MY DYING BRIDE

Death-Doom Metal / Doom Metal / Non-Metal • United Kingdom
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My Dying Bride is a Doom metal band that was at the forefront of the English Doom movement in the early 90s that included such bands as the former label mates Anathema and Paradise Lost. Formed in West Yorkshire, England, they are known for their slow yet extremely heavy riffs and haunting lyrics. Relentlessly slow, thick, heavy chords allied with remarkably morose lyrics make My Dying Bride a unique proposition and certainly a challenge to the listener. Since its debut, the Halifax based band has remained steadfast in an unwavering pursuit of extreme Metal despite, ironically enjoying the rewards of an international fan base despite the noncommercial nature of its output.

The initial formation numbered vocalist Aaron Stainthorpe, guitarists Andrew Craighan and Calvin Robertshaw plus drummer Rick Miah, who founded the band in 1990. The band released the 'Towards The Sinister' demo, noted for its complete absence of bass, recorded
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MY DYING BRIDE Discography

MY DYING BRIDE albums / top albums

MY DYING BRIDE As the Flower Withers album cover 3.82 | 22 ratings
As the Flower Withers
Death-Doom Metal 1992
MY DYING BRIDE Turn Loose the Swans album cover 4.22 | 35 ratings
Turn Loose the Swans
Death-Doom Metal 1993
MY DYING BRIDE The Angel and the Dark River album cover 4.12 | 26 ratings
The Angel and the Dark River
Doom Metal 1995
MY DYING BRIDE Like Gods of the Sun album cover 3.68 | 15 ratings
Like Gods of the Sun
Doom Metal 1996
MY DYING BRIDE 34.788%... Complete album cover 3.28 | 15 ratings
34.788%... Complete
Doom Metal 1998
MY DYING BRIDE The Light at the End of the World album cover 3.89 | 24 ratings
The Light at the End of the World
Death-Doom Metal 1999
MY DYING BRIDE The Dreadful Hours album cover 4.44 | 31 ratings
The Dreadful Hours
Death-Doom Metal 2001
MY DYING BRIDE Songs of Darkness, Words of Light album cover 4.24 | 22 ratings
Songs of Darkness, Words of Light
Death-Doom Metal 2004
MY DYING BRIDE A Line of Deathless Kings album cover 4.18 | 15 ratings
A Line of Deathless Kings
Doom Metal 2006
MY DYING BRIDE For Lies I Sire album cover 4.07 | 17 ratings
For Lies I Sire
Doom Metal 2009
MY DYING BRIDE Evinta album cover 3.45 | 11 ratings
Evinta
Non-Metal 2011
MY DYING BRIDE A Map of All our Failures album cover 3.73 | 15 ratings
A Map of All our Failures
Doom Metal 2012
MY DYING BRIDE Feel the Misery album cover 4.04 | 12 ratings
Feel the Misery
Doom Metal 2015
MY DYING BRIDE The Ghost of Orion album cover 3.89 | 5 ratings
The Ghost of Orion
Doom Metal 2020

MY DYING BRIDE EPs & splits

MY DYING BRIDE Symphonaire infernus et spera empyrium album cover 3.52 | 7 ratings
Symphonaire infernus et spera empyrium
Death-Doom Metal 1992
MY DYING BRIDE The Thrash of Naked Limbs album cover 3.81 | 6 ratings
The Thrash of Naked Limbs
Death-Doom Metal 1993
MY DYING BRIDE I Am the Bloody Earth album cover 2.79 | 5 ratings
I Am the Bloody Earth
Death-Doom Metal 1994
MY DYING BRIDE Bring Me Victory album cover 3.69 | 5 ratings
Bring Me Victory
Doom Metal 2009
MY DYING BRIDE The Barghest O' Whitby album cover 3.69 | 10 ratings
The Barghest O' Whitby
Death-Doom Metal 2011
MY DYING BRIDE The Manuscript album cover 4.29 | 6 ratings
The Manuscript
Doom Metal 2013
MY DYING BRIDE Macabre Cabaret album cover 4.00 | 3 ratings
Macabre Cabaret
Doom Metal 2020

MY DYING BRIDE live albums

MY DYING BRIDE The Voice of the Wretched album cover 3.25 | 2 ratings
The Voice of the Wretched
Death-Doom Metal 2002
MY DYING BRIDE An Ode to Woe album cover 3.50 | 3 ratings
An Ode to Woe
Doom Metal 2008

