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Like the Gods of Doom They Have Always Been - 100%

bayern, April 9th, 2017

I’m pretty sure Black Sabbath had no reasons to be disgruntled during the 90's as doom metal was brought back to UK soil in all its seismic, ship-sinking splendour, The Isles edging out the two major contenders the US and Sweden although one shouldn’t ignore the fact that those two lost their big shots (Candlemass, The Obsessed, Trouble, Pentagram) who either split up or moved to other “pastures”. Two fractions were responsible for this admirable achievement: the purer doom metal fraternity as exemplified by Cathedral, Solstice, Serenity and Acrimony, and the proverbial doom/death trio from the foggy North Paradise Lost, Anathema and My Dying Bride.

The last three wasted no time losing their more brutal death metal-ish roots, and by 1995 they had all embraced the doom metal idea, My Dying Bride in their characteristic melancholic, elegiac way; Paradise Lost from their more dynamic, more heavy metal-prone perspective; and Anathema wrapped in their dark, epic atmospherics. However, changes were looming on the horizon, and doom wasn’t some of these acts’ most urgent agenda anymore just a year or two later: Anathema went towards the progressive rock arena with “Eternity”, and the Milton fans tightened their ties with the gothic rock/metal movement with “One Second”; I guess sometimes it takes mere seconds for one to go through a major paradigm shift…Things became too spacey and psychedelic (Cathedral, Acrimony) in the other camp, and suddenly classic doom metal didn’t have the needed support in England to last through the decade…

Some budding newcomers like Mourn sprang up (self-titled, 1995), but almost as quickly they disappeared despite the big promise they showed. It became evident that it was the old guard that had to save the situation, and our “brides” here were only too happy to help. “Like Gods of the Sun” is a monumental achievement in the annals of doom metal, one of the best albums to ever be spawned by the slow metal field. It remains the band’s finest hour from a purely doom metal perspective, leaving their nostalgic, thinly depressive aura behind, not to mention all possible vestiges of death metal. This is doom metal the way the Sabbaths meant it to be some 25 years ago, and the opening title-track is exactly the antediluvian doomster Ozzy Osbourne and Co. nailed back then, enriched with the trademark sorrowful melodies and Aaron Stainthorpe’s inimitable, deep soulful croons. A totally arresting beginning to this behemoth which moves forward with “The Dark Caress”, a both more dynamic and a more pensive anthem the more impetuous stride intercepted by deeply atmospheric, keyboard-ornated strokes. “Grace Unhearing” is a mournful piece where the guys’ staple instrument the violin shows up alongside some of the finest melodic sections to ever appear on a My Dying Bride opus.

Mournful, grievous, captivating music which is carried by “A Kiss to Remember”, an unforgettable doomy elegy with ethereal funereal atmosphere, the closest soundalike to the previous album here, and the most balladic-prone due to a nice quiet lyrical stretch. “All Swept Away” doesn’t quite “sweep away” the gloom instilled, but is a more dynamic cut with a great symbiosis between the hard sharp riffs and the enchanting violin tunes, and a mighty pounding bridge for which Candlemass and Solitude Aeturnus would have died for. “For You” is a marginally more optimistic and a more vivid composition despite the sombre balladic digression which is nothing short of outstanding not without the help of Aaron’s emotional performance behind the mike. “It Will Come” sounds like an etude for something bigger and more ambitious, but the ultra-volcanic guitars are truly one-of-a-kind the sinister keyboards adding more to the oppressing atmosphere; a masterpiece of mood and doom with the violin making itself heard again. “Here in the Throat” makes up for the alluring slow motion of the preceding cut with faster, brisker motifs, but expect the violin to steal the show with several mesmerizing melodies; watch out for the superb heavy gallops that commence in the second half reaching nearly progressive proportions, and their stunningly seamless flow into the doomy rhythms before the end.

