Harlekin und Krieger

In this day of shifting allegiances, the fragmenting of an iconic metal staple is often the precursor to another potential one being born. The specific case of one of Germany’s most celebrating 2000s folk metal titans Equilibrium falls neatly into this eventuality, as a sudden and rather jarring stylistic shift into metalcore territory on 2019 opus Renegades had many fans scratching their heads. The subsequent departure of then lead vocalist Robert-Martin Dahn, whom had been credited under the pseudonym Robse, would lead to what one might dub a return to form under the banner of a newly minted project bearing said vocal helmsman’s aforementioned stage name. Now with a comparably competent and massive flock of instrumentalists to that of his former band, Robse has unleashed an album that both stylistically and in terms of scope embodies what many likely hoped Renegades would have been in Harlekin Und Krieger.

Though this band shares many expected parallels to Dahn’s 12 year run with Equilibrium, it should be noted that it is not a carbon copy thereof. The riffing of guitarists Oliver Hay and Dennis “Blaze” Baron, and even the generally heavier tone of the entire arrangement points to a greater affinity with the old Gothenburg style and the early works of subsequent Swedish melodeath trailblazers Arch Enemy and Amon Amarth. Likewise, Dahn’s generally deeper and traditionally-grounded guttural bark lands a little closer to what Johan Hegg might have brought to this project had he been tapped for it. Throw in the keyboard and occasional lead vocal input of Alina Lesnik and some Celtic-like melodic hooks into the arrangement, and what emerges is something that’s a tad more technically intricate musically speaking, though perhaps a tad less cinematic and pompous as prior Equilbrium masterworks like Rekreatur and Erdentempel and perhaps a little closer to what Suidakra has been up to of late.

For an album that leans a little closer to the traditional side of the melodic death metal coin, things begin untraditionally and occasionally veer into some unexpected places. The album’s cinematic and synthesizer-heavy prelude “Sonata Arlecchino” seems to draw the most from the inspirational well of Hans Zimmer’s modern film score work, but has a somewhat whimsical and carnival-like character to it that plays to the album’s title. “Kleine WeiBe Friedenstaube” lands hard with a pummeling riff set, but the vocal input of comedic metal act Knorator’s front man Stumpen recaps the previously noted carnival aesthetic and almost feels avant-garde in demeanor. Likewise, the serene balladry and dense symphonic air of “Lied Der Nacht” sees Lesnik dominating the vocal fray and turning things towards a hybrid of old school Nightwish-brand melancholy and an occasional 90s Gothic/doom shtick when Dahn’s dark growls enter the fray.

Yet barring the aforementioned exceptions and a somewhat more densely orchestrated atmosphere via semi-frequent keyboard employment, this is an album born of a straightforward formula. Sometimes the flavor of things veers a little closer to Dahn’s earlier tenure with Equilibrium like on the grandiose and high octane “Flamme Der Revolution” and the folksy mid-paced crusher “Von Der Schenke Zur Taverne”, which prove to be two of the more distinct offerings of the bunch. But for the most part, whether it’s streamlined riff machines with a melodic bent like the title entry “Harlekin Und Krieger” and the somewhat darker, mystical and more war-like “Amenthes”, or overt throwbacks to the 90s Swedish melodeath craze in “Hey Sturm”, it’s pretty clear that Robse is playing in similar territory to the one that was occupied by At The Gates and In Flames circa 1995. That being said, this album truly hits its qualitative stride when merging this more traditional approach with the previously noted symphonic character of Dahn’s past work with Equilibrium, which comes to a head on the riveting and epic final hurrah “Viva La Caida”.

For a band that takes its name from its lead vocalist’s glory days with another band, Robse has done quite well in carving a unique mold for itself that will ring familiar for most fans of melodic death metal, but brings something a little more adventurous to the table. It also avoids the trap of getting so experimental that it wanders away from the musical paradigm that is expected from its target audience, which led to the lukewarm reaction that Dahn’s last album with Equilibrium (Renegades) received. At the same time, it’s blend of brooding and comedic elements makes for an auditory rollercoaster ride that stretches the boundaries of a traditional melodeath experience. It’s a sound that will undoubtedly need a little fine-tuning via future albums to fully mature, but it is already one that points to a fold that has the chops and prowess of a veteran band. War has always had the odd disposition of not being a laughing matter yet providing comedians with material throughout the ages, a fact that this fold has competently turned into a fine musical endeavor.

Originally written for Sonic Perspectives (www.sonicperspectives.com)