Mycelium finds Manticora at their best when leaning their full weight into new ventures. Its best songs are those that take the band through uncharted waters, be they symphonic black metal (“Demonday”), accessible prog rock a la Anubis Gate (“Mycelium”), or soaring, hymn-like choruses (“Golem Sapiens)”, all while staying true to the band’s Blind Guardian-meets-Nevermore foundation. There are still prime veins to mine from that bedrock as well, as evidenced by “Beast of the Fall,” a straight-up power thrasher of the type Manticora has not indulged in close to two decades. That song, and roughly half of Mycelium in total, feel fresh in a way that should simply not be attainable by a band entering their 28th year.
It’s that other half, then, that fails to live up to Manticora’s well-established highs. Tracks like “Necropolitans,” “Mementopolis” and “Dia De Los Muertos” (sung entirely in English) are all fine, yet lacking in the unexpected twists that define much of Mycelium, and bereft of memorable features besides. Manticora’s distinct sound still dominates these tracks, but with such boilerplate writing, their decades-old melodic and songwriting tactics feel self-cannibalizing. That said, “Angel of the Spring” is the only out-and-out dud, an anemic pseudo-ballad from a band previously known for writing killer slow jams (see: “Through the Eyes of the Killer – Filing Teeth”) featuring an uncredited operatic female vocalist whose inclusion feels like an afterthought. She’s mixed so as to sound distant and distorted, resulting in what feels like a rushed production job or possible A.I. implementation. In any case, this small vocal section is a microcosm of the album’s weakest links, lacking in the same level of care its best moments receive in spades.
The production woes don’t stop there, as Mycelium is one of the more notable victims of an overly flat master I’ve heard in some time. Outside of the occasional quiet moment, every component feels cramped, making for a claustrophobic listening experience. It’s a shame, as the towering instrumentals scream for maximum breathing room. The burly, technical guitar work is Manticora’s strongest suit as usual, but the ever-divisive vocalist Lars Larsen gives one of his best showings here, carrying tracks like the emotive “Mycelium” with uncharacteristic nuance. Curiously, the band has credited no drummer on this record, although the performances here are a dead ringer for the Angra-esque stylings of recently departed drummer Lawrence Dinamarca. Whether Manticora is using a session drummer or programmed drums on Mycelium, recreating Dinamarca’s dynamic playing style was a wise decision, as he singlehandedly elevated the band to a higher rhythmic class.
I’m realizing that I’ve primarily focused on Mycelium’s pitfalls in what should be a positive review, but its negatives feel stark coming off the heels of two 4.0-worthy records. This is still a largely enjoyable album, featuring one of the band’s best songs to date in its title track, and is effortlessly repayable thanks to its shockingly reserved forty-seven-minute runtime. The tracks where Manticora is seemingly going through the motions are quite enjoyable in their own right; they are just not indicative of the effort I have seen this band put forth time and time again. Ultimately, the band has earned a victory lap at this point, and Mycelium evokes just that: an opportunity to show off, where maximum effort is not necessarily mandatory at all times.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music (Physical) | Target Group Official | Bandcamp (Digital)
Websites: manticora.dk | manticora.bandcamp.com | facebook.com/manticoraband
Releases Worldwide: January 26th, 2024