MY DYING BRIDE demos, promos, fans club and other releases (no bootlegs)

MY DYING BRIDE Towards the Sinister album cover 2.33 | 2 ratings
Towards the Sinister
Death-Doom Metal 1990
MY DYING BRIDE New Metal Messiahs! album cover 0.00 | 0 ratings
New Metal Messiahs!
Death-Doom Metal 1995
MY DYING BRIDE Bloody Hell album cover 0.00 | 0 ratings
Bloody Hell
Death-Doom Metal 1996
MY DYING BRIDE Excerpts from Evinta album cover 0.00 | 0 ratings
Excerpts from Evinta
Non-Metal 2011
MY DYING BRIDE Hollow Cathedra album cover 4.00 | 1 ratings
Hollow Cathedra
Doom Metal 2015

MY DYING BRIDE re-issues & compilations

MY DYING BRIDE The Stories album cover 2.00 | 1 ratings
The Stories
Death-Doom Metal 1994
MY DYING BRIDE Trinity album cover 3.80 | 8 ratings
Trinity
Death-Doom Metal 1995
MY DYING BRIDE Meisterwerk I album cover 2.83 | 2 ratings
Meisterwerk I
Death-Doom Metal 2000
MY DYING BRIDE Meisterwerk II album cover 3.17 | 2 ratings
Meisterwerk II
Doom Metal 2001
MY DYING BRIDE Anti-Diluvian Chronicles album cover 4.00 | 1 ratings
Anti-Diluvian Chronicles
Death-Doom Metal 2005
MY DYING BRIDE Peaceville Presents... My Dying Bride album cover 0.00 | 0 ratings
Peaceville Presents... My Dying Bride
Death-Doom Metal 2013
MY DYING BRIDE Introducing My Dying Bride album cover 0.00 | 0 ratings
Introducing My Dying Bride
Doom Metal 2013
MY DYING BRIDE The Vaulted Shadows album cover 4.23 | 3 ratings
The Vaulted Shadows
Death-Doom Metal 2014
MY DYING BRIDE Meisterwerk III album cover 3.00 | 1 ratings
Meisterwerk III
Doom Metal 2016
MY DYING BRIDE A Harvest of Dread album cover 0.00 | 0 ratings
A Harvest of Dread
Doom Metal 2016

MY DYING BRIDE singles (6)

.. Album Cover
2.00 | 1 ratings
God Is Alone
Death-Doom Metal 1991
.. Album Cover
2.50 | 1 ratings
Unreleased Bitterness
Death-Doom Metal 1993
.. Album Cover
2.50 | 1 ratings
The Sexuality of Bereavement
Death-Doom Metal 1994
.. Album Cover
2.92 | 2 ratings
Deeper Down
Death-Doom Metal 2006
.. Album Cover
4.00 | 1 ratings
Your Broken Shore
Death-Doom Metal 2020
.. Album Cover
4.50 | 1 ratings
Tired Of Tears
Doom Metal 2020

MY DYING BRIDE movies (DVD, Blu-Ray or VHS)

.. Album Cover
3.58 | 2 ratings
For Darkest Eyes
Death-Doom Metal 1997
.. Album Cover
3.75 | 2 ratings
Sinamorata
Death-Doom Metal 2005

MY DYING BRIDE Reviews

MY DYING BRIDE The Dreadful Hours

Album · 2001 · Death-Doom Metal
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lukretion
Following on the footsteps of their previous album, in 2001 My Dying Bride completed their full return to form after a couple of full-lengths that had disappointed more than a few fans. The Dreadful Hours is a fantastic album, containing some of the best songs ever written by the British doomsters. Alas, it also contains a handful of songs that I struggle not to see as “fillers”. Despite its somewhat uneven tracklist, The Dreadful Hours sits tall in the band’s discography as one of their best records to date.

Let’s start with the positives. The Dreadful Hours is the culmination of My Dying Bride’s slow metamorphosis from death/doom frontrunners to purveyors of a hybrid style halfway between gothic metal and doom. This process of transition had started on their 1995 album The Angel and the Dark River and saw the band increasingly streamlining their songs and injecting more and more accessible melodies into the music. Songs like the title-track, “The Raven and the Rose”, “Le Figlie della Tempesta” and “My Hope, the Destroyer” are splendid examples of the musical vision of the Yorkshire band. Deeply melodic, yet incredibly dark and morose (also for the subject matters, such a child abuse on the title-track), these songs perfectly combine the slow-tempos and tortuous guitar riffs of doom with the melodic allure of gothic and dark metal.

