Behind the Black Veil

I have no clue why The Shadow Theory didn’t get more attention. Even without hearing a single note, this is one interesting project - you have members of Threshold, Pain Of Salvation and Psychotic Waltz/ DeadSoul Tribe, which should be enough to raise some progressive eyebrows. Granted, the main men and songwriters behind this project are the unknown Demi Scott and the lesser-known Arne Schuppner, so one can’t be too sure what to expect. The dark cover serves as a very telling hint, though.

While not horror metal, the overall atmosphere is very mysterious and ghostly. The arrangements serve this specific purpose - the vocals often use more different tracks at once and often utilize whispers or harsher snarls, and the synths build up their melodies in the background, alongside some clever effects. Story-wise, the record deals with dreaming, so the creepy and surreal tinge is definitely amplified by the lyrics. Yet, the biggest asset of “Behind the Black Veil” is that it is no way restricted only to its moodiness. The music itself is chock-full of some skilled songwriting, plus we are also treated with a pleasant bonus track, logically, and perhaps a bit ironically covering Jethro Tull’s “Sweet Dream”.

Demi Scott is a man of restraint (unlike other keyboard players who write a lot of music), and, as a result, The Shadow Theory is an extremely balanced record - the metal is definitely present. The guitars are surprisingly prominent for such an arrangement-heavy record, sometimes playing truly bludgeoning riffs and the occasional solo. Johanne James (Threshold) plays the drums and his very recognizable timing of the hits, as well as a very modern sound to his drums, also add some drive to the music. He does a tremendous job in faster songs which use some double-bass, like “Snakeskin”.

On the more atmospheric side, there is Demi - who, as mentioned, only seldom takes the center stage with his keyboards and orchestrations. The lone exception is the closer “A Symphony Of Shadows”, that very much feels like classical music with a slight metal tinge. And then, there is Devon Graves, who may have lost some of his range from the Psychotic Waltz days, but he sounds very convincing, whether he’s singing cleanly, whispering, or using his more aggressive voice. At the same time, a lot of attention to detail was paid to the vocals, treating them with layering and the occasional effect, which serves the record’s main purpose - to create an eerie, yet intriguing piece of music.

The record doesn’t spend too much time showcasing the musicians’ technical skills in instrumental sections, but rather features songs built upon more complicated patterns. The standout tracks are then able to take this approach and elevate it with catchy parts. The first two songs massage you with some towering riffs. “Selebrate”, one of the softer cuts uses some uplifting acoustic guitar and clapping to give you a deceptive dose of a warmer atmosphere. On the opposite side of the spectrum, the last three tracks are among the darkest this record has to offer. The best moody track is “The Black Cradle” - Devon excels in the “Quiet like the dead… like the dead” part of the chorus, but the song actually ends up in one of the most technical moments of the entire disc.

Perhaps the only minor issue I have with “Behind the Black Veil” is the fact that it starts off with a couple of heavier tracks with riffs that resemble Nevermore and never really returns to that particular style. You almost want to hear what else Arne Schuppner has to offer if he could really let his guitar roar. Also, “A Candle In The Gallery” is a slight misstep, as it is little more than an atmospheric, percussive tune. It’s not bad, but not quite as inspired as the rest of the record, and it’s followed by possibly the most extravagant song on the record, so at the very least, it is misplaced.

As I said, I have no idea why this record is not mentioned more often. The songwriting and musicianship are excellent and work in accord to accomplish a very cinematic work, without sacrificing “the metal”. “Behind The Black Veil” just comes across as a very focused album, not for a while turning self-indulgent. That, by itself, is a big accomplishment, and if this isn’t one hidden treasure, then… well, pinch me.