ALBUM REVIEW: Dark Asylum – Kamelot
Symphonic metal has always been about sounding as larger than life as possible, but every band within this epic subgenre has their distinct writing style. Some bands like to be progressive, and write longer tracks, when others focus on catchier simpler song structures. KAMELOT are a fascinating five-piece as their music is categorised as huge, technical, yet also catchy. Their older music used to be more progressive at times too, but over time, it seems like they opted to start drifting away from this sort of vibe. On Dark Asylum, the symphonic metal heroes prove that they can still maintain the DNA of their earlier releases, whilst showcasing their newer, more catchier side at the same time, making for one of their best releases in a long while.
After a brief instrumental intro piece, Ashen World officially welcomes the listener into Ravenhill Asylum, and also introduces the first of a variety of guest collaborators on the record, IGNACIA FERNÁNDEZ. The track itself starts off with a fast-paced riff accompanied by double bass work that is synonymous with the KAMELOT sound. The first verse begins right afterwards, and the pre-chorus follows, which in this case is a simple yet effective segue into the chorus itself, as it is bombastic and full of energy. After the second chorus, FERNÁNDEZ comes in for the first time to perform her now famous harsh vocals as a duet to frontman Tommy Karevik as his soaring cleans get matched together which leads to the first solo section. The solo here is almost as rhythmic as it is technical. With that being said, it is one of the simpler solos performed, which in this case, works. The chorus then returns one last time. This time, the drums slow down giving it more of the rhythmic sound some of the other parts on this album opener have, which is effective once more as the ending is almost a chant, which is almost an exact copy of what the band have done with their previous album opener in Phantom Divine.
The following title track is when things really start to get amazing. It starts off like a progressive metal song in how the double bass drum patterns interact with the synths and the guitars. Things speed up in the pre chorus though, just before one of the best choruses the band has ever written arrives. The chorus is simple musically, but vocally, this is the first time it is noticeable that Karevik has gone above and beyond anything he has ever sung before. This is noticeable in the second pre chorus too, as he flawlessly hits an insanely high note before transitioning to the amazing hook again. The bridge is progressive again before the solo section takes you back to the 80s, before the chorus returns for the last time to finish the track up.
One thing that is almost certainly a guarantee is that whenever KAMELOT write something speedy, it will end up a success, and on The Sleeping Mind (Orphic Paradigm), this is no exception. The opening riff is repeated, alongside the verses throughout the track are deceivingly slow, as the chorus is incredibly rapid, whilst including a melody simple enough to be memorable. The solo section is just as fast as the chorus and finishes in no time at all before the irresistible chorus not only returns, but gets repeated, making a statement, as this is a rare feat for this particular band to add to a record. In this case though, it works exceptionally.
Kaleidoscope is as symphonic as it is more traditional in terms of its overall structure. The song kicks off with a huge, cinematic sounding riff and improv section. It is the chorus once again that steals the show. The vocals get a layer of choirs below to truly create a bombastic wall of melody. Each time the chorus returns, it sounds slightly different too, which has rarely been the focus on Dark Asylum up until this point, which is the main reason this song stands out. Instrumentally, the solo section is contrasting in terms of the velocity. It starts off slow but increases in speed, which adds another layer of uniqueness to this multi-layered number. As expected, the chorus returns after this instrumental part to close out the track, and ultimately the best two thirds of this record.
Overall, fans of KAMELOT from back in Roy Khan‘s era have so much to like here, and there are constant nods to the older vibes that this outfit used to write, but at the same time, the band have also kept things fresh and modern. The final few songs are slower, and ruin the flow of the album towards its ending, but this does not matter upon thinking of what this record is aiming to achieve. With that being said, the various features are memorable for the most part, but the true highlight on Dark Asylum is the consistent vocal masterclass from Karevik who delivers what are easily his best performances throughout. Telling us all that if we ever doubted that they could return to their more traditional symphonic metal past, we are as wrong as ever.
Rating: 8/10
Dark Asylum is out now via Napalm Records.
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