What is even more astonishing is how different from one another these songs sound. The title-track starts with an almost post-rock clean guitar riff, before descending in doom/death territory with Aaron Stainthorpe’s cavernous growls and Hamish Glencross and Andrew Craighan’s lead-like guitars. “The Raven and the Rose” is balanced between furious (and fast!) guitar riffs and a beautifully orchestrated melodic section, with thick swathes of organ and synths and a monstrous performance by drummer Shaun Taylor-Steels, who here truly gives a meaning to the words “drum fills”. “Le Figlie della Tempesta” is more atmospheric, almost dark metal, as it dances away on a delicate guitar arpeggio and Aaron’s beautiful clean vocals. Meanwhile, “My Hope, the Destroyer” is a gothic beast that again speeds up the tempo relative to the usual sludgy pace of death/doom. All this variation makes The Dreadful Hours one of the most diverse and exciting album the band had written up to that point of their career. It makes for a truly engaging listen, which never bores and surprises again and again with new twists that are ever so tasteful and appropriate.

Alas, the second half of the album does not match the quality of the opening trio of tracks or “My Hope, the Destroyer”. “Black Heart Romance”, “A Cruel Taste of Winter” and “The Deepest of All Hearts” inhabit more traditional doom territories. There are some surprises and interesting sections (the beautiful clean guitar flourishes on “Black Heart Romance”), but the general feel is one of sluggishness and lack of inspiration. The album closer “Return to the Beautiful” deserves a word apart. This is a re-work of “The Return of the Beautiful” from the band’s debut album, As the Flower Withers, when My Dying Bride were firmly playing death/doom metal. Inevitably, this last song stands in stark contrast with the mellower and more sophisticated gothic/doom of the rest of the record. As an album closer this totally backfires as it concludes the record incongruously, with a completely different sound and atmosphere than the rest of the album.

Despite containing hits and misses, The Dreadful Hours is one of my favourite albums from My Dying Bride. Its moments of brilliance far exceed the duller episodes and the diverse nature of his tracks paint a beautiful and exciting picture of the band’s sound evolution at the dawn of the new millennium.

MY DYING BRIDE The Light at the End of the World

Album · 1999 · Death-Doom Metal
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lukretion
After two disappointing albums (the mediocre Like Ghosts of the Sun and the failed experiment to modernize their sound which is 34.788%...Complete), My Dying Bride were quick to jump on the horse again and try to show their fans that they were still a relevant voice in the metal landscape at the turn of the millennium. Seen in this light, The Light at the End of the World is certainly a resounding success. Ditching the experimentalism of their previous record, My Dying Bride embraced again their sorrowful doomy identity (including their original logo!) and showed the fans they could still write memorable death/doom/gothic tunes like no other. At the same time, the album only contains a couple of tracks that can truly be numbered among the band’s best, while the rest of the songs are little more than respectable extras.

In terms of songwriting, on this album My Dying Bride return to their tried and true formula of combining snail-paced tempos, long-winding and tortuous guitar riffs, dramatic keyboards (played by Bal Sagoth’s Jonny Maudling who replaced as a guest the band’s former keyboard player Martin Powell), lots of drum fills (played by Shaun Taylor-Steels, who replaced Rick Miah), and Aaron Stainthorpe’s trademark lamented crooning vocals. Aaron also throws-in growled vocals on a couple of songs, as well a half-spoken recitation on the album’s splendid title track. Structurally, the songs are complex and go through several different sections throughout their duration, with plenty of tempo changes and accelerations/decelerations. As with all My Dying Bride’s albums, this is not music for the faint of heart and it requires some time investment to be properly appreciated.

Yet, many songs on The Light at the End of the World showcase instantly memorable melodies carried by either the vocals or the guitars, which greatly facilitate their assimilation compared to the band’s previous output. This trimming-down and streamlining of the sound is a process that the band had already inaugurated on their 1995 album The Angel and the Dark River, and marks the transition from their early death/doom style to the gothic/doom sound they will embrace at later stages in their career. On The Light at the End of the World My Dying Bride are still in transition, though the desire to write more accessible songs is evident on tracks like the chorus-driven “The Isis Script”, for example.

