Review Summary: Moments of beauty and power, but ultimately mechanical and uninspired.
I strongly dislike giving a low rating to the newest record by one of my favorite bands of all time. A band that has conjured an emotional response in me that is rivaled by few others, that has, ironically, brought light into the darkness of existence at times. I simply cannot speak highly enough of MDB's best material. Whether it be the progressive, lurching, brutal and cryptic songs of old, or the epic and striking melancholy of much of the material from 2000-2010, The Bride has truly left a mark on my spirit. However, there is no denying the truth of my feelings regarding this LP.
I would never insinuate that the band did not try its hardest. Based on multiple interviews granted by the band in 2024, it seems evident that they care deeply about the songs, they poured their hearts into these creations, and a democratic process was used to select the highest quality songs before recording the material. That being said, I used the words "rote" and "lacking inspiration" in the title of this review for a very specific reason.
Let's start with the opener, "Her Dominion". The opening riff has a classic 80's doom metal sheen and waltz, backed by a lush and highly effective choir keyboard pattern. I love this particular riff, it gives me shivers! However; Once the main riff enters, the song goes downhill quickly and never recovers. I would argue that it is the weakest opening song on any MDB full length record, and I have considered this carefully. Although fairly heavy, the main riff is exceedingly basic and uninspiring - it is the type of predictable, melodic pentatonic pattern I might play on my guitar to warm-up before seriously working on a song. The lack of creativity found within the guitar riffs and the predictable patterns/sequences of notes (almost always relegated to a classic doom style, without the wickedness) crushes the potential of this album. Although Aaron uses his death growl exclusively on this track (a rarity for MDB in their current iteration), and the growl sounds twisted and dominating (an accomplishment for a man of his age for certain), the music is glaringly unable to match the menace and aggressiveness of the vocals. Conversely, the vocals elevate the uninspired guitar sections on the opening track.
The predictability of the riffs on the lead track pervade the remainder of the album to varying degrees. Again and again, my mind wanders to thoughts permeated with disappointment, like "I know what is coming next", "this is the scale the guitars are playing in", "Why was the decision made for all of the riffs to be played at largely the same tempo, exactly like the last LP" or "I wish they would play riffs that are more progressive or display more creativity". The amount of times I knew what was coming next, before a riff was even completed, was alarming and deflating upon my initial listens. All that remains of the bands Death/Doom past is largely the vocals. Some may argue otherwise, but there are almost no riffs on the LP that use death metal scales or patterns to provide a more cryptic/unpredictable/obscure/dark atmosphere, an aspect that is desperately needed due to the dynamics and diversity that "A Mortal Binding" is lacking. Playing at the same tempo for the vast majority of an LP, or a lack of aggression/dynamics is certainly not a death knell in and of itself, as MDB has proven (along with many other artists) on prior recordings. The Angel and the Dark River is not a particularly diverse record, but it is littered with the timeless, penetrating classic riffs and melodies that this LP is lacking. If an album is going to be largely the same tempo and atmosphere for an hour or more, and is going to be devoid of a variety of tempos, creativity and dynamics, the music has to be absolutely top-tier. That is the fatal flaw of this recording.
Adding to the issues, drummer Dan Mullins simply cannot match the prowess of past drummers Rick Miah or Shaun Taylor-Steels. Again, his performance and choices are not awful, but they are simply "there". His performance is uninspired and ultimately lacking compared to the bands previous sticksmen. Whether it be the dynamics of his performance or the fills used to flesh out riffs and transitions, the performance feels dull more often than not. It does very little to elevate the music. Shaun Mcgowan certainly fares better with his often gorgeous violin melodies, but again, I prefer Martin's style and feel on the older LP's. It's also hard not to notice that Aaron's vocal lines and technical performance are not as impactful or technically proficient as they were on "A Line of Deathless Kings". I listened to that LP and "A Mortal Binding" back to back multiple times to confirm this. However, I believe the lack of memorable vocal melodies (and perhaps drums and violin sections) is heavily tied to the quality of the guitar sections that were written this time around. Similar to the last record, "The Ghost of Orion", I feel the production is a bit too polished and clean for a band like MDB, robbing the material of some of the atmosphere required to reach its full potential.
I want to make it clear that this is not a terrible record. Not by any means! However, that does not change my lack of inspiration to listen to the LP regularly. I don't believe the band has ever released anything that is outright poor in quality or lacking in effort. Highlights include "The 2nd of Three Bells", which has moments of otherworldly gothic grandeur, the most memorable vocal lines on the LP, and hypnotic interplay between the guitars and keyboards. It's an inspired composition and the best the LP has to offer. "The Apocalyptist" is an absolute beast, although somewhat disjointed. By far the lengthiest song on the record, it is littered with piercing death growls, searing violins, and the trappings and energy of classic 90's doom metal (even recalling early Katatonia at times). "Crushed Embers" has an enchanting, timeless twin guitar melody that is an absolute earworm. It carries a resplendent autumnal atmosphere that is beautiful beyond belief, along with passionate and somber vocals from Aaron. The song suffers a bit from monotony in other areas, but it almost reaches the status of classic MDB material, while "Unthroned Creed" provides some unpredictability, particularly in the guitar playing, that much of the LP is lacking.
While there is plenty to like (and occasionally even love) on this record, every time I revisit these tracks I have the same sinking feeling in my gut. A feeling of being underwhelmed, uninspired, and slightly disappointed. They are simply capable of much more, and I am not particularly interested in returning to this set of songs. It is not a mere coincidence that this LP (and the previous one) sits amongst their 3-4 lowest rated LP's on multiple music sites with aggregate user ratings: It is a clear indicator of a decline in quality. I give the band a massive amount of credit for everything they have
accomplished, the innovators that they are, and all the trials and tribulations they have overcome as a band and individuals. But I am hoping for much more from the next record, an excellence in line with their most passionate and utterly convincing material ("Turn Loose the Swans", "The Dreadful Hours", etc.). This is 2 average releases from MDB in a row, and that is concerning.