Breath-taking stuff through and through… and it’s not over as “For My Fallen Angel”, the closer, follows suit. My girlfriend at the time fell in love with this song, more so than in me I thought at some stage, and was listening to it over and over largely due to her learning how to play the violin, and she wanted to reproduce its tear-jerking qualities as close as possible. She got close, but never managed to nail it perfectly as this is a most extraordinary entry into the annals of doom and sorrow, so immaculately performed, so amazingly blended with the operatic keyboards, so unobtrusively assisted by Aaron’s guiding semi-whispers that for this non-metal track alone I would give this album a 90% on any rainy, or foggy day in Halifax and elsewhere. It’s a soul-touching, compulsively soporific track which is simply the most perfect epitaph to this colossal effort regardless of its dark romantic, anti-aggressive nature. It beats me why Martin Powell, the violin player, never went on to writing soundtracks for films and make a fortune as this is where his real vocation lies; the man is a true magician at evoking feelings and emotions with a single track which Dead Can Dance, The Third and the Mortal, and even Enya wouldn’t be able to achieve with a whole full-length.

I didn’t have a soft spot for the band before this album although I had listened to all their early works. I had second, even third thoughts about buying the cassette, looking at this black/velvety cover trying to figure what the guys had cooked this time… Cause I was by no means looking for another dreamy trip into melancholy which “The Angel and the Dark River” was. And I made the right choice eventually as this grand opus is one of the Big Four of doom metal alongside Candlemass’ “Nightfall”, Cathedral’s “The Ethereal Mirror”, and Solitude Aeturnus’ “Through the Darkest Hour”, and it’s very unlikely that its high status is ever going to be diminished. Actually, it was My Dying Bride themselves who nearly topped it up, first with “34.788%... Complete” a year later, a more avant-garde, more progressive take on the doom metal idea with echoes of In the Woods, but a great listen nonetheless; and then with the fabulous “The Light at the End of the World” (1999), the next in line first-class doom metal opus with some of the band’s earlier death metal bravado showing up to a very positive impression, not without the help of Aaron’s unholy growls.

The guys literally owned the second half of the 90’s from a doom metal perspective, and not only because Candlemass and Solitude Aeturnus were beyond their peaks, and Paradise Lost weren’t a competition anymore due to their surrender to the dark wave frequencies. The new millennium saw them coming strong as well with a string of fine albums staying ahead of the competition which had become quite fierce in the past few years. There’s no way the band could make a map of their failures based on what they have created so far; there have been none 25 years down the line…

Grand Misstep - 65%

grimdoom, January 20th, 2017

Like the so many pioneers My Dying Bride predictably and needlessly headed down the road to mediocrity when they released their fourth album. Who's to say why the Brides took it upon themselves to make straight up, no frills doom metal, devoid of their death metal roots, but they did with 'Like Gods of the Sun'. This is probably the closest MDB has come to Black Sabbath and while it isn't the blatant Sabbathian rip off that was Candlemass' 'From the 13th Sun',it is the Brides own interpretation of the form, thankfully.

The production is what you'd expect from an MDB release. All the bands hallmarks are well intact, sans the growled vocals. The same distortion you either loved or loathed rumbled through the same amps in familiar patterns to plausibly give the fans what they wanted. This was the second to last MDB album to use the bands original dry guitar sound.

The album isn't wholly without merit however. The single 'For You', while repetitive, is actually pretty good even if the accompanying video is odd. The song that stands out the most would either be 'Grace Unhearing' or 'A Kiss to Remember'. The final song, 'For My Fallen Angel', hearkens back 'Black God' from Turn Loose the Swans, in that it's lack of modernity consisting of a violin, keyboard and Aaron reciting poetry. A hauntingly beautiful song and a perfect closer for such a sleeper album.

Back in 1996 Anathema drastically changed their sound with 'Eternity' while Paradise Lost were working on 'One Second'. It really shouldn't surprise anyone that MDB would've been tempted to do the same. Would this album have been received any differently had Aaron growled through most of it, or perhaps actually sang instead of moan/talking? Maybe. This album is a veritable riff factory akin to Cathedral's sell out album 'The Ethereal Mirror', but not as stupid. This album is probably as close to mainstream as the Brides ever got, even touring with Dio at some point.