The album flows away pleasantly, with some peaks and some declines. Among the strongest songs there is certainly the title-track, a 10+ minute beast that is as dark and desperate as the night itself. A beautiful tale of lost love, the song ebbs and flows between Aaron’s sombre recitation and a beautifully decadent vocal melody that keep returning again and again throughout the duration of the song. I also like a lot the three “shorter” and more compact pieces that follow the title-track, “The Fever Sea”, “Into the Lake of Ghosts” and “The Isis Script”, which all contain some great, attention-grabbing melodic intuitions. While not as perfect as some of the tracks on the band’s subsequent album (The Dreadful Hours), these tracks showcase all the potential of the gothic/doom sound My Dying Bride were developing at the time. On the other hand, the record sags a bit when it hits the longer compositions, like “Edenbeast” and “Christliar”, which overstay their welcome with tortuous, unyielding melodies that verge on the boring.

Despite a few missteps and a mastodontic length of 71 minutes that discourages repeated listens, The Light at the End of the World is a fine album and a worthwhile descent into misery. It represents a clear return to form for the British band, which was needed after two albums that disappointed more than a few fans. That things were on the upswing for the Bride will become even clearer after a couple of years, when the band will release The Dreadful Hours, which stands still today as one of the best records in their whole discography.

MY DYING BRIDE 34.788%... Complete

Album · 1998 · Doom Metal
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lukretion
The mediocre Like Ghosts of the Sun had already shown that in the mid-90s British doomsters My Dying Bride were probably facing a sort of creativity crisis, struggling to write inspired music within the canons of the genre (gothic/doom) that they had contributed to create. Released in 1998 after the departure of violinist Martin Powell, 34.788%...Complete feels a lot like an attempt by My Dying Bride to jump start their songwriting machinery by injecting into it fresh new influences, from industrial to trip hop to electronica. Truth be told, My Dying Bride were not the only doom band exploring new forms of expression in those years. Paradise Lost had turned electro-goth since a couple of years, and Anathema were slowly but surely developing their own Floyd-infused progressive rock style. So 34.788%...Complete can also be seen as My Dying Bride trying to play catch up with the other two main UK doom metal bands of that era. Either way, 34.788%...Complete is a sort of extemporary experiment that is brave and at times interesting, but that ultimately falls inexorably flat.

The idea of mixing doom/gothic metal with industrial and electronic influences is actually quite promising, as the opener “The Whore, the Cook and the Mother” shows. This track is by far the best of the album. In fact, I’d say it is the ONLY song of the record that actually works. The abrasive industrial guitar intro is jarring and unexpected, and it immediately grabs the listener’s attention. Aaron Stainthorpe’s slow-paced singing paints the usual dramatic atmospheres, but the distorted filter that is used to process his vocals adds a layer of urban grit that makes things fresh and exciting. The guitar lead is instead quintessential My Dying Bride doom, creating a nice contrast with the futuristic feel of Aaron’s vocals and the industrial rhythm guitar. The track then dissolves into a music collage of acoustic arpeggios, background noise and sampled vocals, another unexpected turn that keeps the listener guessing what may come next. It’s a great track and an excellent example of how to develop the band’s sound without feeling forced or losing their sonic identity.

Alas, the rest of the record does not even come close to matching the promise of its opener. The main reason is that in none of the other songs does the band succeed in mixing the new influences in a natural and fluid way as on the opener. “The Stance of Evander Sinque”, “Der Überlebende”, “Apocalypse Woman”, and “Base Level Erotica” are all songs that feel completely underdeveloped, where the songwriting technique seems to have been to throw-in a couple of industrial riffs, electronic flourishes or futuristic guitar effects, while firmly staying in the usual comfort zone of the band’s old doom/goth sound (not too far distant from the music on Like Ghost of the Sun). It all feels artificial and not really thought through. I get the distinctive feel that the band was not quite sure in which direction to take their music. Or perhaps this is the symptom of a reticence to fully embrace the new influences in order to avoid alienating too many fans.

