Review Summary: Comalies XX brings the original album into the modern era with mixed results.
Although Lacuna Coil had been releasing music since 1998, it wasn’t until
Comalies was released in 2002 that they finally started gaining recognition. It was
Comalies that took them from being just another obscure European band to an actual international presence; eventually becoming Century Media Records’ (and the band’s) first album to crack the Billboard Top 200, peaking at number 178 two years after its release. Since then, the internal makeup of Lacuna Coil has changed with only the bass player (currently playing guitar) and two vocalists remaining from the album’s line-up. It was with this in mind that the band decided to celebrate
Comalies’ twentieth anniversary by bringing it into the present by re-imaging and re-recording it with their current line-up.
Before we delve into the convoluted and conflicting thoughts I have on this album, let’s make one thing clear –
Comalies XX is a great modern metal album. It’s an album dominated by rhythmic seven-string riffs, solid percussion, strong choruses, and potent male growls contrasted with emotive female singing. Cristina’s vocals are as strong as they were twenty years ago, and Andrea’s decision to move to a harsher growl (instead of trying to sing) is a choice I totally support. The heavier riffs that have completely overtaken the album are also an enjoyable change. Also, the subtle electro-tinged keyboards that hover just underneath every song are a nice touch. It turns out the main problem with
Comalies XX is me. When I can lose myself in the new songs instead of anticipating elements from the originals that never materialize, they’re just as good (if not better) than the originals.
My problem is that each new song is constantly in conflict with the original versions (which have a twenty-year advantage). While listening to the chorus on the new version of “Heaven’s A Lie” my mind instinctively wants to groove to the original’s rhythm and tempo, and when the slowed down version plays instead (complete with new vocal layers and melodies) it throws me off. When I hear the new version of “Daylight Dancer” a part of me misses the cool little percussive elements in the original’s chorus and the electro-goth keyboards that undulate underneath the entire song – and I miss the original’s energetic tempo, too. The thing is, the new version of “Daylight Dancer” is really good, too. It opens with a huge rhythmic wall of a riff, subtle electronics, and Andrea’s ferocious death growls before slowing down for a strong and poignant chorus; and is one of the standout tracks on the new album. While my predilection for the original may be the source for a lot of my problems with
Comalies XX, there are some legitimate issues as well.
Comalies XX main problem is one of homogeneity. I’m a fan of the chunky riffs that have led to an overall darker and heavier
Comalies, but they also lack the unique character and diversity of the original’s goth-tinged style. I’m also totally onboard with the band replacing all of Andrea’s singing with death growls but doing so has had the unintended consequence of making the songs sound more similar than they ever were. One thing I’m not totally onboard with is the change in percussion. Where
Comalies featured a bevy of tempos and percussive creativity,
Comalies XX hits with stiff double bass and standard beats. Also, for whatever reason, almost every song was slowed to the same basic tempo no matter how energetic the original version was. This complete lack of tempo diversity drags
Comalies XX down more than anything else.
I must admit that
Comalies sounds a little dated by today’s standards due to the production and keyboard sounds. I’ll also agree that replacing Andrea’s singing with the harsh vocals he does today was clearly an excellent idea, but as a twenty-year fan of
Comalies I’ll probably always be partial to the original. That doesn’t mean
Comalies XX doesn’t have a lot to offer, though, especially for those that have only been into the band since
Delirium. The production has clearly improved on the original with a fatter guitar and drum tone, as well as an overall cleaner sound. The dated keyboards have also been upgraded to a more modern and subdued style that compliments the darker sounds of
Comalies XX. The guitar riffs, too, have been entirely revamped utilizing an abundance of seven-string power chords instead of the more melodic goth-influenced riffs of the original. The drums were also completely overhauled, dropping the 90s alternative metal style in favor of a more conventional delivery. While I will always remain partial to
Comalies,
Comalies XX is still a fun way for the band and fans to celebrate the twenty-year anniversary of Lacuna Coil’s breakout release.