The music is a logical, if somewhat stale, continuation of 'The Angel and the Dark River'. The lyrical themes are still unchanged, the overall darkness and somber atmosphere are well intact. One could almost call this a by the numbers affair, which really detracts from the richness the band was trying to convey. However, upon your first few listens, you will more than likely be bored to death. This album was something to be put aside and digested slowly over the years as the quality's there but it's difficult to see.

Two decades later this album is a fair listen for the life long fan. This is a decent doom metal album that was followed up by an even better avantgarde master piece.

Boring and lifeless - 42%

gasmask_colostomy, May 1st, 2015

When I think about My Dying Bride, I usually think of a kind of floating melancholy, the sound of God's thunder, and some mournfuly trudging riffs. Sometimes I think about My Dying Bride and get visions of overdone drama, repetitive concepts, and lacklustre songwriting. Then, occasionally I think about My Dying Bride and boring, thoughtless, skilless music.

On 'Like Gods of the Sun', we get all three varieties of Bride. I'm going to start with the negatives because there are a lot of them to get out of the way. Firstly, and worstly, the themes on this album are shit. Not just a little shit or shit in places - just straightforwardly shit. There are only two of them too. One is romance with a slightly vampiric woman who dies or at least bleeds in some way; the other is sadness. There's nothing imaginative or fresh in the way these topics are dealt with. Aaron Stainthorpe had already used the former a couple of times, though with more attention to detail, greater subtlety and maturity, and in vastly more poetic terms, which made those songs fascinating as he unfolded the description of some mysterious beauty step by step (I'm thinking of the first part of 'Turn Loose the Swans' here) and makes it part of some greater story. On 'The Dark Caress', for example, the suddenness of his description - "No finer woman had lay before me/ Dark and filled with beauty" - has no value and is void of anticipation; also, the complete anticlimax of the story is the biggest let-down imaginable - "She gave in to her lust and ecstasy/ We kissed just once, her life dripped down on me".

The second problem is the poor quality of the music, which is why the lyrics were the first problem because I have to listen to them all the time. The vocals are very audible, since Stainthorpe only sings cleans (and narrates, but never mind that), which would seem like an effort to enhance the emotional qualities of the songs; this effort backfires, however, when it transpires that having such shit and formulaic lyrics made it impossible for Stainthorpe to add any emotion to his voice whatsoever. His cleans had been emotional on previous albums, but it seems that they work better in contrast to his harsh vocals, producing alternate anger and woe, never letting either grow monotonous.

The rest of the band don't do much better, falling prey to the same stagnation and repetition in their songwriting. There are some good riffs on the album which I can break into two categories: doomy and melancholic, plus quiet and melancholic. The good riffs are too similar to one another to produce an album worth of songs, since they simply cover the same ground again and again until I can't remember which part belongs to which song. 'For You' can boast having a distinctive riff that stomps and bounds and generally sounds more energetic, though the song is poorly put together despite having the best components on the album. Most of the riffs are backed up by the violin, which is working a double shift to make everything interesting and dramatic, though just ends up making it all sound the same because everything is dramatic. Martin Powell would leave after this album, but he was a key part of the early years of the band. The drumming is fairly muffled and gives me little to mention, while the bass has two distinct moments, one at the start of 'A Kiss to Remember' and one at the start of 'It Will Come', which are respectively the best and worst songs on offer. The former has a breezy melody that carries its weight easily (tellingly, at seven and a half minutes, it's the longest song), while the latter has an execrable chug-chug-thump that should not have seen the light of day and makes the song feel long after the first thirty seconds.

