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Epicus Doomicus Metallicus (1986)
Epicus Doomicus Metallicus is the first full-length album from the Swedish doom metal band Candlemass. For this release, Leif Edling (bass/lyrics), Mappe Björkman (rhythm guitar) and Matz Ekström (drums) were joined by session musicians Klas Bergwall (lead guitars) and Johan Lanquist (vocals) to create a sorrowful and epic masterpiece of traditional doom metal. It was one of the first of its kind. Released in June 1986, this would go on to inspire countless bands, in the decades that followed.
This classic record represents somewhat of a failure, for me. I discovered doom metal roughly around the same time as black metal. Unfortunately, I lacked the resources to really explore this sub-genre and was only exposed to a handful of bands. Upon finally hearing Epicus Doomicus Metallicus, it filled a void that had existed for far too long with regard to my musical knowledge and experience.
It all begins with the miserable acoustic intro, accompanied by an organ and the miserable voices of Lanquist and Edling, woefully singing the following lyrics:
"Demons Gate" is the next song, beginning with an eerie intro that features a demonic voice and some synth. This sounds much like a funeral dirge, being slow and filled with a gloomy feeling. Lanquist might not be the best known Candlemass vocalist, but his style suits this perfectly. His mournful voice reaches into the darkest depths of your being, speaking on a level beyond comprehension. Mid-way through the song, the bass and drums are left alone to drag the mood down even deeper. The lead solo that follows is eerie and haunting in a somber way, almost like something from a King Diamond album. As the vocals return, the tone takes on a hint of madness. Some of the high notes have a soul-shattering quality to them. The title of the album could not be more appropriate, as this is very epic.
This lengthy song is followed by the much shorter "Crystal Ball", which displays Johan's range quite well. This one is slow and plodding as well, yet there is sort of an uptempo part leading to, and including, the chorus. The riffs and melodies are quite memorable and the screams won't soon leave your brain. The lead solo has an insane quality to it, preceding the rumbling of the bass. Another lead solo follows this, and it is dripping with an epic feeling. The lyrics aren't depressing, like the first song, but the down-tempo atmosphere is still there.
"Black Stone Wielder" is next, beginning with an even heavier, creeping riff. This crushing sound is mostly due to the bass and the drums, though the guitars do get louder after a few moments, playing some drawn-out and despairing riffs. The duel harmony is a nice touch. The vocals really possess a soulful feeling, adding much depth to the song. After a couple verses, this returns, creating a very desolate atmosphere. The dark melody beginning just before the 4:00 mark really drags you down, deeper still. Into the black abyss, you are pulled, into a land of misery and loss. Hope does not exist here. The lead solo serves to eradicate any sense of hope or optimism.
This epic track tells the tale of the ancestral passing of misused power that is told, not only through the words, but also through emotive movements of music that lie in the perpetual tread of the pace, the dynamic chorus, and then with the summation of the story, picking up the pace for a compelling finish, beginning as Johan declares, "...the black stone wielder is born...", in one of the most powerful moments of the record.
The L.P. continues with "Under the Oak", which first appeared on the Tales of Creation demo, the previous year. This one begins with an uglier kind of riff, threatening to tear your face off. The lead solo comes in, at just the right moment, to sear the flesh from your bones. Johan's vocals are a bit deeper, here, conveying a deep sense of sorrow and possessing a more aggressive edge at the same time. The lead solo goes beyond description, tearing your soul apart. This is followed by one of the most miserable moments of the album, where an acoustic guitar plays a mournful tune as Johan screams from the depths of his being.
This epic record comes to an end with "A Sorcerer's Pledge". This is the second longest track on the album, beginning with a truly miserable intro that features acoustic guitar and anguished vocals. After this is repeated, the crushing guitars fade in with the intent to destroy any hope that still resides in your feeble body. A mid-paced thrash riff picks the pace up, briefly. The feeling of the song is much like being taken on a journey through time. Listening to this, the world around you ceases to exist. Late in the song, the guitars are replaced by synth, with the drums and bass taking you even deeper into the murky underworld. Emaciated hands reach out from the shadows, tearing at your soul. Deeper you descend, moving faster until all becomes a blur. The guitars return, crushing any remnants of your battered spirit. The hands continue to reach out for you, ripping and shredding you. A ghostly female voice then comes from the black forest that surrounds you, as the music fades to nothingness. The eerie voice echoes and you find yourself lying on the ground, on the edge of the cemetery. You look up into the night sky, gazing at the full moon, wondering what just happened. Your time has not yet come, yet you have seen a small glimpse of what awaits you. The end shall soon beckon your frozen soul. Deserved doom shall be unto you...
This classic record represents somewhat of a failure, for me. I discovered doom metal roughly around the same time as black metal. Unfortunately, I lacked the resources to really explore this sub-genre and was only exposed to a handful of bands. Upon finally hearing Epicus Doomicus Metallicus, it filled a void that had existed for far too long with regard to my musical knowledge and experience.
