Review Summary: Recycled energy (Vol. II)
More than merely an occasional concept, energy and its infinite cycles is a motif that seems to fuel the latest music of Finnish symphonic black metallers ...And Oceans, as it was once again recycled in their second comeback chapter,
As in Gardens, so in Tombs, now focused on humanity's energy towards enlightenment and its similarities between cultures regardless of languages, religions or customs. On a more matrix-esque perspective, vocalist and lyricist Mathias Lillmåns has this vision “of us all playing different levels of a video game but ending up at the same ending. Energy is the most efficient recycler in the universe.” In this sense, there is a strong bond between
As in Gardens, so in Tombs and its predecessor -
Cosmic World Mother, both conceptually and musically, lending it a familiar and somewhat predictable dimension, much like a sequel where we already know the main plot and protagonists. The band's recently restored '90s-flavored symphonic formula retake center stage with redoubled vigor, further emphasizing the sextet's more melodic and atmospheric side while creating subtle contrasts with
Cosmic World Mother. Antti Simonen's colorful synth layers play a key role in this aesthetic approach by infusing an orchestral aura into the black metal core; adorning it without ever getting into pretentious or over the top territory, successfully achieving that 90's flavor that more orthodox fans cherish so much.
As expected,
As in Gardens, so in Tombs doesn't try to reinvent the wheel or venture into uncharted territory; on the contrary, it never leaves its comfort zone. The title track, with its straightforward yet effective structure, amply confirms this assertion. I love it when the boys dive into more turbulent waters like in the frantic passages of 'Likt Törnen Genom Kött' or 'Inverse Magnification Matrix'; not only does their music become deadlier but also generates interesting contrasts with the more melodious surroundings. The overpowering blast beat segment spawning after the midsection break on 'Carried on Lead Wings' is yet another example where a stark contrast boosts the dynamics like a sonic roller coaster. These mood swings should be more abundant throughout
As in Gardens, so in Tombs as they would avoid the sense of sameness that occasionally creeps in; an excessive uniformity, I would say, eventually causing some fatigue over the fifty-minute journey. That being said, the collective's strengths are undeniable; the music feels coherent and engaging with a fair amount of highlights, ranging from the more straightforward blackened bursts to bolder sections such as the Oranssi Pazuzu-ish synth part in ‘Cloud Heads’ or the intriguing circus-esque fragment in ‘Inverse Magnification Matrix’. It would be interesting (and wise) if the band's next chapter explored more of these daring and unpredictable soundscapes, if only to add more variety and excitement to their current formula.
As in Gardens, so in Tombs presents itself as the next logical step towards consolidation for the Finnish collective. It is a natural sequel to the previous chapter that recycles both its narrative and musical foundations, creating common soundscapes that scream coherence, character and perseverance. And while I would have preferred the band to travel down a more unpredictable road, I'm pretty sure the fanbase will enjoy the ride.