The song length of 'A Kiss to Remember' is actually an indication of just what went wrong with this album. Whereas in the past, Bride were able to exceed ten minutes without much trouble and the songs were generally filled with things rather than crap, the songs on 'Like Gods of the Sun' are noticeably abridged, averaging just six minutes (the previous album averaged almost nine). There are also nine songs with ideas spread very thinly, meaning that we listen for a long time without any reward, which inevitably frustrates. Perhaps Bride should have thrown all the good ideas into four or five songs, released an EP, and taken a break. This album seems hurried, unpolished, lacking ideas or inspiration, and falls short on the performance front too. 'Like Gods of the Sun' isn't worthless ('For You' and 'A Kiss to Remember' are certainly worth bothering with) and in fact sounds like the most typical Bride album of all; however, that might just be its downfall - Bride have only ever been good when they are doing the unexpected.

"It's Just One Kiss That's All I Need" - 95%

CletusChrist94, January 3rd, 2014

My Dying Bride, the band that perfectly embodies the sounds of absolute sorrow. Here we have their fourth studio full length release, "Like Gods of the Sun" and it's an excellent album. An album that also has garnered some animosity because of the abandonment of the growled vocal style, which was first explored on their third album "The Angel In The Dark River".

This album has many classic and memorable songs that make it up. The album is filled with excellent violin playing which in my opinion is the true highlight instrument of the album. Songs such as "Grace Unhearing", "A Kiss To Remember", "For You", and "For My Fallen Angel" are all excellent examples of this. If I were to pick a highlight from the album, there is a tie with three of them. "A Kiss To Remember" which starts with subtle bass playing and leads into what is probably one of the best songs about vampires ever written. "For You" which is another emotional song this time about love and Aaron's voice truly shines on this one. The final song that I would recommend is "For My Fallen Angel" while it's mostly just violin playing with Aaron reading lines from Shakespearian literature, but it is still a great song to use as background music.

The playing on this album is also extremely exceptional. The guitars, bass, and drums all compliment each other rather well and there are some places where each individual instrument truly shines. The vocals are also pretty good, but the lack of growled sections are definitely missed and would have added a little more atmosphere, but it's not that big of a problem. But as said before the instrument that really steals the show in my opinion is the violin and keyboard playing of Martin Powell. The playing definitely adds to the melancholy that the music is displaying, I have at times found myself teary eyed listening to some of the sections, because they are truly beautiful and any music fan will be able to sit back and be stunned by how good it sounds.

Closing this review I will say that this is one of My Dying Bride's best releases. It's a great place to start if you're new to the band, and it is filled with memorable songs that you will find yourself humming as you go through your day. So if you're into metal music, with some classical instruments thrown in, then My Dying Bride's "Like Gods of the Sun" is definitely for you.

Another adventure through dark terrains - 90%

chaos_aquarium, July 10th, 2009

As of 1996, My Dying Bride had released three albums, all of which were considered masterpieces. So the release of “Like Gods of the Sun” proved to be a very important moment in their career for various reasons.

First would be the nature of the music on the album. Gone were the beautiful and lengthy doom epics, in their place were shorter songs with a heavier goth influence and more easily listenable song structures. The elegance found in their previous release was replaced with a much darker and gloomier approach to loss. This could be seen by many as My Dying Bride’s attempt at making it mainstream. The flaw in this theory would be that the music is still, well, dark and depressing.

Along with this, “Like Gods of the Sun” would be the last album to feature violinist Martin Powell, a defining member of the band. Powell went out with a bang at least. His performance is certainly the highlight of the album. From the sick sounding violin on the opus “Grace Unhearing” to the somber tone found on, “For My Fallen Angel”, this album proves to be Martin Powell’s crowning achievement.

The album opens with the title track, “Like Gods of the Sun”, and it is one of the strongest songs on the album. By retaining its doom roots (the crushing riffs) while embracing its gothic influences ( the theatric and dramatic sounding keys) it achieves excellence. The following track, “The Dark Caress”, is a very strong track with a good main riff and well placed violin lines.

It is not until the album highlight, “Grace Unhearing “, that the album truly hits its stride. This song is nothing short of stunning. The song starts with a riff that gives a sense of sinking or descent, with Aaron singing in an appropriate manner. The chorus (with it’s very sickly sounding violin accompanying an equally deranged sounding Stainthorpe chanting “Beat it out, out of me, cut me up and watch me bleed”) remains on of the darkest moments in music that I have heard outside of early Swans.

