There was a time when melodic death metal was every breath I took. While it’s been a long time since that was the case, I certainly can say that I spent the late 90s and early 00s listening to my fair share of melodic Swedish death metal and loving it. But since then melodic death metal has kinda fallen off a cliff. This is partially due to the dawning of metalcore and the co-opting of Swedish thrash and death metal by hardcore kids, but I think it’s mainly because just like every scene after a while you start growing tired of the sound. Every new album that gets released gets a “Yeah, well, I’ve heard this before.” While there have been some notable melodic death metal records in the last couple of years—Barren Earth and Be’lakor come to mind—only the former has really stuck out as truly remarkable. That is until I checked out New World Shadows from Omnium Gatherum.

It should be obvious from the title, but the fundamental currency of the melodic death metal band is the fine line between addictive melody and technicality and extremity. This line is not easy to walk. While bands like In Flames were almost too melodic on their earlier stuff, there was still a feeling of extremity. That extremity was lost by, for example, Soilwork, who basically put form above function and began ham-fistedly shoving pop choruses into every song. Omnium Gatherum, on the other hand, walks this line with the balance of seasoned performers. Where other bands are tempted to throw in lots of clean vocals, New World Shadows sports very few, and yet, I can’t remember the last time I’ve heard such poppy melodies and song structures. Aside from the first and last songs on the record, which both end up at about 9:50 in length, the rest of this album is loaded with pop-laced melodies worthy of Stratovarius or Sonata Arctica, more than a death metal band.

Frankly, Europower is a lot of what I hear going on here. Because all of the melody is carried on guitars, there is a ton of stuff on here that sounds like it should be off a Nocturnal Rites record. The keyboards lace everything with their synthy sounds and yet, these guys can still break out Dark Tranquillity style progressive riffs with ease and flow into acoustic and melodic parts reminiscent of Amorphis or Opeth. Swinging 6/8 feel and whole note, simple melodic leads like in “Watcher of the Skies” are offset by Dark Tranquillity riffing like in “New World Shadows” and “Ego” (which is easily the best track on the record).

But while much of this material lends itself to easy references to other bands and other moments in time, there is something that is unique to Omnium Gatherum and that doesn’t feel derivative. It is true that they bear likeness to Barren Earth and Insomnium, and these couldn’t be better comparisons. However, the power metal tone that shows up in the guitars—particularly the solos are epic and outstanding, see “Nova Flame” and “An Infinite Mind”—and in the song-writing gives these guys a bit more of a unique feel, despite being on par with their Finnish contemporaries. And with only minor blemishes, like the main verse in “An Infinite Mind” which is a straight up Colony-era In Flames rip-off, and the wailing clean vocals in “New World Shadows” that sound more like Michael Bolton than I think most metal guys would be comfortable with, New World Shadows is certainly the better of most modern melodic death metal that I’ve heard.

While I’m not a seasoned listener of the band, I can say that given what I’ve heard of the band’s other material, I’d say this is definitely my favorite to date. Melodically, it’s better than its predecessor, and while it continues in the same vein, there’s more of a mournful vibe and doomy approach at times à la Barren Earth or Swallow the Sun—that combined with the pop sensibility makes New World Shadows a definite must have for the fan of melodic death metal.

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1. Insomnium – One for Sorrow Review
2. Shadows’ Grey – Bonjour Tristesse Review
3. Netherbird – Shadows and Snow EP Review

Those well-versed in the metal arts may see a band named Disdain and expect a dose of brutal death metal or possibly some frostbitten and bitter black metal. In this case however, the name is quite misleading. Disdain’s debut album Leave This World reveals a Swedish troupe bringing a somewhat unique spin to the traditional power metal sound and sounding far more experienced and professional than you might expect. This may owe to the fact that these guys have been in existence since the late 90’s and at one time even included Nightwish’s Anette Olzon on vocals. I can already hear the chorus of power metal bashers out there (you know who you are) screaming about how much crappy power metal is already on the shelves these days and how there isn’t room for any more whether it’s good, bad or ugly. Well, doubters be damned! Disdain has managed a rare feat and rise above most of their peers with this release while managing to avoid the many pitfalls that doom lesser power metal bands.

One of the first things that jumps out at the listener as Leave This World takes off, is the unusually heavy guitar tone (for power metal) that Disdain have armed themselves with. What will also become readily apparent is how much singer Christian Borjesson is a dead ringer for Hammerfall’s Joacim Cans. So much so, that at times I was wondering if Mr. Cans was singing on this album under a pseudonym.