It all begins with the miserable acoustic intro, accompanied by an organ and the miserable voices of Lanquist and Edling, woefully singing the following lyrics:
"I'm sitting here alone in darkness,This verse is followed by crushing and oppressive riffs, very reminiscent of Black Sabbath, that slowly roll over your spirit like a tank. This is heavy, slow and depressive. Johan's vocals are filled with a somber feeling, while remaining incredibly powerful. Everything here works together to create an agonizing atmosphere of despair and suffering. The lead solo pierces you soul, injecting it with a fatal dose of melancholy. "Solitude" represents the rebirth of the classic Black Sabbath style, which would go on to influence every doom metal band that followed. This song is epic and mournful, returning to the same acoustic passage that began the song, as it concludes. Johan sounds as if he is drained of all life, his voice lowering, just wishing for the end to come.
Waiting to be free,
Lonely and forlorn I'm crying,
I long for my time to come,
Death means just life,
Please let me die in solitude"
"Demons Gate" is the next song, beginning with an eerie intro that features a demonic voice and some synth. This sounds much like a funeral dirge, being slow and filled with a gloomy feeling. Lanquist might not be the best known Candlemass vocalist, but his style suits this perfectly. His mournful voice reaches into the darkest depths of your being, speaking on a level beyond comprehension. Mid-way through the song, the bass and drums are left alone to drag the mood down even deeper. The lead solo that follows is eerie and haunting in a somber way, almost like something from a King Diamond album. As the vocals return, the tone takes on a hint of madness. Some of the high notes have a soul-shattering quality to them. The title of the album could not be more appropriate, as this is very epic.
This lengthy song is followed by the much shorter "Crystal Ball", which displays Johan's range quite well. This one is slow and plodding as well, yet there is sort of an uptempo part leading to, and including, the chorus. The riffs and melodies are quite memorable and the screams won't soon leave your brain. The lead solo has an insane quality to it, preceding the rumbling of the bass. Another lead solo follows this, and it is dripping with an epic feeling. The lyrics aren't depressing, like the first song, but the down-tempo atmosphere is still there.
"Black Stone Wielder" is next, beginning with an even heavier, creeping riff. This crushing sound is mostly due to the bass and the drums, though the guitars do get louder after a few moments, playing some drawn-out and despairing riffs. The duel harmony is a nice touch. The vocals really possess a soulful feeling, adding much depth to the song. After a couple verses, this returns, creating a very desolate atmosphere. The dark melody beginning just before the 4:00 mark really drags you down, deeper still. Into the black abyss, you are pulled, into a land of misery and loss. Hope does not exist here. The lead solo serves to eradicate any sense of hope or optimism.
This epic track tells the tale of the ancestral passing of misused power that is told, not only through the words, but also through emotive movements of music that lie in the perpetual tread of the pace, the dynamic chorus, and then with the summation of the story, picking up the pace for a compelling finish, beginning as Johan declares, "...the black stone wielder is born...", in one of the most powerful moments of the record.
The L.P. continues with "Under the Oak", which first appeared on the Tales of Creation demo, the previous year. This one begins with an uglier kind of riff, threatening to tear your face off. The lead solo comes in, at just the right moment, to sear the flesh from your bones. Johan's vocals are a bit deeper, here, conveying a deep sense of sorrow and possessing a more aggressive edge at the same time. The lead solo goes beyond description, tearing your soul apart. This is followed by one of the most miserable moments of the album, where an acoustic guitar plays a mournful tune as Johan screams from the depths of his being.
"I cried for the ones I have lost,The drumming on this album perfectly suits the music and would go on to be emulated by countless others. From this point on, the vocals become much higher and a sense of urgency is conveyed by his delivery. The riffs return to the monstrous sounds from the intro, as another lead solo accompanies Johan's sorrowful wailing. A melody of grief carries the song to its pained conclusion.
Midnight in paradise, grief,
Away goes my hope"
This epic record comes to an end with "A Sorcerer's Pledge". This is the second longest track on the album, beginning with a truly miserable intro that features acoustic guitar and anguished vocals. After this is repeated, the crushing guitars fade in with the intent to destroy any hope that still resides in your feeble body. A mid-paced thrash riff picks the pace up, briefly. The feeling of the song is much like being taken on a journey through time. Listening to this, the world around you ceases to exist. Late in the song, the guitars are replaced by synth, with the drums and bass taking you even deeper into the murky underworld. Emaciated hands reach out from the shadows, tearing at your soul. Deeper you descend, moving faster until all becomes a blur. The guitars return, crushing any remnants of your battered spirit. The hands continue to reach out for you, ripping and shredding you. A ghostly female voice then comes from the black forest that surrounds you, as the music fades to nothingness. The eerie voice echoes and you find yourself lying on the ground, on the edge of the cemetery. You look up into the night sky, gazing at the full moon, wondering what just happened. Your time has not yet come, yet you have seen a small glimpse of what awaits you. The end shall soon beckon your frozen soul. Deserved doom shall be unto you...