The rest of the album is for the most part strong and solid, with a large emphasis on violin and dramatic vocals. The only song that is really filler would be “It Will Come”. “It Will Come” just never really seems to go anywhere, despite its catchy and quite heavy main riff.

“Like Gods of the Sun” is a very strong album and would mark and end to what I like to refer as My Dying Bride's golden age. While not their greatest effort, tracks like “Grace Unhearing” and the title track make it a pretty strong contender. This album will not change minds of detractors, but it is a very solid album sure to please new and old fans alike.

balls - 22%

Noktorn, March 13th, 2008

'Like Gods Of The Sun' is frequently referred to as the 'forgotten' My Dying Bride album (though most people conspicuously abstain from mentioning that it's forgotten for a reason), rather handily eclipsed through being sandwiched between 'The Angel And The Dark River', a periodically interesting doom/death album, and the infamous '34.788%... Complete', probably the best example ever of My Dying Bride thinking that they're misunderstood geniuses. The interim album, though, never got much attention, which makes perfect sense, as this is probably the one My Dying Bride album that lacks identity and focus more than any other in their lengthy catalog. At once more dreary, shuffling, and lifeless than 'As The Flower Withers' and more dripping with gothic cheese than 'Turn Loose The Swans', 'Like Gods Of The Sun' manages to be everything present in My Dying Bride's career all at once and accomplish precisely nothing with all those elements.

Consider the opening track, the first riff of which seems to be the horrific byproduct of a back alley tryst between Black Sabbath and a vaguely pedophiliac thirty-something at a goth club with a semi and a flask full of rohypsbinthe. And just like the night you'll have if you decide to talk to him, the rest of the song, along with nearly the whole album, is entirely unmemorable. Generally operating at an utterly plodding midpace and boasting some of the most uninspired doom/death melodies known to man, 'Like Gods Of The Sun' manages to do what previously seemed impossible: make an album brimming with melodrama and pseudo-emotion feel completely and utterly emotionless. I don't know how; maybe it's how the band insists on using rehashed death metal melodies from the early '90s instead of just going for the weepy gothic moneyshot, or how Aaron Stainthorpe, for all his (hurrrrmph) lyrical prowess, is unable to convey a feeling beyond pretentious apathy, or how none of the songs seem to have any fucking idea what they're supposed to be doing, with all the members glancing at each other more to figure out where they're supposed to be than your average goregrind concert.

There is one bright spot; a veritable supernova of one, if all the more luminous due to the content around it. 'For My Fallen Angel' is amazing and has a subtlety to it completely absent from the rest of My Dying Bride's catalog, even though it'll just seem stunningly gay if you're not either A in the mood for it or B particularly receptive to violin-and-purring-gothic-narration-type stuff. It works for me because I'm really a closet goth who listens to early Cradle Of Filth and actually thinks 'Funeral In Carpathia' is emotionally compelling, i.e., an overwrought bitch. That being said, MOST people seem to really like it; it's a standout track in My Dying Bride's history. Now, this would all be well and good if the rest of the album was just violins and sad narrations and romantic misery, but it's NOT: it's My Dying Bride attempting to be a doom metal band instead of sticking to the fruity but awesome melodies that they're so good at. And that is why this album fails.

Hell, that's probably why My Dying Bride fails so often as a band: they keep desperately clinging to the things they suck at out of some sort of nostalgia instead of just going for the gothic jugular that everyone else craves. This sucks, but 'For My Fallen Angel' is a great song, so download it (if you really care, buy it on Itunes or something) and play it like twenty times while you weep into your Hello Kitty comforter. It makes for a great evening.

Inspired, depressive, and interesting...not here. - 15%

GoatDoomOcculta, March 14th, 2007

Inspired, depressive, and interesting...not here

To begin with, I would just like to point out that this is My Dying Bride's most impressive album to date, and is easily their most original and interesting piece of work. Unfortunately, that is not saying much, considering MDB ranks just barely below Cradle of Filth on the gay-o-meter, and that is simply because Dani is about as flaming of a homosexual as they come. My Dying Bride, however, is notorious for producing what is without a doubt the most boring music in existence, and Like Gods Of The Sun is certainly no exception to this long-standing tradition of theirs.