Things get even more puzzling when one considers “Heroin Chic”, which is the most outlandishly experimental track of the album. And not in a good way. This is an electronica/trip hop song with some soulful female singing (by Michelle Richfield, who also sang for Anathema and Antimatter) and, shockingly, a sort of (very poor) rapped vocals by Aaron. After the first minute, when the initial surprise wanes off, the song quickly becomes unlistenable as it continues in the same vein for another seven minutes with bad lyrics, bad vocals, and a rather insipid musical background. I have nothing against experimenting with electronica/trip hop and in fact I love the early electronic-infused albums by the aforementioned Antimatter, for instance. But “Heroin Chic” really feels like a parody of a band who wants to mix electronica and metal, rather than a serious attempt to merge the two genres. Again, this leaves me wondering what My Dying Bride were trying to do with this album.

In the end, I am not quite sure the band knew themselves. The new sonic “direction” was quickly abandoned, and only after one year My Dying Bride were already back in the shops with a new record (The Light at the End of the World) that took three steps back in terms of sound, scrapping all industrial/electronic influences and returning to a style closer to Turn Loose the Swans (growls included). Overall, 34.788%...Complete is probably best remembered as a child of its times, when many metal bands were looking beyond the boundaries of the genre to experiment with new sounds and influences. In some cases (Anathema, for example), this worked splendidly. In others, it failed ruinously. Either way, I respect My Dying Bride for trying, although this is not an album that I can see myself listening to again any time soon.

MY DYING BRIDE Like Gods of the Sun

Album · 1996 · Doom Metal
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lukretion
Coming from two very strong albums like Turn Loose the Swans (1993) and The Angel and the Dark River (1995), the expectations for My Dying Bride’s new album were high. Released in 1996, Like Gods of the Sun actually turned out to be a major disappointment for fans and it is to date regarded one of the low points of the British doomsters’ discography. So what went wrong?

On the new album, My Dying Bride continued to hone in the formula they had already used on the previous two records, mixing the slow tempos and crushingly slow-winding guitar riffs of doom metal with gothic and romantic atmospheres. The gothic elements are perhaps a tad more prominent on Like Gods of the Sun, as Aaron Stainthorpe continued to perfect his dark croon to the point of sounding at times like a darker Fernando Ribeiro (Moonspell). The band also used slightly more conventional structures on the new album compared to the preceding records, with nearly a verse/chorus repetition on some tracks (“Grace Unhearing”) and guitar riffs that are tighter and less sprawling. This isn’t necessarily bad, although some fans may have seen this as a “commercial” move.

Thus, on paper Like Gods of the Sun ticks all the right boxes. Alas, the problem with the album is exactly that: it does truly sound like nothing more than a box-ticking exercise. Nearly all songs sound completely lifeless and uninspired, like if they had been written half-heartedly and without a true purpose. There are a few interesting ideas here and there (a cool guitar riff, a nice vocal melody), but they are stretched so thin across the 54 minutes of the record, that they fail to emerge from the general dullness. I also wonder how much effort the band actually put into this album. Take the transitions between the different song parts, for example. Often, the band just resorts to a “stop-and-go” technique: they just stop playing whatever riff they were playing, leave a second of silence, and start with a new, completely different riff. That’s kinda lame. And gives an incredibly disjointed feel to a lot of the tracks on the album.

The album does have a couple of episodes that hark back to the glory of the previous records. “Grace Unhearing” features a nice chorus, probably one of the catchiest things that My Dying Bride had written up to that point in their career. The song is however too long and the repetition of verse/chorus is a bit of a joy-killer when this goes on for 7 minutes with little else in between. “A Kiss to Remember” uses one of the most inspired guitar riffs of the whole album, but again things are stretched too thin and too little happens to justify a duration of 7:31 minutes. After this track, the album drowns in a sequence of songs that are all incredibly flat and boring. Only album closer “For My Fallen Angel” tickles again my attention. This is an atypical track with processed strings, violin and spoken vocals. The fact that it is my favourite track of the whole album speaks volumes about the rest of the material of this record.

Overall, Like Gods of the Sun sounds a lot like a band in the middle of a creativity crisis. Alas, My Dying Bride’s next couple of albums will confirm that this was indeed the case. In a bid to revive their songwriting formula, on their next record 34.788%... Complete, the band will seek inspiration in industrial metal, producing an album that is surely experimental but also not particularly impressive. It will take one more transitional album (The Light at the End of the World), before My Dying Bride will find again their footing, releasing what is instead one of the high points of their discography, The Dreadful Hours. If you are new to the band and want to sample their sound, my advice is to jump directly from The Angel and the Dark River to The Dreadful Hours, skipping the three rather mediocre records in between.

