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Despite having a festival, TV show and even an action figure in
honour of his "metalness", if Ozzy Osbourne ever sits at home wondering
if he is remembered for his musical influence, he need look no further
than Candlemass' latest offering of doom-core (no, really!) mayhem.
After reforming with original opera-versed vocalist Messiah (that's
his name not an eloquent affirmation) in 2002 for a tour and live
album release, the Swedes decided to pen some more gloom-filled tunes
and reform proper for their seventh and eponymously-titled effort.
Having carved more than a niche for themselves in the late
'80s, Candlemass are a bunch of veterans
currently dusting off their instruments for some comeback action.
Those who have followed this band throughout their 19-year career will
have witnessed band break-ups, line-up changes and numerous varieties
of monk's costumes (!). One unwavering yardstick of consistency, however, is
the quintet's relentless devotion to the sludgy, monstrous sound that
they were instrumental in forging: that of the much ridiculed, little
understood genre of Doom Metal.
Doom Metal is an apt way to describe the lyrics, sound and aura of a band who
drone their way through nine new tracks of rehashed, not so groundbreaking material, which, nevertheless, are a definitive soundtrack to Armageddon in slow motion
Candlemass are renowned for crafting dark, atmospheric soundscapes and
and then tearing them apart with brutal distortion and the kind of howling vocals
that would make most tom-cats blush. They most certainly don't waste
any time getting down to business, with opener Black Dwarf seeking to
prove that although the Swedes may be aging, mellowing they
are certainly not. An ultra-cheesy guitar solo kicks in after just two
and a half minutes, which is done even more damage by the oh not so
insightful lyrics: "You're playing tricks, six hundred six six, the devil's
dictating the news."
Assassins of the night puts us squarely back in
doom and gloom quarters once more, with a crushing riff and some
Tool-esque drum work that has progressed since the '80s.
Copernicus drops to a deathly slow funeral hymn and dabbles in
some serious prog-metal - picture early Genesis with the
aforementioned Mr Osbourne on vocals.
Instrumental, The Man Who Fell From the Sky is a brilliant example of Doom Metal at its very worst, for, in reality, unless one is very drunk or under the influence of some not so edifying narcotics, only so much repetition of a four-chord pattern that can be swallowed before boredom forces you to sleep.
It is possible that Candlemass will win a few new fans with this album, although I can't help feeling that their best-of would be a much wiser investment. Still, Candlemass did redefine the concept of sludgy Doom riffage, so they will always deserve some credit.
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