It's not that My Dying Bride doesn't have instrumental talent, it's just that they have absolutely no songwriting skills whatsoever, and as a result, each song is exactly the same as the one before it, the one after it, and every other song on the CD, along with the rest of their releases (excluding "The Light At The End Of The World" which was spectacular). I'm not even kidding, and apparently, despite all the reviews to the contrary, there are a lot of likeminded people out there who feel that MDB is incapable of writing a different song. How they've managed to achieve the level of fame that they currently have remains a mystery.

The only interesting thing on Like Gods Of The Sun are some very-rare keyboard parts. And by "very-rare" I mean "the one in the middle of the first track and that's it." Martin Powell, known for his equally disastrous role in Cradle Of Filth (imagine that), does a spectacular job of either refusing to play, or refusing to play loud enough to be heard more than a tenth of the time. Sure, there are keyboards, but they're more or less unable to be heard, and on the rare (read: nonexistent) occasion that they are able to be heard, they just drone on endlessly, adding nothing at all to the music. The exception to this is in the title track, in which there are some nifty orchestral keyboard parts, but those are too few and too short as well.

The guitars, as always, do nothing but drone on and on with the same annoying, buzzing, tremolo picking from the beginning of each track until the end. There are no solos at all on the whole CD (understandable, considering they try to pass themselves off as funeral doom, but still), but the guitars are always there...droning...on and on...and on...and on... This would be ok, because MDB is quite clearly going for a depressing sound, but the only thing depressing about the music is the utter lack of originality, especially with the guitars. The obnoxious distortion that is thrown in at times does nothing but make the majority of the instrumentals feel even more arbitrary, because the focus of each song is obviously intended to be the lyrics, which are "sung" in the same annoying monotone as they are in virtually every other MDB track. The drums...are just there. Sometimes there is some double bass action which actually complements the guitars quite well, but this is never utilized properly, and the music refuses to do anything besides flatline into more tedium.

As with all other My Dying Bride releases, there is nothing memorable here, nor is there anything even depressing, which is the purpose of the band. The only thing notable about Like Gods Of The Sun is that some parts of some songs are accidentally catchy, and you'll often find yourself with an annoying chugga chugga riff stuck in your head for some time afterwards. Aside from the inadvertent catchiness of some of the tracks, the only thing worth mentioning is (once again) the keyboards in the first track.

If you're into drone doom, I suppose this album may interest you, because it's pretty much reminscent of early Sunn O))), but a bit faster and with a few instruments thrown in. And a whiny vocalist. So I suppose it's not really much like Sunn at all, except the mindless droning...

Avoid this album for your own good.

Like Gods Of The Sun - 74%

torn, October 19th, 2005

Like Opeth, whose main selling point has always been their stunning ability to interweave a myriad of styles and genres into each song, My Dying Bride have stood out because of their collision of doomy dirges, aggressive death work-outs, acoustic passages, and haunting violin/keyboard melodies. They pack an impressive variety of material into their albums, but it never sounds forced or unnatural.
It comes as a surprise, then, to hear that this trademark method is not employed on ‘Like Gods Of The Sun’. The most notable difference is the complete absence of any growled vocals. This time around, the aggression comes as Aaron spits out his bitter lyrics with contempt, never more evident than at the opening of ‘All Swept Away’:

“Sickness often, often attends me. I’m ruled by pain. Tortured memories burning my brain. Oh, make it end! Killed for nothing, killed by no one. I was just a boy, weak and lonely, cold and bloody.”

