artifact 003: the dawn of flames

Gates of Ishtar came out swinging in the first third-tier poll, taking nearly half the votes in a battle that left some pretty sick albums (and Night in Gales’s debut) fighting for the scraps:


These guys burned quick n’ hot in the formative years of melodeath, releasing three albums in quick succession before splitting up in 1998-ish. (Vocalist Mikael Sandorf would eventually grab a guitar and form The Duskfall–whose first two albums will likely get covered here at some point–and also join Bam Margera-approved death n’ roll dorks Helltrain.) The Dawn of Flames is the second album in their trilogy, and in a lot of ways, encapsulates the late ’90s melodic death metal sound in a way that more acclaimed entries might not.

It’s been difficult for critics to place and process this once-maligned genre’s place in metal history, but someone (their name escapes me, because it’s been at least 10 years) in the pages of Metal Maniacs once described the Gothenburg sound as a super-belated European answer to Bay Area thrash, and that’s always struck me as hella accurate. And while things would evolve as the years went on and bands like Soilwork and Dark Tranquillity would cement the sound as its own-ass thing, Gates of Ishtar took the same NWOBHM / borderline power metal influence that propelled early thrash and pulled it through a death metal filter.

Take “Perpetual Dawn,” the opener: It’s got that clean, Metallica-esque intro to set the stage before the throwdown, but it’s sprinkled with an odd combo of fairyland whimsy and that Tales from the Thousand Lakes WE ARE FROM THE NORTH AND WE ARE VERY SAD melancholy. And when the riffs launch in, it’s all gallop-forward urgency, filled with more angst than bloodthirst.

And that’s really the story of this record. There are some sweet, sweet ’97 melodeath riffs on here, especially on “Dreamfields,” the title track, and the closing bitchslap, “The Embrace of Winter.” Despite general bummer vibes simmering beneath the surface, there’s no lumbering, mid-paced bullshit here, just gnar-ass melodeath windmill material and it RULES.

Melodeathness: 10

Again, while records like TJR and The Gallery are (rightly) lauded as touchstones, Gates of Ishtar absolutely mastered this flickering moment in Swedish death history. While other bands went on to longer careers and higher esteem, The Dawn of Flames is an absolute melodeath clinic. This is time capsule material. Put it in a museum.

Or on Dustin’s hoodie in Stranger Things: Generations.


Artistic Badness: inconclusive

Actually, dudes are doing a lot of things right here! That logo still holds up really well, and that Arik Roper-style art on the 2017 CM remaster is…


Oh man.


…that’s really bad.



Deathstyle: 7

Gates of Ishtar were fuckin trendsetters, hugely instrumental in steering the kids away from Johnny Hedlund hesherism and into Swedish sadboy territory:


The middle-part jesus hair. The plainblack, spartan uniforms. Song subtitles like “The Arrival of Eternity – End My Pain.”

The lack of any discernible personality.

The angst was real, y’all.

Vitality: 9

Despite their relatively brief burn, Gates of Ishtar left an indelible stamp. The Dawn of Flames is a sick little melodeath specimen, and a wholly worthwhile addition to the collections of those that have hit the heavy-hitters’ well too many times. “Eternal Sin,” indeed.


3rd tier terror: beyond the gates

Happy holidays, humans! Quick turnaround this week due to [whatever your preferred celebration may be], so let’s rip into the depths of melodeath archives and check out some overlooked / underappreciated jams this weekend. For your pseudo-classic consideration, we’ve got:

  • Armageddon – Crossing the Rubicon
  • Night in Gales – Towards the Twilight
  • Gates of Ishtar – The Dawn of Flames
  • Godgory – Resurrection

Twitter poll is live! VOTE HERE

artifact 002: eternal death

Welcome, humans. The results of the second poll came in late last Friday night, and while the voting was a bit tighter than last week’s, we have a clear victor in The Crown’s Eternal Death:


Initially, I thought this was a bit of an upset. But upon further review, it makes sense. Edge of Sanity could be well-actuallyed into “prog-death” or something; Gardenian is perpetually underrated (likely due to their brief burn and bizarre arc); and Mirrorworlds is probably a lot of people’s 2nd favorite Eucharist disc.

