an example of a song in which these characteristics are noticeable on is "Copernicus".
"Black Dwarf" is one of the more up tempo songs that reminds me of a track like "Gallow's End". And the riffs in "Witches" are reminiscent of "Black Stone Wielder". "Born In A Tank" brings back feelings of "A Cry From The Crypt". "The Man Who Fell from the Sky" is an instrumental.
This album is a must have. I already have four to six albums that are potentials for my 2005 Top 15 and this one is no exception. Candlemass is back and in a big way! Let the Doom Dancing begin!
This is my first review so I'll try to do a damn good job. If you cant tell, I'm a huge Candlemass fan and this is been something I've been looking forward to for a while. It has been 16 years since there has been a studio album with vocalist extra-ordinare Messiah Marcolin. Would it be as good as other Candlemass albums or a sad reunion album?
Black Dwarf: My cd has the intro and this song put together. I was floored when I heard this song for the first time. It seems like Messiah and Co. havent been separated for 16 years. Some excellent guitar work from Johansson and Bjorkman on this track.
Seven Silver Keys: This sorta seems like something off Epicus Doomicus Metalicus; the whole fantasy lyric deal. Not that there is anything wrong with that. This song is a killer. It has a really slow and plodding feeling to it, another Candlemassaterpeace.
Assassin of the Light: The opening riff has a really evil, eerie feeling to it and I love it. The song kinda reminds me of Trouble for some reason, maybe just the title. Marcolin manages to continue to belt it out as in days of old. I still cant believe these guys havent achieved international superstardom.
Copernicus: Named after the famed astronomer, Copernicus has a nice beginning. A really slow and plodding riff and then dead silence. Then Messiah begins to sing in a haunting way and then that riff picks up like it never ended. This song kinda reminds me of "Black Sabbath" with the whole heavy, dreary riff and then the vocals come, except I think Messiah Marcolin sounds a whole hell of a lot better than Ozzy Osbourne. Another great track.
The Man Who Fell From the Sky: eh, the only reason I gave this album a 95 is because of this track. It's an instrumental, but it is nowhere near as good as "Into The Unfathomed Tower," the ultimate Candlemass instrumental. TMWFFS kinda bores me.
Witches: The actual first song I heard off the album. A friend of mine had this and sent it to me, thus prompting me to get a hold of this album. I love the riff, Messiah's singing, etc. My second favorite song on the album. Contains one of my favorite lyrics "leave this fucking place!" Really outta place, but come on its Candlemass!
Born In A Tank: Imagine if Saint Vitus and Alice in Chains had a child and wrote a song. This is what it would sound like. The lyrics are very strong as is the chugging riff, which make this song my favorite. This would make an interesting music video because of the visuals the song gives me.
Spellbreaker: this is why Candlemass is associated with epic doom metal. Another great track, going 7 minutes and 2 seconds with plenty of tempo shifts. The solo is quite nice and the fade out at the end is a nice touch.
The Day and the Night: Has a dark, blusey feeling at first which I like and more Messiah singing along with it. From there it picks up with his legendary opera crooning and the tourtise-paced riffs. Around 3:55, the song begins to pick up and by 4:15 it gets heavy. What a fucking way to end an album. Almost as good as A Sorcerer's Pledge. "I'm lost in the dark..." priceless
Mars and Volcanos (digipack bonus): A nice little bonus for Candlemass fans. This is a more quick pased song than I'm used to from them, but a great change nonetheless. The last 45 seconds is a nice little display of Jahn Lindt's drum work.
What can I say? Candlemass still has it. The first studio album with Messiah Marcolin in 16 years is a damn fine one. Other than the so/so instrumental, this is a great piece of doom metal. One of my favorite albums of the year and it is a great way to showcase how talented Candlemass is. In a day and age where all this metalcore bullshit seems to be taking over, I'm glad to see guys like Candlemass sticking to their guns and showing how much more talented they are. A 95 out of 100 for Messiah and Company.