He hasn’t got any happier, then. As if reflecting the dismissal of vocal variation, the songs all sound surprisingly similar too. There is still the occasional break where the violin prevails, or a delicate melody is picked out on a guitar, but for the most part, the music is slow-to-mid-pace, alternating between typically melancholy riffs, and crunchier power chords.
There are highlights, ‘A Kiss To Remember’ and ‘For You’ stand out particularly, and every now and then there is a refreshing injection of energy, but these instances are few and far between. That is not to say that the album is boring (I sat and listened to it for over an hour, and enjoyed every minute of it), just less varied that we’re used to from this band.
Special mention must go to the drummer (Rick Miah, I believe, although the CD booklet provides no line-up details). His immaculate sense of rhythm and timing holds the whole album together without ever taking over. His accuracy is stunning, and some of his fills are awe-inspiring.
Overall, then, another good record from My Dying Bride. It’s no masterpiece, and the ghost of ‘Turn Loose The Swans’ is all over this album. It lacks its own distinct identity, and, as such, I would not advise newcomers to the band to start with this record. For existing fans, though, this is more than recommended.

Mediocre and Overrated - 55%

Diabolical_Vengeance, March 16th, 2005

As a longtime fan of this band I’ve never been able to understand why so many praise this album. Even after I initially bought I never thought of classifying this album among their best. Time has only served to reinforce my opinion of this album as MDB’s worst, even the experimental 34.788%…Complete fares better. Angel… saw this band enter a decline and nowhere is this decline more apparent that this over-praised album.

Like its predecessor, this album utilizes strictly clean vocals exclusively. Unfortunately, Aaron’s vocals sound lackluster and passionless, its almost as if he’s bored with the music he’s singing over and I can’t say I blame him. The album begins with a whimper: this title track has nothing memorable to offer us, a forgettable guitar riff at its core, organ-sounding keyboards in the chorus and before we know it the songs over. Needless to say, its critical that the opening song an any album be an attention-grabber and the fact that this disc opens with one of the most non-descript songs in the history of Doom-Metal doesn’t bode well.

A Dark Caress fares slightly better. It brings to mind some of the great MDB songs of old, without reaching that level. The guitar riffs meld well with the violin. But its bridge section, centered on Aaron’s spoken narration, weakens this song. This brings to the forefront one of the many weaknesses of this disc: the lyrics. Aaron spoke openly in interviews that he was in the midst of a writer’s block when this album was in its formative stages and it shows. Aaron is a very gifted lyric writer but some of his lyrics on this album are downright asinine, and this song in particular. Even worse, I think his block was contagious on the rest of the band, which I will delve into later.

All Swept Away is one of the most bizarre songs on this disc. Its full of elements that just don’t work together. The song begins briskly with an almost thrashy vibe but the furious drumming and riffing just doesn’t blend well with the violin melody floating overtop. The song mellows out in the middle and then finishes furiously again and this song doesn’t flow well. Many of the songs such as the title track and It Will Come seem downright redundant. The latter made even more so by the unjustifiable inclusion of its “remix” as a bonus track.

Another fatal flaw of this disc is the songwriting. Previously MDB had focused around writing epic-length songs. This is one of the elements that made them a premier band. On this disc the songs are shorter. That can be a benefit in certain cases but not here. The songs may be shorter but they aren’t any more captivating. The songs just come and go without any fanfare or anything to make them particularly memorable. Its like the band didn’t spend enough time writing these songs and hashing them out. The music is no longer grandiose; it’s just standard. On this album MDB sound like one of the countless clone bands they’ve inspired like Silentium or Ashes You Leave.

The ultimate indication of this album’s mediocrity is that it doesn’t contain any great songs. Some are good, most are passable and there aren’t any songs that leap out and scream masterpiece. The music isn’t bad per se but when you’ve set such a high standard previously lackluster material tends to stick out more. There is nothing on this disc that MDB hasn’t done before-and at a much higher quality.

When will they stop making excellent albums? - 88%

WitheringToSerenity, May 8th, 2004

Oh yes, sooner than you'd think!! But I'm sure by now the My Dying Bride formula for creating moody music is well known. Slow, heavy and gloomy guitars, excellent use of keyboards, violins, self-loathing vocals etc... but to any listener this album will more than pull its fair share of surprises. The album in general has a heavier, more produced guitar sound to it which essentially makes it their catchiest album to date. Less emphasis on brooding guitar melodies(ala Turn Loose The Swans) and more on crushing metal riffs. Case and point, the opening title track where there are a few riffs that maintain a heavy metal pace and aggressiveness.

