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When A Shadow Is Forced Into The Light - Swallow The Sun

THE SAD SYMPHONIES

What we have to work with here is in no way on a par with their previous releases, and certainly not the last. But what does it say at all when the level is already high? Be preserved, there is pladret extra pathos, and it feels overtænkt and overplayed. But in turn, it is screwed together well, and in terms of craftsmanship, keep it in the court. Even though I'm cheap for sale for the emotionally charged music, I think, however, it can be a little too much, and I might well have thought me, that they had been more mindful not to be too dramatic. But are you a fan of sjæleonder and begrædelsen over the loss of faith in the love, purpose, and general zest for life, you will clearly have controlled your urge to like right here.

SENSITIVE FINS

I was not late to roar "MIIIIN", as it came to me, to Swallow the Sun appeared with a new plate. Their last release was I love, and I listened with a will not for the song to be able to experience the plate in its intended entirety. But even though I'm the type who appreciate a good game of feels, there are still a few monkeys dabeis by When A Shadow Is Forced Into The Light.

 

FRENCH/FINNISH FINNISH/FRENCH

It looks otherwise good with the intro and the title track. There is added a symphonic element, as a garment their already dramatic music. Tungsindet is to take and feel on, but I have to ask myself critical of the dissemination of this. This is due, inter alia, "The Crimson Crown", as I am still on the teeter-totter over, there is too much in the foreground. An emotional duet, something advanced drumming and complicated guitar overshadows completely the information regarding the bass. They can be a tad vulgar in their attempts to squeeze the pathos out, and it is unfortunately a recurring nuisance. The single "Upon The Water" is a self-important place, where frontman Mikko Kotamäki trying to go Peter Steele in the flower beds, but he lacks the devilish twinkle in his eye, we know and love from the St. Bøhmand. The on the plate otherwise ubiquitous female along pop up so sporadically, that she almost becomes redundant.

But the "Stone Wings" speaks to me with big letters and should have been, not so much so but then. The pace, the vocals, the simple melody is led by the guitar and the slow drumming is accentuated by a high hat, which is not so intrusive that it interferes with the mood. All of these elements are perfectly balanced, and the symphonic touches are being supported by a good growl with the variation, and anslagene from rytmesektionen will be correspondingly harder. The subsequent change to the song occurs almost unnoticed and serves as a fine bow on a musical event that unnoticed is built up slowly. The female vocals also fit well here, and the number is the record's absolute peak. "Clouds On Your Side" is the reverse one of the numbers where you wonder what the hell they really thought. On the previous release had a number with a gentle only, which beautifully articulated in Finnish. They are after all from Finland, and modersmålets effect, I think, in no way, you should override – this is why I can not understand why suddenly there will be speaking French. It will not be more effective emotionally to speak a language, someone has definitely are more sexy than others, and although sympathetic insight is still audible, so it quickly becomes a little selvsmagende. The last number on the album, "Never Left", sounds like Within Temptation without the opera and is ABSOLUTELY perfect for the newly minted single, still have everything for the evil of himself to be able to other than to wallow in his own misery. Set it here and eat ice cream directly from the cask.

 


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