Plus, The Crown is gearing up for a new release in early 2018, looking to rebound from a pair of haggard, uninspired, and unimaginatively-titled reunion records in Doomsday King and Death Is Not Dead. The album is rumored to be a bit of a mea culpa, and with guitarist Marko Tervonen cranking out adorable videos like this, goodwill is on their side.

So before we dive into Eternal Death, there are two things y’all need to know:

  • The Crown’s 2000 and 2002 releases, Deathrace King and Crowned in Terror, are two of my favorite metal albums of all time, especially Deathrace; I even have the title of the that record tattooed on my sternum because HEAVY METAL WOOOOOOOOOOoooo
  • I hadn’t heard a note of Eternal Death until last Saturday

Part of my aversion to this album was that it seemed like a formative / transitional entry in their catalog; after all, 1997 was a formative / transitional time for the genre itself. Also, it was the last album that they released under the Crown of Thorns moniker, so it seemed like a completely different era. (The name change to The Crown was one of the few successful “THE ——” re-brandings; remember when Gorerotted put out an album as The Rotted? Or when Irv Gotti changed Murder Inc. to The Inc.? Ew.) Eternal Death felt…skippable.

Is it? Probably!

But it’s also cool as fuck sometimes.

Back in ’97, The Crown hadn’t yet become the razor-sharp thrashsaw from Deathrace King, but they could still throw down. While the stringmen show flashes of their freewheeling, cockrock-cranked-to-twelve riffcraft here, it’s drummer Janne Saarenpää and vocalist Johan Lindstrand that are the real draws. They’re sloppy, savage, and completely off-the-rails at times, and when they lose it, it fuckin rules.

The main issue with Eternal Death is the same thing that plagues all of The Crown’s releases: The fast songs rip shit, and the slow ones are hella dull. Like Midnight and Goatwhore, I just want the fastness from these dudes, and there are a couple of eight-minute-plus plodders that, well, ain’t “Killing Star.”


Melodeathness: 5

This is the most melodeath that the The Crown gets–I firmly maintain that their 2000’s material was death/thrash and not Gothenburg–but it’s still not very melo. 1997, as we’ve discussed, was still the infancy of the subgenre, and while there’s a blurry buzziness to these occasionally-upbeat deathriffs that shares a common thread with their Swedish brethren, Eternal Death is more offshoot than cornerstone.

Artistic Badness: 6

So the coolest song is called “Beautiful Evil Soul” and my final project in eighth-grade art was literally this album cover but only marginally worse, so there is some minor-league decision-making and ESL clumsiness at play. But there’s not much in the way of the egregious wordmash that plagued Gardenian or In Flames at this point, as the The Crown mostly leaned on DM tropes like dying angels and dying forever and killing priests.

Deathstyle: 10

Magnus Olsfelt, you sexy bitch. You made 1991 David Vincent look like 2017 David Vincent.

And Johan, those chops. Good god.


Vitality: 6

While this is a cool entry in the band’s catalog and a interesting look at a young band that was a mere three years from blowing the earth’s crust off the fucking planet, it’s definitely in the middle/lower tier of their releases and really only one for genre diehards or Crown completists.

2nd tier tornado: Old ’97s

Well, I didn’t plan on keeping things chronological (and we might wildly diverge in the future), but for the second poll, it felt appropriate to keep hanging out in that formative 1997 range.

Due to Star Wars Day, this week’s poll is running a little early…and if it proves fruitful, polls might run on Thursdays going forward. [Note: I’m not such a horrible Star Wars nerd that I can’t be bothered to write a 200-word blog post on the day a new movie is released, but it affects my day job in a way that fucks with my morning routine, so yeah.]

Anyway, let’s get this fatal four-way underway. A couple of transitional champs on their way out the door are battling against a pair of upstarts. Who ya got?

  • Edge of Sanity – Infernal
  • The Crown – Eternal Death
  • Eucharist – Mirrorworlds
  • Gardenian – Two Feet Stand


artifact 001: the jester race

Unsurprisingly, In Flames’ seminal sophomore release, The Jester Race, won the first poll in a goddamn landslide, taking 57% of the votes. It’s an appropriate choice, considering that this whole project is utilizing the first act of In Flames’ career as a timeframe and I ripped the title from the album’s bitchinest song. (Be thankful that I didn’t use one of the myriad nonsensical Soilwork references that were under consideration.)

