Dreaming Ice

Have you ever heard the song "Kill Again" off Slayer's album Hell Awaits? Listen at around 1:15 of said song, and you'll hear what very likely was the first instance (Albeit a primitive one) of the archetypal "melodeath" riff. You know, that "Chug on the E or the A string and hit a note on the adjacent string" kind of riff? If you've listened to metal at all, you've likely heard it at some point. This riffing style has existed for over twenty years, and with all the recent melodeath and metalcore bands that have surfaced (Some of which don't fall into the generalizations I might give), it's been used so often that it seems to be the same riff getting played over and over again. The same goes for the stereotypical "slow paced tremolo melody". It would almost be impossible to fathom such relentlessly uninspired music had it's base in bands that took the sound of death metal at the time, added elements from hard rock and traditional metal, clean sections, many styles of vocals, and even deviated from those two styles of riffing because, shockingly, that may become boring over time! Miscreant is a shining example of such a band.

Miscreant plays a style of melodic death metal most similar to Gates of Ishtar or perhaps Godgory. Though, all of said bands are unique in their own way, so the comparison is to be taken with some caution. They involve all the elements previously mentioned, and do them in a way that is so perfectly executed, it is a shame this band is not as well known and that this album spent almost a year languishing on my hard drive before I ever gave it a listen. Of the two riffing styles stereotypical of melodeath I expounded upon earlier, this band plays the "slower tremolo melodies" the most. However, they are wonderfully expressive and emotional, bringing to mind a touch of black metal influence. The band is ill content to stay in one single direction, even within the same minute of a song, changing to a clean section and changing the vocal style (completely unlike the one just being used, even) at the drop of a hat. And let's discuss Johnny Wranning's talent as a vocalist for a moment. I don't think I've heard as versatile a vocalist as him in the realm of extreme metal, save for Chalky White of Psycroptic. The man can do black metal rasps, death growls similar to the average Swedish growler of the time, clean vocals, and a DEAD ON King Diamond falsetto! He fits the music perfectly, with both his choice of style and his placement in the mix.

The whole record is produced fairly well. All instruments seem to be at even levels, though the clean guitars have a tendency of sounding just a bit too bass heavy at times. Not an issue, though. The leads tend to dabble in the neo-classical domain at times, with a clear crisp sound and perfectly tasteful restraint added so as not to devolve into a Malmsteen-esque wank fest (Not to say there's anything wrong with such a thing, but the time it's appropriate is when one actually listens to Yngwie!). Keyboards are used sparsely and mainly to add a sense of atmosphere to the music, such as the introduction of "Inside The Sadness Part II". I'd dare call this progressive metal should there have been fewer elements of melodeath present in the sound.

This album is for anyone interested in melodeath as only the Swedes of the early 90s seemed to be able to craft.