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Melodic death metal, also referred to as melodeath, combines elements from death metal with elements from thrash metal, more traditional heavy metal and even hard rock. A typical feature of melodic death metal is the use of Iron Maiden-like twin guitar harmonies, melodic guitar leads and inherently melodic upbeat thrash riffage, and the guitars are often downtuned to B; sometimes synths and electronica elements occur in melodic death metal, too. The vocals are typically growled, shrieked or screamed, but some artists combine these harsh vocals with clean singing. Swedish artists in and around the city of Gothenburg have been especially influential in melodic death metal, leading to the establishment of the Gothenburg sound which has also made its way into metalcore and, more recently, power metal and progressive metal. Here on MMA, metalcore artists who make use of the Gothenburg sound, such as Nothing Divine, are included under metalcore, and power metal artists that make us of the Gothenburg sound, such as Raintime and Amaranthe, are included under power metal, while progressive metal artists that make use of the Gothenburg sound, such as James Labrie, are included under progressive metal. Sometimes a division is made between “melodeath” as a genre term referring specifically to melodic death metal based on the Gothenburg sound and “melodic death metal” as a term referring to more traditional death metal which emphasizes melody, as in the case of Terra Tenebrae, Arkan, and late Bolt Thrower. Carcass’ “Heartwork” is considered to be among the first melodic death metal releases, while artists like At the Gates, In Flames, Dark Tranquility, and Arch Enemy are among the most influential melodic death metal artists, and other examples are late Illdisposed, Deadlock, Amon Amarth, Omnium Gatherum, and Blood Stain Child.

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EDGE OF SANITY Crimson Album Cover Crimson
4.37 | 104 ratings
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DARK TRANQUILLITY The Gallery Album Cover The Gallery
4.46 | 27 ratings
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CARCASS Heartwork Album Cover Heartwork
4.33 | 63 ratings
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AMORPHIS Tales From the Thousand Lakes Album Cover Tales From the Thousand Lakes
4.26 | 60 ratings
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INSOMNIUM Winter's Gate Album Cover Winter's Gate
4.36 | 10 ratings
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DISILLUSION Back to Times of Splendor Album Cover Back to Times of Splendor
4.26 | 15 ratings
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AT THE GATES Slaughter of the Soul Album Cover Slaughter of the Soul
4.16 | 31 ratings
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OMNIUM GATHERUM Beyond Album Cover Beyond
4.35 | 8 ratings
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SOILWORK The Living Infinite Album Cover The Living Infinite
4.20 | 15 ratings
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INSOMNIUM Since the Day It All Came Down Album Cover Since the Day It All Came Down
4.36 | 7 ratings
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IN FLAMES Colony Album Cover Colony
4.11 | 34 ratings
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SCAR SYMMETRY Pitch Black Progress Album Cover Pitch Black Progress
4.18 | 16 ratings
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INSOMNIUM Heart Like A Grave

Album · 2019 · Melodic Death Metal
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How do you follow an album like Winter’s Gate? Insomnium’s masterpiece in my opinion – one continuous forty minute long piece of music, unless you bought the vinyl version then of course it was split in two. Unless you’re a prog band, not with an album of the same format.

Heart Like A Grave see’s the band returning to the shorter song structure of previous albums though some of them are quite long, Pale Morning Star almost hitting nine minutes for example. The sound is unmistakably Insomnium though they’ve gone and done an Iron Maiden and brought in a third guitarist, Jani Liimatainen. He hasn’t made any noticeable difference to their studio sound but I can imagine how live he could be a benefit for the layered guitar sounds, something he has already been doing for some time I believe. Heart Like A Grave delivers exactly what you’d expect from Insomnium. First rate melodic death metal with powerful melodic riffs overlaid by lead runs and interspersed with acoustic lulls and atmospheric sections. The vocals are largely growled of course courtesy of bassist Niilo Sevänen as usual but clean vocals are occasionally brought in which work well and should be used more often. Insomnium have always released strong albums so while Heart Like a Grave is up against some pretty stiff competition they’ve done well to equal and sometimes better their past work here. The band is obviously very comfortable in their style and sound and it shows through a strong sympathetic production. Best of all they maintain the quality level for the whole album.

Once again Insomnium have produced a winner. This is not going to turn heads the way Winter’s Gate did but musically it’s just as good and any fan of the band will not be disappointed. In fact those who felt the single piece of music format of the last album didn’t work will probably prefer the return to individual songs.


Boxset / Compilation · 1999 · Melodic Death Metal
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"Evolution" is a compilation album release by Swedish death metal act Edge of Sanity. The compilation was released through Black Mark Productions in November 1999. It was originally a two-disc release and predominantly features remaster and remix versions of tracks from the band´s pre-1999 releases. Lead vocalist Dan Swanö is credited for mixing and matering of the tracks. In addition to the remastered and remixed album tracks on the compilation, "Evolution" also features a new track ("Epidemic Reign"), and a couple of cover tracks (which have also been remastered and remixed).