They have also chosen to only use clean vocals on this album and I will go against the crowd and say this was a good idea. They have a few excellent albums with deathly vocals already and this album wouldn't quite be the same with that format. The vocals aren't what prevented this album from being one of MDB's best anyways. Lacked the memorable guitar harmonies of Turn Loose The Swans, the violins and sorrowful beauty of Angel and The Dark River.

Probably their first album in which you can certainly question whether or not My Dying Bride is departing from their trademark Doom sound. The production makes it seem not quite as dark or haunting as the previous releases and a bit more accessible but nonetheless I find it extremely enjoyable. They still have the memorable violin, keyboard melodies and the sorrowful art you come to expect from My Dying Bride. The guitars are faster and more chord based than ever before. I would go as far as saying songs like For You and more are even digestable for the casual music fan. This might not be the best in their catalogue, but for an introduction to the band this isn't such a bad choice. For the record, I feel everyone on the planet open to beautiful symphonic music should hear For My Fallen Angel.

Favorites : Like Gods of The Sun, A Kiss To Remember, All Swept Away, For My Fallen Angel

Hey, this is pretty cool - 78%

stickyshooZ, May 1st, 2004

This is the first My Dying Bride album that I've listened to, and after the first listen I'm very impressed. The first thing that came to mind is that this is what real doom metal should sound like. The next thing that came to mind is that this is what Marylin Manson and all those like him try to sound like, except with a more "extreme" edge, which makes it sound like crap. What we have here is pure emotion flowing from every single note that is produced. This is exactly the kind of stuff you'd expect to hear at a sad point in a movie or a story.

The guitars have the most unique sound I've heard so far in doom metal. There are a fair amount of riff changes, while managing to keep consistency flowing and keep the listener interested. The singer doesn't sound too bad either; he reminds me of a much better Warrel Dane (without the retarded sounding voice). Part of what really gives this album a groovy feeling is the keyboard. The keyboards aren’t just randomly thrown in like with a lot of bands who use them.

The keyboard riffs are carefully placed, appropriately placed, and actually contribute to the good doomy sound of despair. This is the kind of band that would make you proud to use keyboards again. The three best instruments in this album are the guitars, the keyboards, and the vocals (yes, vocals are instruments too). Anyone who looks at this album cannot and should not expect a head-banging album (you wouldn't be looking at doom metal if that were the case); instead what you should expect is a high quality concert of pure emotion. This is the perfect kind of music to relax to, or listen to if you've had an emotionally stressful day.

I've never been much of a fan of doom metal, but this has changed my mind a bit. I'd recommend this highly to almost anyone, assuming you aren't the type of person who doesn't like anything slow. The music is slow, but slow doesn't mean it's boring. There is some intricate instrument work going on, and even if you don't like slower stuff, I'd still recommend at least a listen. The production and quality is top notch, definitely give it a listen if you haven't already.

Not surprising, but.. - 83%

HawkMoon, August 11th, 2002

Another listen-and-weep production from the My Dying Bride back-catalogue, similar in style to 'Turn loose the swans' but still not the same. Lots of great riffing to be heard, moody keyboards, some violins here and there.. I've heard it before and sure as hell wanna hear it again.

A small downside though: this is one of the few albums where Aaron doesn't growl at all, and his whining clean voice isn't exactly my cup of tea. Although it isn't "bad" in any way, it doesn't do much for me either, except in a couple of places thanks to some straight-through-the-heart lyric line ("kiss me deep and love me forevermore..").

The quality overall is high standard, but in some places you just wanna say to them "ALRIGHT we get the bloody point!!", mainly in track 9 where it just gets too much melancholy for me to cope with. However, a couple of their best songs can be found here - "Like gods of the sun" and "Here in the throat".