Where Disdain distances themselves from the pack is the way they brings an extra heavy edge and lay it over the traditional power metal template. At some points they remind you of mid-period Nocturnal Rites, then at others times the sound is more reminiscent of Kalmah or vintage Dark Tranquility. They even toss in some quality death metal croaks on several tracks to very good effect (“Narrow Minded,” “Nine Lives Spent”).

Besides upping the heavy factor considerably, Disdain succeed in the actual art of songwriting. They manage to write punchy, tight and memorable songs with big choruses that remain in your head after one or two listens. The title track is a great example. It has a great combination of heavy guitar and spacey keyboards that really commands attention. Likewise, “Scarred” roars along like a tank with heavy guitar work and Christian’s excellent vocals over the top, creating a power metal song you can actually head bang to (shocking concept eh?). Across the ten songs on Leave This World, you get a variety of musical heaviness but no real drop in song quality.  Another big point in their favor is the complete absence of typical Dungeons & Dragons™ power metal lyrical clichés. I love elves, dragons, horses and all that stuff as much as the next guy but it can get silly pretty quick.

Ultimately, I think Disdain may have stumbled onto something here. Even a power metal dork like me will concede the existence of far too many sappy, happy and crappy power metal bands gumming up the works these days. Taking a darker, heavier approach like this may be exactly what the genre needs to remain viable and fresh. The lyrics to one track on Leaving This World include the classic observation, “though fashion changes, you know style remains.” Well, Disdain has style to spare and this is a refreshing debut by a band I think you will be hearing bigger things from in the near future.

Related posts:

1. Trident – World Destruction Review
2. Thunderstone – Dirt Metal Review
3. Omnium Gatherum – New World Shadows Review

When I was in my big power metal phase, which I guess would’ve probably been around 2000/2001, I stumbled upon a Rage CD in a great used CD store that I used to go into all the time (those were the days). I thought for sure it was going to be great just from looking at it. Turns out… not so much. I don’t recall hating a record more than that one. I thought it was a major pile of shit. I’m pretty sure it was the record XIII, but I can’t be sure as it was sold away a long time ago. Needless to say I wasn’t even a little bit excited when I received this record. I was fully expecting this record to be totally crap.

However, the German hockey metal has struck: and I’ve been addicted for about a week to this CD. For fans of the band, I’m sure that this review will probably be not as good as it could be, because I don’t have a lot of reference for the band’s earlier work, however, I’m going to describe this from the perspective of someone who’s really hearing these guys for the first time. Rage is like a blending of 80s Yes with Blind Guardian. They have all the thrash, the classical influences (and these guys actually pre-date Blind Guardian by a few years) and the “hockey choruses” as one individual I know calls it, that make Blind Guardian, Nocturnal Rites and bands of that nature addictive. On the other hand, there’s a progressive bent, that keeps things fresh and that really is reminiscent of the 1980s.

Actually, the biggest surprise here is that a band with such big, modern production can still sound so genuinely 80s. I know that, of course, these guys started making music in the early 80s, but honestly.. no one sounds like that anymore. These guys have not shyed away from the things that made the 80s unique and campy, including a Top Gun love scene kind of soundtrack moment (the track entitled “Fatal Grace” and starring a Kenny G wannabe) in the big “Empty Hollow” track (a 5 part epic, that kicks ass). But despite all of this, it still manages to be good and somehow avoids the camp. It has all of those simple rock beats, straightforward melodies and guitar driven compositions that one associates with the 80s, but somehow they just make it work. There must be something in the tone or the production that I can’t quite put my finger on, but this record manages to be simultaneously nostalgic and relevant.

But don’t get me wrong, this isn’t a glam album either. It is consistent with good German thrash metal and just generally addictive. Very few bands tempt me to headbang at the desk while I’m writing the review and listening to it. Few bands produce melodies that are so intensely addictive as the choruses on this album (see: “Empty Hollow,” “Hunter and Prey,” “Saviour of the Dead”). My biggest complaint about this record, honestly, is that the lyrics are pretty lame. As a buddy put it “Show me a power metal band with good lyrics and I’ll show you the holy grail,” and that’s probably true.. but you’d think that someday we’d be able to get past the embarrassing lyrics that show up on this record (and many other power metal records). It’s a shame, because everything else about this record is great—but just listen to the lyrics to “Hellgirl” and tell me that you’re not embarrassed.

Criticisms aside, I was pretty much wowed by this album. I’ve heard bad things about this band’s later material, so it sounds like this record isn’t at all representative of that era. If you’ve been a fan of this band in the past but quit listening to them, now might be the time to give them another chance. And if you’re a fan of power metal, prog and German thrash you should definitely check out this album.

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2. Blind Guardian – At the Edge of Time Review
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