Review Summary: The Devil is in the details
The devil and the almighty blues, a cognomen comprised of two central elements, which appropriately defines the dichotomy within the sound of the band in question:
The Devil and The Almighty Blues. This Norwegian quintet has returned in 2019 with their felicitously named third outing
Tre. The band mixes the slow, trudging riffs and expansive soundscapes of doom metal with an overtly present blues influence, especially in the guitar tone. This specific sound palate is combined with raw, gritty vocals often doused in reverb, alongside some fairly unpolished production. Conceptually the lyrics seemed to revolve around humanity’s connection to nature as well as the tragedy and absurdity of our existence, all dripped in a healthy dose of Scandinavian melancholy. In this sense both The Devil, in the melancholic lyrical themes, the doom-metal influences and the somewhat bleak musical atmosphere, and The Blues, mostly present in the guitar tone, the melodies and partially the vocal style, have always been present in
The Devil’s… sound and this album is no exception to that.
In fact, compared to their previous outings barely anything noteworthy has changed for these Norwegians, both musically and compositionally. Still, a few minor details can be remarked upon. Firstly, one cannot help but notice that the vocal delivery on this album is slightly more raw and unpolished. The reverb is still present, however less noticeable, giving Arnt Andersen’s vocals a slightly more human touch and assuaging their usually monotonous quality. Moreover, it seems as if his performances have improved somewhat relative to antecedent releases, packing more of an emotional punch and seeming more immediate and intense in their delivery, especially on tracks 2 and 5. What’s more, this album contains a fair few moments where background vocals add some interesting spice to the vocal harmonies, something not seen on previous albums, but consistently implemented on this here record right from the start of the first song. Other than that however, the band's core sound remains virtually unchanged. As already mentioned, the same can be said for the compositions.
For the
The Devil… have implemented similar compositional techniques this time around. The soundscapes are expansive, with the first track lasting over 10 minutes and the second track “One for Sorrow” being an exception to the norm on account of its mere 5 minute run time.
The Devil… traverse arcos these vast musical murals with heavy, mid-tempo, bluesy guitar rhythms and melodies, gritty vocalizations, serene interludes, fuzzy basslines, minimalistic drumming and the occasional riveting guitar solo, all constituting a musical parade which perambulates endlessly through the compositional peaks and valleys of this record. Tempos remain largely unchanged, occasionally slowing down or picking up pace, but never fully erupting or falling into a slumber. Riffs and themes are often reprised throughout the tracks on this record, however are alternated enough not to become stale or overly repetitive. Altogether, the compositions are cohesively structured and well-organized, allowing the instruments and the vocals to ebb and flow in a multitude of artistic directions.
Still, the music lacks the intensity or heaviness of a true doom-metal record, with the blues being very much almighty, both in overall tone and melody. Furthermore, I always get the sense that there is a little bit of stoner influence sprinkled in just for fun and I imagine this album would be excellent to listen to in combination with a fair chunk of weed. Although I don’t smoke weed myself, you’re welcome to follow up on that suggestion. Additionally, the album can be extremely catchy at times. Sure, it isn’t the pinnacle of technicality or musical complexity, but its hooks are effective, it rhythms infectious and its vocals possible sing-alongs, especially on a track like "No Man S Land", an album highlight in my opinion.
All of this is coupled with a perfectly raw, slightly unpolished, gritty production, elevating the record's gloomy sound and adequately fitting the rough-hewn instrumentation. Moreover, it noticeably adds to the atmosphere on this album, which although not as completely engulfing as one might like, is still evidently present on this record. What must be mentioned as well are the interesting, well-written lyrics and intriguing conceptual themes concerning everything from the irrevocable and all-encompassing deterioration brought upon by the perpetual turning of the temporal wheels or the despondency of the earth’s bare environment and the decay that will inevitably await it. In short, this album anything but conceptually prosaic.
Ultimately, the devil is in the details (pun intended) with this record and an intense observation of the musical canvass on which these Norwegians paint their aesthetic expressions will reveal a sea of subtlety, intricacy and emotional complexity. Even so, the record ought to appeal regardless on account of its sheer catchiness and its artistic passion, which always seems to permeate every
The Devil and The Almighty Blues outing. Even with its 5th spin this record remains as entertaining and emotionally impactful as ever. All I can say is you’ve done it again and bravo to you
The Devil and The Almighty Blues!