I´m a fan of keeping things as they are (warts and all) and the necessity of remaster and remix albums have always eluded me. "Evolution" is not a remaster/remix compilation album which is gonna convince me otherwise. In many cases a remaster/remix version of a song lessens the impact of said song instead of enhancing the listening experience, and the original version is always preferable, even though some of the early material by Edge of Sanity did feature rough around the edges sound productions, which on the original releases certainly could have been better sounding. But that´s sometimes the charm of raw and unpolished releases and you often learn to live with and even appreciate the rough edged productions of releases like that. It becomes part of their identity and the history of the recording artist, and meddling with history like that often ends badly. To make a comparison (I´s a completely ridiculous one, but my point should come across), think of how fans of Donald Duck would react, if Disney went back and changed the color or Donalds clothes from blue to red in all the old cartoons...there would be heads rollin´.

Enough of my ranting though, and let´s talk a little more about "Evolution". The compilation features 24 tracks and most Edge of Sanity albums (minus Crimson (1996)") and the "Until Eternity Ends (1994)" EP are represented by a couple of tracks, and as mentioned above there are also a couple of cover tracks and a new tracks featured on the album. A good part of the studio album picks are among the lesser remarkable tracks in the band´s discography though, and it´s what I would call odd tracklist choices for a compilation album. I understand the need to include some cover tracks and a new song to pull people in (although most of those tracks aren´t particularly remarkable either), but releasing a compilation, which does not feature the band´s best work is beyond me. I´d recommend purchasing the 2006 "When All is Said" compilation instead, if you want a taste of what Edge of Sanity is about and don´t want to purchase all their albums up front. "Evolution" is not a good way to get aquainted with the output of Edge of Sanity and is purely a release for the hardcore fans, who need to own everything the band have ever released. A 2.5 star (50%) rating is warranted.

IN FLAMES The Jester Race

Album · 1996 · Melodic Death Metal
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"The Jester Race" is the 2nd full-length studio album by Swedish melodic death metal act In Flames. The album was released through Nuclear Blast Records in February 1996 (Licensed from Wrong Again Records, who In Flames were contractually obligated to). There were quite a few lineup changes between the band´s debut full-length studio album "Lunar Strain (1994)" and the "Subterranean (1995)" EP, and there have been quite a few changes again on "The Jester Race". In Flames finally settled with Anders Fridén as their permanent lead vocalist. Fridén had worked with artists like Septic Broiler, Ceremonial Oath, and Dark Tranquillity before joining In Flames. The band didn´t have a permanent drummer on the previous releases either, but that was fixed here too as Björn Gelotte joined the lineup. The usual suspects are Glenn Ljungström (guitars), Jesper Strömblad (guitars), and Johan Larsson (bass).

Stylistically the music on "The Jester Race" continues the melodic death metal style with ethnic Scandinavian folk leanings which the band also played on the two previous releases. The band´s sound is a bit more developed here and the songwriting slightly more memorable too, but you´ll find few surprises on the album if you´re already familiar with "Lunar Strain (1994)" and "Subterranean (1995)". In Flames were on to something special with those releases though, so there are probably very few (if any) complaints about the musical direction on "The Jester Race". Anders Fridén continues the trend of high pitched screaming/growling vocalists, and you´ll be exposed to fast-paced and very melodic harmony guitar riffs and solos, fast- and mid-paced heavy beats, and acoustic sections too. The folk influence is mostly heard in the acoustic parts, but many of the epic guitar themes also reek traditional Scandinavian folk melodies.

"The Jester Race" is a consistent release both in terms of the musical style and in regards to the quality of the compositions. From the opening notes of "Moonshield" to the closing notes of "Dead God in Me", the 10 track, 40:27 minutes long album features high quality melodic death metal played by skilled musicians. The album is well produced too, featuring a powerful and raw sound production, which suits the material well. Upon conclusion there´s been a positive development of sound since "Subterranean (1995)", and paired with a better sounding production, and a band who have honed their playing skills too, "The Jester Race" is a high quality sophomore studio album by In Flames. A 4 star (80%) rating is deserved.


Album · 2019 · Melodic Death Metal
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Kev Rowland
The band couldn’t stay as a quartet outside the studio as their sound needs that double hit of guitars, so in 2016 they brought in Daniel Freyberg (ex-Naildown and ex-Norther). It must be a hard job settling in with a group of guys who have been together longer than many marriages, but certainly when it comes to the sound, he seems right at home having spent the last three years on the road with them. Straight from the off on this this record, one thing that is immediately noticeable is the seeming higher presence of keyboard player Janne Warman. Laiho agrees, “Yes, he’s played a big part of every single album, but this time this might seem even more prominent only because of the sounds that he uses. Because the funny thing is that on, let’s say, ‘I Worship Chaos’ or ‘Halo of Blood’, the keyboards were there all the time, but you might not even know that they’re there because he’s doubling my guitars with some insane, super-low octave sound that doesn’t really stick out. So maybe he pops out more on this album, and I guess he has more of a main role in a lot of parts of the songs.”