While this album is rightly heralded as one of the most important works in establishing the Gothenburg sound, when I first encountered this album in 2000, I was slow to warm to it. In fact, it took years for The Jester Race to really reveal itself.

The first In Flames record I heard was Colony, and it absolutely floored me. Instant infatuation. A fuckin REVELATION. I spent an insane amount of time with that album, and mined sites like Burn the Sun, Metal Judgment, and Metal-Rules (as well as an old zine called Promethean Crusade that was a wonderful, wonderful portal) for reviews of their previous work. The Jester Race seemed to be held in universal esteem, so when I stumbled into a copy at my local Disc-Go-Round, I didn’t even bother hassling the poor assholes behind the counter for a trial listen. I snatched it up straightaway, dashed out the door, slipped the disc into the Pioneer deck of my rusted-out deathtrap-ass Ford Ranger, and…

…was pretty underwhelmed.


I know.

To this day, the mid-paced In Flames jams aren’t really my thing (many of which rear their head on the band’s next outing, Whoracle), and the opening track, “Moonshield” is probably their most iconic stab at that particular formula. The song’s stunning acoustic intro gives way to this weird…lurch, conjuring images of awkward heshers doing that half-headbang, lean-in-with-the torso thing that you do when you want to show appreciation but shit just ain’t going hard enough. You know when people try to do that “slow mosh” bullshit? This is song is, like, fuckin built for that.

And after that initial letdown, I mostly returned to The Jester Race in fits and starts, in two or three song servings. “Lord Hypnos” got me charged; the opening and closing bellows of “Dead Eternity” were potent as shit; the title track is ludicrously infectious. But I never really threw down on The Jester Race as a complete work. (Though I did reference “The Jester’s Dance” as background music in a written promo for an e-fed I was active in about 17 years ago, so it must have left some kind of impression.)

So this classic record went mostly underutilized. Until, oddly enough, an audio rip of their performance of “Artifacts of the Black Rain” from the Used and Abused: In Live We Trust DVD hit me HARD with a Soulseek haymaker, and in that post-concussion haze, a new appreciation for the record shook loose. The thing that stood out was the URGENCY of the damn thing, and, turns out, that urgency not only permeates this record, but the entire framework of the melodic death sound itself.

While regular-ass death metal opts for grossness or bludgeoning (or both), melodeath riffing rushes you forward, hurtling you through space and time at a more thrash-like gallop while smoothing the edges and adding heft along the journey. And songs like “December Flower” (and the best tracks on Dark Tranquillity’s The Mind’s I, which garnered 22% of the vote for this week) wholly exemplify that sound.

The Jester Race also occupies a defining space in both genre and band history: It’s hella transitional:

  • Using Subterranean as a rocketstrap, it’s a major launch forward from their debut, Lunar Strain, which, despite giving birth to two staples in “Behind Space” and “Clad in Shadows,” is awkward as shit and largely lackluster. (The band smartly rerecorded both songs in 1999, and those versions are far superior.)
  • It’s the first album to feature Anders Friden on vocals–he essentially traded spots with Mikael Stanne, who took his spot in Dark Tranquillity–who went on to play a massive role in shaping the band’s creative direction.
  • It’s the last record to feature significant creative input from guitarist Glenn Ljungstrom, as he only had three co-writing credits on his last outing with the band, Whoracle, a record in which the band ditched his original, more death-metally logo design.
  • Fredrik Nordstrom hadn’t quite figured out the signature Studio Fredman sound yet; the production here still had one foot in the world of death metal, and the murky coating tarnishes some of the album’s more robust moments
  • And finally, it marks the first appearance of the Jester Head mascot (which, while not as blatantly eye-scraping as Kataklysm’s “Heartbeast” and that thing from those Riot albums, is useless as shit as a character)

So, after spinning this thing for the first time (in full) in probably a couple years, what’s the verdict?

Melodeathness: 10

K, so this isn’t really fair, because they created the tropes here, but this has pretty much everything: the churning, let’s go! riffgallop; the Maiden-inspired leads that Jesper Stromblad made mandatory; acoustic / folky passages that would stay in vogue ’til about ’99; the Fredrik Nordstrom / Studio Fredman pedigree. This pretty much IS melodic death metal.

