Review Summary: Right out of nowhere, the Swedes are making a big wave while sailing the sea of epic heavy metal.
King Diamond are/is back. In an interview for Metal Hammer Greece last January, the man revealed that his days of illness are behind him, the band is preparing a new album on its own pace, the prospects of Mercyful Fate getting back together at some point in the future are more tangible than ever, whereas (King Diamond) back catalog reissues with a markedly better sound, will be released in due time. To paraphrase Hamlet and his famous quote, fewer things are rotten of late in the metal realm of Denmark.
Fully entitled, the forefather of occult heavy metal is trying to make right for the lost time. His 8-year absence shaped a noticeable void, which was partially filled by the admirable (and not fully appreciated) efforts of outfits like In Solitude, Portrait and Noctum. King Diamond’s previously unmatched vocal work was paid a truly great tribute; the same applies for the six string wizardry of the Larocque/Denner/Sherman triplet. With their last album, In Solitude departed towards more experimental (goth/post-punk) territories and unconsciously, a vacancy was created in the said corner of the Swedish metal scene, a vacancy that appears to be covered in full by compatriots Trial and their excellent sophomore album,
Vessel.
Trial’s lineup was sealed in 2010 with the addition of vocalist Linus Johansson, whereas the debut album
The Primordial Temple, issued in 2011, was merely a decent piece of traditional heavy metal. Which makes the leap of progress evidenced in
Vessel all the more impressive. Following the example of some black metal colleagues of theirs who took cues from classic heavy metal, Trial have it the other way around. Andreas Johnsson’s rhythm guitars have slipstreamed the infamous tremolo riffing into a coarse-grained, ‘80s proto-progressive/heavy metal blend of ideas adopted from both the US and European schools. The rhythm section of Ollson/Svensson plays a huge role in that respect as well. With the adoption of this hybrid riffing philosophy, the band avoids sounding derivative, even though every separate source of inspiration may be perceived as such.
Where Trial truly cut it though, is the album’s excellent flow.
Vessel can be heard from start to finish with the mode blindly set on repeat. Alexander Ellström’s to-the-point lead guitars make for an essential contribution to the album’s musical narrative, but he, as well as the remainder of the line-up, does not come as an “instrumental shredder”. In that light, the transitions evidenced in the more adventurous parts of the album (“Ecstasy Waltz”, “Through Bewilderment”) are unpretentious in design, and smooth in their evolution.
In contrast to the debut album, Johansson has been given the necessary space for fleshing some of the most epic vocals heard in old school heavy metal (check "Vessel" and the majestic closure of “Through Bewilderment”). His job description sets him at the front of the store by default, and honestly, Trial couldn’t do better in that respect. In terms of established vocal styles, Johansson sounds as if J.D. Kimball (R.I.P.) and Harry “Tyrant” Conklin have joined forces with King Diamond. His mid and high pitch vocal management is exceptional, and he can only sound better in the future.
With
Vessel, Trial have made a huge step towards being regarded as a notable heavy metal band. They have already been embraced by some European old school heavy metal strongholds like Greece and Germany (and the respective live concert festivities) and the new album is expected to open some more doors for them. They have earned that much, if not more.
