Clayman

As Colony saw In Flames move towards a more direct and accessible sound, Clayman pushed the formula to a new extreme and undoubtedly proved to be the band's turning point. Clayman was the first album to really add more rock-based fury to the signature Gothenburg sound that the band had crafted; harmonies and leads still remain intact, but are generally used in a more linear way; the band openly embrace experiments with different clean guitar tones, such as the shimmering notes on "Square Nothing" and "Sattelites and Astronauts," and this is the first album from In Flames that truly delves into electronic noodlings with programmed beats and synths, such as "Only for the Weak." Even more controversial is Ander's change in vocal style. Rather than the slightly airy growl of Colony or Whoracle, Anders switches gears with a mid-ranged scream that he would use from that moment on. There is also a full-on display of clean vocals, not just a backup like previous albums. Though this undoubtedly takes some of the "death metal" edge away from the band's sound, it nonetheless shows a band stepping into their own modernized niche, for better or worse.

It's clear from the opener "Bullet Ride" that things have changed. Bjorn and Jesper put on display the band's evolution in a poignant way; shimmering clean guitars pluck through the verses, and stop-start power chord phrases collaborate with warm, rich leads, which also seem to have progressed beyond the typical Gothenburg melodies. "Swim" brings back some old-school flair, and is probably one of the only songs that still fully resonates of the band's old formula. I would go so far to say that most of the guitar work exceeds the "happy" feel of even Colony, especially the arena-like "Only for the Weak." Generally speaking, there aren't as many solos here, but it works within the music's more linear scope; the band still retain a healthy amount of melodeath tendencies, so it doesn't take too much away.

Daniel certainly stepped his game up, and in turn, it helps out the rest of the band. The more clean-cut song structures give the drums an extra push, seeing that there are more fills and overall confidence. The title track is a clear display of this. A cleaner, fuller drum sound also helps things out a great deal as well.

And now for Anders. For those who never liked his voice, this album most likely won't change your minds. His throaty yell/scream is not quite what he would use on RtR or STYE, but Clayman shows his venturing into that particular style. "Satellites and Astronauts" and "Brush the Dust Away" showcase the debut of his infamous clean vocals, albeit in a more subtle manner. Truth be told, it's a hell of a lot better than what was to come, but it will certainly grate the nerves of those who loathed him to begin with. Lyrically, things have gotten better, and like the rest of the music, more direct. Everything takes a more personal slant into self-doubt and introspection, with "Brush the Dust Away" being the only exception, since it takes a similar stance to older albums.

Though haters of the band easily target this album and flame it, this is the ultimate turning point for In Flames. They certainly couldn't make another Colony, and I'm actually rather grateful for that. Clayman serves as the perfect introduction to In Flames, and it contains the ultimate classic "Pinball Map," an essential In Flames track.