MY DYING BRIDE The Angel and the Dark River

Album · 1995 · Doom Metal
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lukretion
My Dying Bride’s third LP, The Angel and the Dark River, is the album that introduced me to the music of the British doomsters, back in 1995 when I was still a teenager attending middle school. I remember its dark, morbid, yet irresistibly epic atmosphere had a huge impression on me. As a relatively junior metal fan, I had never heard anything like it and I thought that the combination of super heavy and super slow metal with romantic violins and cold crooning vocals was very cool.

Fast forward 26 years and I still think this album is extraordinary and one of My Dying Bride’s crowning achievements. The conceptual seeds of The Angel and the Dark River were actually sown two years prior, with the band’s sophomore album Turn Loose the Swans, which The Angel… is a more refined version of. The music revolves around the hyper-distorted and sludgy guitar riffs of Andrew Craighan and Calvin Robertshaw. The two guitarists play a huge role in defining the sonic identity of the album, relentlessly crawling across the speakers with their slow-pace and obsessive riffs, and painting beautiful, if slightly unyielding melodies – like the repeated six-note lead that is played throughout “The Cry of Mankind” or the delicate guitar tapestry of “Two Winters Only”. Another key ingredient to My Dying Bride’s music are Martin Powell’s violin and keyboards. Although the violin is perhaps slightly less prominent in the mix than on Turn Loose the Swans, it makes a huge contribution to the band’s sound, adding a unique romantic flair that is almost genre-defining. Martin’s organ also adds tons of atmosphere, especially on “From Darkest Skies”.

Rhythmically, The Angel and the Dark River is perhaps slightly less adventurous than the preceding record, with drummer Rick Miah playing more straightforwardly to the beat without too many fills and flourishes, and Adrian "Ade" Jackson’s bass raising to prominence only sporadically. This is not necessarily a bad thing: the album sounds more relaxed and spacious than Turn Loose the Swans, which was instead more hectic and dramatic. This also leave more space for Aaron Stainthorpe’s desperate croons, which are the other defining sonic characteristic of the album. By 1995 Aaron had completely abandoned the extreme growls he used on the band’s debut album and that were still present in a couple of songs of Turn Loose the Swans. On this album, Aaron only uses his clean baritone voice with his unique style and phrasing, halfway between singing and recitation. His vocals are no doubt a sort of acquired taste, but they fit perfectly with the morose nature of My Dying Bride’s music. Aaron’s melodies are rarely catchy and attention-grabbing, as they rather ebb and flow on top of the musical background. Yet, occasionally he injects a memorable line here and there, achieving a very stark and dramatic effect, like a ray of sunshine tearing through dark clouds.

The Angel and the Dark River is a treasure-trove of great melodic gothic/doom metal. Opener “The Cry of Mankind” is an iconic song, which could almost be used to teach the young what doom metal is. I love the repeated 6-note guitar figure that continues through the whole song, while Aaron sings some of the most enticing melodies of the whole record. Some people dislike the fact that, although the track clocks in at just over 12 minutes, the last 5 minutes are a collage of background noise. I actually do not mind, it adds an interesting atmosphere to the song and, when I am not in the mood for it, I just skip the song’s coda and proceed straight to the next track. “Black Voyage” is another great song, with lots of different facets. It starts as one of the slowest and most forlorn compositions of the album before a melodic violin injects life into it, tearing through the bleak atmosphere. The most interesting parts, however, are in the second half of the song, where Aaron’s vocals almost take a ritualistic turn while the guitar howls and Ade’s bass has a rare moment of visibility. “A Sea to Suffer In” is a gothic number that brings to mind Anathema, while “Two Winters Only” is the other highlight of the record, after opener “The Cry of Mankind”. The dramatic shift between the initial acoustic guitar and the electric mayhem of the second half is breath-taking, while Aaron offers again a great performance behind the mic.

The Angel and the Dark River is one of those iconic records that every metal fan should listen to at least once in their life. Not everyone will love it: its slow tempos, unyielding melodies, and bleak, morose atmosphere may put off more than one person. Personally, I like the way the record envelops me into a thick cloak of oppressive darkness, lulling me into a trance-like state that is weirdly comforting. It’s not an album that I would play every day. But when the right mood strikes me, perhaps in a dark day of rain when everything feels so pointless and ephemerous, there are few other albums that can be such a balm to the soul like this one.

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