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Search back through the Metal-Rules archives and you will already find two reviews of Eucharist – MIRRORWORLDS, competently covered by my colleagues El Cid and JP. Aside from the inherent excellence of the album, why does this particular album deserve a third time around?
Looking back at Wrong Again Records’ history, it seems that the label not only had a talent for signing some excellent bands, but the short life and limited press created quite a supply/demand issue for their releases. Take a search on Ebay sometime for original versions of Arch Enemy-BLACK EARTH, Armageddon-CROSSING THE RUBICON, or In Flames-LUNAR STRAIN or SUBTERRANEAN and you’ll see what I mean.
Among such a repertoire of classic albums is the oft-overlooked Eucharist. Thankfully, for those poor saps (such as myself) who never got a chance to acquire either of Eucharist’s two albums, A VELVET CREATION or MIRRORWORLDS, Regain records has acquired the rights to the albums and has reissued them. Unfortunately, that will not make my long-overdue pursuit of the original issues that much more difficult.
History lesson aside, MIRRORWORLDS ranks right up there with the ultimate classic Gothenburg albums, keeping closer to the older sound of real melodic death metal instead of the Maiden-ish/power metally sound of other so-called meldeath releases. From the moment the title track kicks in its intense “deathy” feel with a very nice, thickly distored melodic lead that, combined with the excellent drumming of Daniel Erlandsson absolutely rips your fucking head off. “Dissolving” is my favourite track on the album, the chops and interesting guitar tone really making it a catchy song to stick in my head before the album dives into “With the Sun,” which basically typifies every Gothenburg-styled song ever written with its alternate mid-paced melodic breaks between fast, raw, yet still melodic passages. Each of the other songs on the album, including the instrumental “The Eucharist” carry on with much the same degree of style and quality. Of particular note is the other instrumental, “In Nakedness,” a softer song featuring a very haunting oboe lead. I feel that this track is a bit out of place, being better suited either smack in the middle of all the chaos, or as a very appropriate outro piece.
The songs laid down on MIRRORWORLDS may sound a bit generic, with seven years of history already behind it, MIRRORWORLDS is already considered a classic album (although often unknown or underrated) in the Gothenburg genre. Certainly, this album is a fitting epitaph for this excellent, though short-lived band.
(originally written by me for www.metal-rules.com, February, 2004)