Clayman

With In Flames’ ninth full length album approaching in April it really makes you look back on the career that this band has had. They sure have changed their sound to many people’s dismay but the point is, they are still making music after nearly twenty years of their existence. I think that says something by itself.

I find Clayman to be a really interesting release. It seems to prove as a sort of transition to the drastic style-change from Colony to Reroute to Remain, and frankly, I think it works really well. It has all the trademark aspects of older In Flames albums with the inclusion of more clean vocals, which at some point, appear on almost all of the tracks and also more catchy hooks with the help of a synthesizer (Only for the Weak). The clean vocals sound the best on this album in my opinion. They seem less whiney than on later releases and are usually spoken rather than sung (Suburban Me). The harsh vocals sound great too with sort of a jump towards the higher pitched sound of later In Flames albums, although I still think Colony showcased the greatest vocals Anders Friden has come to offer. The duel guitar work on this album is as good as you would expect judging from past releases, in other words, quite mind blowing.

Opener Bullet Ride is a fun tempo changing track with an awesome chorus followed up by the live staple Pinball Map, which actually might have served as a better opening track. Only for the Weak incorporates a heavily synthesized sound but a very enjoyable headbanger if you’re into that sort of thing. If not, you probably stopped listening to this band in 2002.

Clayman is a very different sounding In Flames release and a really interesting and creative take on melodeth. Where does it fit amongst their best albums? I don’t know, and who cares. It doesn’t sound much like The Jester Race or Whoracle, and if it did, we would probably be bored of them by now. All I can say is that it is a welcome addition to their collection in my books.