On the first listen, I’m thankful that the band hasn’t explored any new territories and stuck with what they know. And for all those that think the vocals are “paper thin,” there are moments where Liljestam has grown with her vocal arrangements. Not to mention Rikard Ekberg pulls out all the stops to deliver a variety of riffs that shift and change as the songs proceed. And while not as dynamic as their previous album, their new bass player occasionally surfaces to add weight to the songs, keeping the songwriting consistent with Dancing in Hell. The issue is that none of this is immediately apparent, as it takes the album a while to get going.
“Never Forget” is a strong opener that covers all the typical Eleine territories. There’s a monstrous groove, heavy riff changes, male cleans and growls, and a catchy chorus. The combination gives off some subtle Nightwishy moments with some melodic character and a vicious conclusion. But, things begin to blend from here until “Promise of Apocalypse.” “We Are Legion” isn’t bad, but its chugging attitude doesn’t keep me interested on repeat listens. “Promise of Apocalypse” stands out for its Dimmu Borgir atmosphere and ghostly vocal style. Unfortunately, much of the riffage used for setting up the chorus feels forced. But the sad, melodic conclusion works well.
The album finally comes together after the absolutely worthless instrumental, “Vemod.” In a wildly unbalanced album, it’s the last four tracks that really shine. “Through the Mist” is a discography highlight with a crushing death charge and slick, The Vision Bleak-like male cleans that add a unique layer to the song. It also contains a nifty melodeath lick, with Madeleine absolutely shining in the mighty chorus. “Suffering” is a triplet paradise that evolves into a Don’t Fear the Reaper-era Witchery riff. The sad guitar solo adds the right level of passion as the final rendition of the course explodes with sorrowful emotion. But the closer is the best of the bunch. “We Shall Remain” hits hard like some of the better Kamelot tracks, incorporating orchestration with standout bass leads. And the song’s chorus is gorgeous as the female leads soar higher and higher with each repetition. As stated before, these final tracks are where the whole band pushes against their boundaries, and the vocal performances are better than I’ve ever heard Lijestam sing.
Unfortunately for We Shall Remain, the record’s back half is the strongest. Whereas Dancing in Hell was better, delivering great tracks while balancing out the filler. We Shall Remain suffers by not bringing more of the better tracks to the beginning of the album. One thing that helps the album, though, is its conciseness. Cutting close to ten minutes off the runtime versus its predecessor, it’s a quick listen and easy to repeat. That said, I listen to the opener, then jump to the final four tracks. It’s a bummer because I like this band. But, the predictability of the front half (and some of the most lackluster choruses on the album) squash my enthusiasm. But Eleine is still some of the better corset-core out there—regardless if this new album is a mixed bag—and fans should check them out.
Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Atomic Fire Records
Websites: eleine.com | facebook.com/eleineofficial
Releases Worldwide: July 14th, 2023