This album feels more melodic, more commercial in many places, than some of their previous albums and it is hard to know if this is down to the larger emphasis on keyboards, the production, or the new member of the band. Certainly, Raatikainen is hitting the drums as hard as he has for more than quarter of the century, and his double bass blastbeats are there in evidence, but one has to really listen to them as he has been pushed more into the background. The band have used Mikko Karmilla to mix their sound for years, but here it feels muddier and not as clean – it is really noticeable when playing this album straight after the last one, as the sound is quite different indeed. Interestingly the band have also gone back in time and have revisited a song they had recorded before, 2002’s “Knuckleduster”, as it was felt it wasn’t treated correctly first time around. Unfortunately, Laiho didn’t have the lyrics for the verse, so had to write new ones. This is the last song on the album and shows the band with some of their heaviest elements, which contrast well with the keyboards. When Children of Bodom get it right there are few in the world to match them, and even when slightly under par they are one of the best bands in the metallic universe.

Although I would have liked to have heard this with slightly different production, yet again Children of Bodom have produced the goods.


Album · 2015 · Melodic Death Metal
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Kev Rowland
Roope Latvala of Finnish thrash metal band Stone joined Children of Bodom in 2003, after guitarist Alexander Kuoppala decided to leave. This was the only line-up change since the band changed their name from Inearthed back in 1997, but prior to the recording of this album in 2015, Latvala also left. Instead of trying to get someone else into the band in time for the album, it was instead recorded as a quartet for the first time. Given that all these guys were playing together for at least the last 18 years, and drummer Jaska W. Raatikainen and singer/guitarist Alexi "Wildchild" Laiho formed that band back in 1993, the loss of one member doesn’t seem to have phased them too much.

It was back in 2003 when I first came across the band. I had missed out on their first three albums, but ‘Hate Crew Deathroll’ and the opening cut “Needled 24/7” was an immediate hit with me. As for their version of “Oops I Did It Again” (which can be found on their 2009 ‘Skeletons In The Closet’), it is simply awesome and even my kids enjoyed hearing that one in the car. For some reason I don’t think their take on melodic death or melodic black metal has ever really gained the plaudits and attention it should have (although in fairness I do live at the other end of the world and music press is limited, to say the least). This is technical music, incredibly tight with very high note density, and keyboards that may be sat at the back providing a symphonic curtain for the music to be placed against or can be taking the lead in a very metallic manner.

These four guys basically grew up together, firstly in the same small community in Finland, and then on the road together and it shows. This is music which relies totally on everyone knowing their place and combining together to create something special. Laiho may not have another guitarist to play against but he can either trade licks with himself or Janne Warman who is always there when he needs him. I have to smile each time I play “Hold Your Tongue” as it reminds me so much of Slipknot in one sense, and not at all in another.

Melodic, metallic, over the top yet with commerciality, Children of Bodom are still one of the top acts from Finland and this shows why.

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AMON AMARTH Wrath of the Norsemen

Movie · 2006 · Melodic Death Metal
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Talk about value for money, from a band like Amon Amarth you wouldn’t expect them to be able to afford such a crazily generous and in depth DVD package when some of the bigger bands can’t afford anything even half this good.

The Set comes in a glorious 3 DVD digipak with detailed artwork, a full booklet and an awesome little viking crown that keeps it closed. Then you get Five full concerts (with 22, 16,13, 11 and 9 tracks respectively) and a documentary.

The main feature; a 22 track concert from Cologne in 2005 is an incredible affair with crystal clear sound, Huge guitar tones, amazingly heavy drums and nice clunky bass. The camera work is of a higher quality than even some of the biggest metal bands’ DVDs and again the sound is immense.

Then theres the performance, the band are absolutely electric delivering furious renditions of material from all eras a their career from the massive ‘Amon Amarth,’ and ‘Fate of Norns,’ to catchy closer ‘Death In Fire,’ and the crowd just lap it up.

Vocalist Johan Hegg absolutely commands the stage, engaging the crowd at every opportunity and singing his heart out while the band hammer through their classics like ‘heavy,’ is going out of style.

On top of all that you have a great light show, huge Amon Amath banners, more pyro than a kiss concert and an interlude with about thirty Viking reenactors sword fighting on stage! That feature is worth the money alone, the show is probably one of the best metal concerts on the market and I can’t stress how good the sound and picture are; then on top of all that you get the rest of the set, featuring virtually ever Amon Amarth song ever written, and performances from ‘Waken Open Air festival,’ ‘Summer Breeze Festival,’ and two more indoor concerts in Europe.

If you like Amon Amarth Buy this right now. If you don’t, you will within thirty seconds of watching this.

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