(20 Apr. 2009)
Nightfall (1987)
Released in late 1987, Nightfall is the second full-length album from the mighty Candlemass. With their first record, Epicus Doomicus Metallicus, these Swedes created the most important and monumental doom metal album ever. Unfortunately, Johan Langquist was only a session vocalist and declined to join the band. Enter Messiah Marcolin, a fat, pretentious goblin with a giant afro.
The single worst thing about Nightfall, the main factor that holds it back, is the vocal performance. The guy can sing, but he didn't have the awareness to know the difference between just showing off what he could do and trying to make himself the focus of the album, as opposed to doing what was best for the material. This operatic vibrato singing is just annoying as hell and vastly inferior to Johan's vocals from the first record. It took a very long time for me to come around on Nightfall and to try to get used to this as best I could, because the music is high quality doom metal.
The songwriting here is not at the same level as on the debut, but it's quite good nonetheless. Songs like "The Well of Souls", "At the Gallows End" and "Bewitched" are strong and memorable, though none of them are as iconic as "Solitude" or "Under the Oak". Those earlier tracks were in the works for longer and had more time to be developed as is often the case with a band's first record. It's natural for the follow-up to be more rushed once a band has been sucked into the music industry, signed a contract and are then expected to fulfill obligations in a timely manner.
In the end, Nightfall is a solid doom metal album, if you can get past the obnoxious vocals. The material is a step below that of Epicus Doomicus Metallicus, but it's still far better than the next couple albums. Definitely worth hearing.
The single worst thing about Nightfall, the main factor that holds it back, is the vocal performance. The guy can sing, but he didn't have the awareness to know the difference between just showing off what he could do and trying to make himself the focus of the album, as opposed to doing what was best for the material. This operatic vibrato singing is just annoying as hell and vastly inferior to Johan's vocals from the first record. It took a very long time for me to come around on Nightfall and to try to get used to this as best I could, because the music is high quality doom metal.
The songwriting here is not at the same level as on the debut, but it's quite good nonetheless. Songs like "The Well of Souls", "At the Gallows End" and "Bewitched" are strong and memorable, though none of them are as iconic as "Solitude" or "Under the Oak". Those earlier tracks were in the works for longer and had more time to be developed as is often the case with a band's first record. It's natural for the follow-up to be more rushed once a band has been sucked into the music industry, signed a contract and are then expected to fulfill obligations in a timely manner.
In the end, Nightfall is a solid doom metal album, if you can get past the obnoxious vocals. The material is a step below that of Epicus Doomicus Metallicus, but it's still far better than the next couple albums. Definitely worth hearing.
(24 Apr. 2025)
Chapter VI (1992)
After two very lackluster albums, Candlemass took a bit of a break. Three years passed before the release of their fifth full-length, Chapter VI, in May 1992. Thankfully, they parted ways with their previous vocalist and Leif brought in a guy by the name of Thomas Vikström. He is easily the second-best singer Candlemass ever had and his performance here was quite a breath of fresh air.
Because both Ancient Dreams and Tales of Creation were so unbearably dull, I am not familiar enough with the progression of the band's style between Nightfall and Chapter VI. There seem to be a lot more heavy metal mixed in with the traditional doom, this time around. Even still, there is a sombre and melancholic feeling throughout, especially on "Julie Laughs No More" and "Where the Runes Still Speak". The album is filled with epic and memorable riffs and the vocals really suit this material. Just listen to his screams that accompany the tasty riffs on "Aftermath", for example. And, of course, even though "The Dying Illusion" is rather fast for a Candlemass song, it fits in well and is one of the best songs on here.
Rarely have I ever heard anyone mention Chapter VI when discussing Candlemass and it seems that the album is criminally underrated or just ignored. What one will find here is some of the absolute best songwriting of the band's career, with a total '80s vibe even in 1992, and a very solid dose of traditional heavy metal and doom that come together to create probably the best record they ever made after their debut. It's too bad that the band split up a couple years later as this lineup should have done much more. Either way, give this a listen.
Because both Ancient Dreams and Tales of Creation were so unbearably dull, I am not familiar enough with the progression of the band's style between Nightfall and Chapter VI. There seem to be a lot more heavy metal mixed in with the traditional doom, this time around. Even still, there is a sombre and melancholic feeling throughout, especially on "Julie Laughs No More" and "Where the Runes Still Speak". The album is filled with epic and memorable riffs and the vocals really suit this material. Just listen to his screams that accompany the tasty riffs on "Aftermath", for example. And, of course, even though "The Dying Illusion" is rather fast for a Candlemass song, it fits in well and is one of the best songs on here.
Rarely have I ever heard anyone mention Chapter VI when discussing Candlemass and it seems that the album is criminally underrated or just ignored. What one will find here is some of the absolute best songwriting of the band's career, with a total '80s vibe even in 1992, and a very solid dose of traditional heavy metal and doom that come together to create probably the best record they ever made after their debut. It's too bad that the band split up a couple years later as this lineup should have done much more. Either way, give this a listen.
(24 Apr. 2025)
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