Shred Factor: 6

Look, Jesper still hadn’t found the sweet spot between cheesedick noodling and ripping riffage yet (the instrumental “Wayfaerer” is fucking unlistenable), and Bjorn Gelotte was still on drums, as he wouldn’t grab a guitar until Colony. In Flames were never the flashiest band in the genre, but even so, this one is pretty low on fireworks.

Vitality: 8

Yes, you have to hear this record to fully understand the genre. It’s what music critics call An Important Album.

But do you have to love it? Nah. I mean, the best song is “Goliaths Disarm Their Davids,” which technically isn’t even on this record, just included in the digipak version as part of the Black Ash Inheritance EP. While The Jester Race might be genre-establishing and encompassing, the best was definitely yet to come.

first poll: when old dudes were young

Okay, because no one wanted Solar Dawn vs. Ablaze My Sorrow right off the bat, we’ll do some heavy hitters straight out of the gate. As we close the door on 2017, let’s look back at some 20-year-old releases from bands that are still kicking…amid varying degrees of acclaim.

Which one should we cover first?

  • Dark Tranquillity – The Mind’s I
  • In Flames – The Jester Race
  • Children of Bodom – Something Wild
  • Arch Enemy – Black Earth


nostalgia is rad, so let’s get rad together

I love melodic death metal.

Always have.

And as my love for this subgenre nears the point of nostalgia, I thought it’d be fun and to go back and explore not only why I love it, but if I still do.

In a lot of ways, melodeath is my classic rock. As much as we (as metal fans) are quick to jump on the lazy FM radio dads or Gen X sellouts that made it normal to hear the singles from Ten flood the aisles of your local co-op, the reason why people are drawn to greying sounds is because they associate it with a coming of age period. Metal fans largely build their hobby/fandom into something of an identity, so it’s only natural to succumb to the same trappings.

I’m turning 35 next month. The Gothenburg sound began to pick up steam when I was in my teens, as the Internet era of metal fandom really began to take hold (largely in message board form at the time, pre-file sharing) and nu-metal’s flash was getting dimmer by the minute. The first “real” metal I sunk into was In Flames, Hypocrisy, Arch Enemy…and I basically became an insufferable nerd from that point forward.

But it’s always bugged me that MY era never got the same nostalgic love as previous waves like:

  • Bay Area thrash
  • New York hardcore
  • Florida death metal
  • Norwegian black metal

…et cetera. There are legit reasons for this, though.

Chiefly, all of that shit is objectively cooler than melodic death metal.

And unlike those movements, melodeath wasn’t a seismic reaction to an established norm, it was merely a variation on a theme.

But I’ll be damned if it wasn’t unique as hell. And as one of the last real timeframe/geographically-based stylistic eras before the ease of global communication leveled the heavy metal playing field, I think it’s worth exploring as a movement and not just something I put on as a healing salve after I claw my way through a new Krallice record or an 83-minute Bell Witch song (haaaaaaaaaaaa like I’d actually listen to an 83-minute song).

So after some exploration, I realized that while melodeath is most certainly my jam, my knowledge is certainly not comprehensive. Using a loose timeframe of “when In Flames was good” (chosen because they’re oft referred to as the melodeath Metallica, so I included their Load, too), I made a spreadsheet of over 80 relevant releases from 1996-2003. Then I broke the bands down into three tiers based on caliber:

  1. Veteran touring acts, signed to Metal Blade, Nuclear Blast, Century Media, or whatever
  2. Bands that put out some badass, essential-ish records but were never considered elite, for varying reasons
  3. One-offs, side-projects, and clone bands of interest

Some of these albums I’ve heard a billion times. Some of them I haven’t listened to in 10 years. Some I’ve never heard at all. And this is where you come in:

On Fridays, I’ll post a poll on Twitter pitting FOUR ARBITRARILY-SELECTED RELEASES FROM A SPECIFIC TIER against each other; there won’t be any cross-tier competition. (This way, we won’t have Damage Done or Colony kicking the absolute shit out of a fuckin Night In Gales record or something.) I’ll listen to the winner on Saturday with fresh ears and write a super-informal review on Saturday. Then I’ll publish it on Monday and we can talk about it.

Sound cool?

Sort of?

Fuck it, let’s roll.






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