Review Summary: If it were a step, I wouldn't say it led beyond, then again...
Let me tell you about choruses and pints.
These revivalists know hooks, and they'll exploit 'em thoroughly for all the retro-junkies to feast upon. Their biggest asset though, up to that point, was that just when you'd think they've gone too far with the melody, or a single instant before sounding utterly shopworn, they would infuse an alteration of dynamics or a modulation of the main idea/rhythmic pattern, thus breaking the chorus and resting your mind of the previous thoughts; an auditory signal for your next mouthful of ale and a toast to the next verse, bridge, etc...
Now there's the first irk with this new release. The choruses have been squared off and to make myself perfectly clear, let us examine "Undying Evil", which bears the - oh so familiar - chorus that could be an echo of hundreds of '80s metal bands that were. In particular, after a pretty enjoyable verse, Olof Wikstrand announces a quartet of - CREATURE OF NIGHT, and each time elaborates further with proper metal superfluity. Yet all four introductions & further info on what this creature is all about... the whole damn chorus to be exact, shares the same accent and prose; repetition with not the slightest variation... Now, let's compare that to the excellent "Death Rides this Night" of the previous Enforcer release. Notice the break: the unison adjustment at the last quarter of the chorus injected as hackneyed antiserum - YOU CAN NOT PLAY ME, SAVE ME! It's not nuclear fission and it never has been regarding classic metal stuff, but that's a ***ing perfect old school way to feint "diverse".
In general, subtle diversions are absent from a good chunk of -too sweet for their own good- choruses and that in conjunction with what I am going to point out next makes me wonder -if this hook feast taking place marks a step towards the one to many.
So, let me tell you about tempo, solos and riffs.
There's an overall drop in BPM, which of course isn't something amiss by default, yet it becomes a hindrance when embellishments are tepid to begin with or when you lack the riffs that could fit the slower flow. For when you're fast, you can get away with certain things, but when you turn the beats per minute knob down... we can hear you -or we can't hear those RIFFS. Granted, over the last couple of years these guys focused on shaping melodies and learning a bit more about acting "pro" when soloing but they didn't learn much about how to apply - or compose - a riff that works in a moderate tempo context. Now, either because the melodies offered space are a bit melancholic, but nothing really special, or this kind of soloing I've heard a million times before, I'll just say that when this bunch eases on the metronome they sound off their game.
In more detail, the title track following the square chorus approach previously discussed, culminates in run-of-the-mill soloing and a little tail melody that sounds... well, ordinary if not puerile. The tune clocks out around 3.20 so lets engage on a more ambitious track. In "Below the slumber" issues become apparent by way of absence, as an interesting exchange of pace takes place... Unfortunately, I can't hear a single articulate riff acting as a transitional device between changes (or as a stabilizer after these occur), during the entirety of this six and a half minute process. Sure, I hear little melodies alright... I hear solos, agreed... but these kind of tracks simply needed some PLAIN FAT RIFFS. In contrast, they somehow try addressing the issue on closer "Mask of red death" but still, too late for my redemption.
Now, let me tell you of good ol' metal digs.
Actually, maybe the above will spare me the elaborate explanation, as I trust you all carry a basic capacity for deduction. Instead, let me finish my frugal third for the night in company of the - admittedly - proper production, while I listen again to The opener along with the "Banshee", perhaps "Hell Will Follow" and a half of "Farewell" as a reminder of what Enforcer do best. Heck! I'll even have a sip as toast for these Swedes to make another simple step... not beyond, nor above... but back towards 2013.
3.1/5
