The Bewitching Doom
1992 was
the year of my first meeting with Swedish Candlemass. This album was called “Chapter
VI”. And after listening to it, I thought “quite good heavy metal band”. But at
the time “When the Runes Still Speak” song seemed to be the most interesting on
the album. What is more, it rather didn’t fit to the entirety due to its very
slow and monumental structure. Anyway I decided to check this band out, and
bought the rest of discography, or better the rest of un-original tapes copied
in my country, because there was no chance to get the original ones. Definitely
the best one was the tape entitled “Nightfall” with incorrect track-list (standard
thing here in Poland in the old times).
“Nightfall”,
the second performance of these Swedes, was another test for the young band.
Even if they released “Epicus Doomicus Metallicus” one year earlier, I treat
“Nightfall” as the second debut. Why? Because after the releasing of debut, the
band lost three members: vocalist, guitarist and drummer were gone. Fortunately
these significant changes weren’t heavy loss for the crew, on the contrary the
new guys pumped some new blood to the organism. Especially the vocalist Jan
Bror Alfredo Marcolin, or better known as Messiah Marcolin, became an
identification mark for Candlemass. His unique vocals (resemblance to opera
singers) were complete contrast to the previous Johan Längquist, moreover
Marcolin’s kind of singing perfectly fitted to the music, in addition his
scenic image gained reputation among the fans, just like another surname “Mr.
Doomdance”. Of course, gifted and original vocalist does not mean successful
album. Yes, this is an elemental truth, but when it comes to the musical
entirety of the second Candlemass recording, another elemental truth is coming:
the music is simply… superb. “Nightfall” beat the debut, but the quality jump wasn’t
gigantic, because the first epic doom revelation in Candlemass career was a pure
metal greatness too, and the successor is a continuation of the chosen way.
The amount
of the songs may lead into error. Only six of them are with vocals lines, so
can I write about laziness or musical tardiness in composing? No, of course
not. The debut album also had six songs, so I think there is no surprise here. These
four instrumental tracks are small additions, the first of them, called “Gothic
Stone” is an introduction to “The Well of Souls”. The same is with the next ones:
“Codex Gigas” based on heavy guitars, “Marche Funebre” (taken from F. Chopin)
and the finishing track “Black Candles” written by Mike Wead, full of sorrow
and revery, being right choice to end the recording. Of course that four isn’t
the salt of the doom earth. And when I start to think about the best song on
the album, “At the Gallows End” comes to my mind immediately. What is more, I
treat it the best doom song ever written. It has calm beginning with warm solo
lead and some acoustic tunes, after thirty seconds powerful guitar riffs and
drums enter the stage, just like phenomenal vocals. With words “…sunrise I
greet you, the beauty of your light…” the band creates excellent, unforgettable
catchy melodic lines, then after one minute the song becomes typical Candlemass
work with all epic doom riches. Guitar riffs are maintained rather in faster
tempo as compared to hypnotic and slow “The Well of Souls”, these beautiful
vocals and melodies are shown once again, in addition the song is decorated by
memorable guitar lead by Lars. To be honest with myself, without any
difficulty, I can define “At the Gallows End” as summary of the album.
Obviously, these impressive moments are also served in other songs, but such
beautiful melodies are played rather rarely. Nevertheless each of them is a
classic track of epic doom metal. I nearly forget about debut thrilling rawness
during listening to “Nightfall”, yet musical and harmony arrangements are
better and more interesting on the second album. Joining Lars Johansson as a
new guitarist was also very good idea. Mixing incredible heaviness and specific
melody lines (more hidden than in my best track, but also marvelous), these
agents of doom metal recorded an absolute thing: by no manner of means the mighty
cruel time cannot spoil this doom monolith.
This album
is a good example where four elements like music, lyrics, production and
front-cover are inseparable unity. The artwork that ornaments “Nightfall” is a
picture of American painter Thomas Cole, entitled “Old Age” and completely fits
to the entirety. The death motive is present here, when an angel guides an old
man sitting in the boat and waiting for eternal redemption and simply better
reality. This journey runs through the dark and ominous clouds, but on the end
there is a light (or the entrance to paradise) giving hope to the tired human
being. Lyrics written by Edling don’t vary from this subject matter shown by
Cole, the title word of the album is a consequence of life, because the death
or the nightfall of man is something inexorable. The Swedes also told about the
moment of death and profound sadness during whole life, like in “Mourners
Lament”, where a father bewails the child’s death. For me this story is the most
dismaying on the album, effigy of death is very sensible and while listening to
this monumental song, I couldn’t feel indifference. Simply I can understand the
message coming straight from the song, because I am also father of two
children. The lyrics are supported by music full of total sadness, it perfectly
fits to the story: colossal, crushing riffs bathing in slow tempo with
paralyzing Lars solo lead. And this atmosphere where readily noticeable vision
of merciless death befogs the human senses…
The
realization of sound helps the music to conquer my metal heart. My cd is a
re-edition, everything here is audible (but the same was with my unoriginal
tape), so what do I want more, if the music itself is served on the highest
metal level. That’s obvious that Candlemass reached an epic doom peak, as well
as they defined (also with the debut album) the idea of the style. “Nightfall”
is a denial to the boredom, by creating slow and monumental anthems, these five
Swedes recorded masterful slab of doom or metal in general. They smuggled life
truths, yet life searchings of something better not only on earthy valley.
Sadness, grief, despair, downheartedness, fatality, loss of life… but there is
(always?) a small light of hope sparkling in the deep dark, just like in
“Samarithan” song, where the man becomes an angel after his death. Musically I
get once again slow superb piece of paralyzing doom with beautiful chorus.
And on the
end, I’d like to set forth some words from the chorus of “Bewitched”, namely:
“You are bewitched…”. Yes, I am bewitched… by this timeless classic metal music…
100/100
-Tlacaxipehualiztli
(previously written for Encyclopaedia Metallum, on October, 2012, now modified a bit)
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