Review Summary: Yep, this sure is a Candlemass album, all right.
The thirteenth Candlemass album (Not to be confused with From the 13th Sun) offers the same formula that has come to be expected from the epic doom giants. However, Sweet Evil Sun doesn’t come with the same novelties as 2019’s The Door to Doom. Vocalist Johan Langquist is securely integrated at this point and there isn’t really anything like a Tony Iommi solo to get hyped for. Even the guest performance by Avatarium’s Jennie-Ann Smith on “When Death Sighs” feels more like a reminder of how much that band has been creatively outclassing them for the last five years.
This position makes for what should be a straightforward, no-nonsense Candlemass album, but the template ends up being rather plain when stripped down to its most basic elements. The guitars are still heavy and the rhythms solid as ever, but the performances don’t offer as much flash or memorability. The vocals sound a little more comfortable, especially since Langquist is recording his own lines rather than having to redo Mats Leven’s this time around, but his scratchy delivery is still rather removed from the wailing weirdo who guided us through reverb-soaked catacombs in more arcane times.
The songwriting also comes out serviceable, albeit with a workman attitude underscoring its theatric tendencies. The pacing feels noticeably more upbeat than usual with the title track and “Scandinavian Gods” featuring what could be best described as a ‘stadium doom’ sound while tracks like the opening “Wizard of the Vortex” (This the same guy as “Emperor of the Void” or somebody else?) and “Crucified” have enough extra bits to suggest that maintaining dynamics was still a priority. None of the tracks are bad, but there aren’t any notable staples and many of the strongest moments were done better on previous occasions.
Overall, Sweet Evil Sun is okay but having already been underwhelmed by The Door to Doom only results in more diminishing returns for me. The musicianship is competent, and the songs are fine enough, but the made-to-order feel is difficult to ignore when there aren’t so many other things to draw one’s attention. Anyone who is just looking to hear the core Candlemass sound in action will likely get that itch sufficiently scratched, but anybody seeking something deeper would be best to search elsewhere. I’m still disappointed that a case of COVID kept me from finally getting to see them live this year but creatively speaking, the torch has since been passed.
