Review Summary: Psychedelic Doom Built On A Churchlike Foundation
When Leif Edling announced that “Psalms For The Dead” was going to be Candlemass’s last album a huge cloud loomed over everybody’s head. As such a respected member of the doom metal scene some felt that nothing would ever touch the weight of the music that Edling could compose. In 2013 he announced that a new band was to arise, built on the foundations of Candlemass and thus Avatarium was brought into the world. Comprising of members from Candlemass, Tiamat and Evergrey with a truly talented Jennie-Ann Smith on vocals, the self titled debut was a brilliant success. 2 years later it’s time for Avatarium to prove to us all why they are one of the best new doom bands in the past decade with their new album “The Girl With The Raven Mask”.
Avatarium continue to broaden the horizon of their doom metal landscape and consequently map out a fresh psychedelic outlook to their sophomore album. It’s a fair judgement to say that some of these songs would not sound out of place in the height of the flower power rock of the sixties. With Carl Westholm behind the vibrant keyboards and mellotron with gradual tempo changes from all instruments, ‘Iron Mule’ and ‘Hypnotized’ particularly sound summery while still pronouncing its slow and sombre tone. Westholm’s keyboards play an integral part in this psychedelic doom dominion where they often provide a starry dimension which is reminiscent of bands such as (albeit a more solemn) Yes. They are almost like a bright shadow that stalks the anxious vocals through moments of serenity.
Jennie-Anne Smith is a force to be reckoned with on “The Girl With The Raven Mask”. A range of her vocal abilities resonates throughout the album and often change in dynamics during songs such as ‘Pearls And Coffins’ whereby she alternates between gentle, twinkling vocals to a more confident bluesy stride however it’s not until the concluding wails that couples with the melodies from guitars that announces an emotional peak to not only the song, but the album as well. Her lyrics also echo the devotion that she puts into her singing as they are consistently textured in concepts that force you to look deeper into the song to fully appreciate its sonic significance. The Master Thief’ includes profound lyrics such as “He will snatch the last breath from the dying... and when luck comes your way, he will take it away” and “But love he can’t steal, no one to call friend”. While an obvious indication towards Death, this simply adds to the accessibility and relevance of her singing.
The doomy aspect of Avatarium, while ever evolving, is still prominent. Slower stereotypical doom riffs that are necessary in Cathedral and Candlemass pour out of Jidell’s guitar yet Leif’s oceanic bass materializes in and out of heaviness and tranquillity during ‘The January Sea’ while the deep and heavy solos enter and bend within a prism and subsequently exits with an uncanny and trippy tone. However the title track features fast paced doom metal which make welcoming, reinvigorating moments for the listener. These rare frantic moments often brings you in and out of a dreamlike exposure due to the ever changing dynamics of the song such as in ‘Run Killer Run’.
Avatarium expose themselves as doom metal experimentalists in “The Girl With The Raven Mask” and show no signs of pushing their creative limits even further. As well as creating a brilliant album, they also avertedly thwart the dreaded expectations that follow a sophomore release in spectacular fashion.
