Dystopia - Anthemon

Dysterpi

There are several spectacular moments in the Dystopia, and fans will definitely recognize the distinctive Isole-the sound they know and love. The writing belongs to no other places, and the album out is the mood is mostly gloomy – epic, but bleak. However, it is only the vocals, which impresses on every single number, and several of the numbers are struggling to remain interesting over footage of 6-7 minutes. The song progressions are a mixed experience, which leads both breathtaking dynamics and more regular walks with him. Dystopia brings to the sometimes quite formidable and unparalleled doom, but at other times, more smooth and okay doom.

In the seventh kulkælder

One band jumps mainly forward in the memory by the term "epic doom", but we must not talk about today. Instead, we must speak also Swedish, also epic and also the doomy Isole (press on the first syllable), which to date has included no less than four times in metalbehavior.com. Although Isole has been around since 1991 (under the name Forlorn until 2004), I have not previously become acquainted with them, which is a terrible shame, for their version of the style, is something very special. Dystopia is the swedes ' seventh studio album, and gives a brilliant insight into Isoles and literacy, although the final expression is a mixed blessing.

Progressive or long-winded

For newcomers like myself, I will, to Isole plays an epic version of traditional doom, where deep riffs in the predominantly slow tempo forms the bottom of the extended songs, with a focus on a hugely sonorous vocals and stunning solos and melodies from the lead guitar. The opener "Beyond the Horizon" is based on a straightforward but powerfully doomriff, and incorporates the changing pace and mood as well as attractive guitarharmonier and vocal harmonies. A single scandinavian folk melody sneaks in towards the end (frontmændene Olsson and Bryntse is also albumaktuelle with the viking metal band Ereb Altor in september), and the song is an extremely great-sounding, varied and meaningful time of doom.

Different, it goes with the follow-up single "Written in the Sand", which, despite a nice vokalpræstation and almost nightmarish bleak riffs are not living up to a duration of six minutes. There is none of harmoniseringerne from the opener, and purely structurally limit the song to the same four parts (riff, verse, bridge, chorus), which is based on the same tempo and mood. Elsewhere to close "The Container" with the same exciting guitarmelodi as it started, but rather than seem like the logical conclusion of the song, it seems underwhelming. Midternummeret "You Went Away" contains few actual passages, of which a strong chorus – in addition to the easier banal leads – is the song's only major salgsobjekt. The number seems arranged to get the most power out of the chorus, which possibly would work better if it was stretched to almost seven minutes.

I is hard to a Dystopia, but the album also has its good sides. The vocals sound excellent, partly because the Bryntse has a huge sound and excellent technique, and partly because the album is extremely well-produced. Isole has also has a distinctive sound; the kernel is, of course, gloomy doom, but the aforementioned "The Container" and "You Went Away" delivers ethereal moods, which, in spite of my criticisms, giving them a distinct character. Finally is the penultimate track, "Galenskapens Country", an excellent demonstration of the dynamic songwriting. It takes its time before the song unfolds, but along the way run the song through the increasing sound level and increasing the voltage until a break leads the song – and the album – to a fantastic climax. Colossal, distorted triads form the bottom of the tremolo-played melodies before the vocals brings despair and melancholy into the endeavour. The album is rounded off with the contrasting "Nothingness", which has excellent passenger along the way, but as ends of a passage, which again works stitched on it previous.


>> Check the songs and lyrics here