ALBUM REVIEW: Sweet Evil Sun – Candlemass
Perennial doom metal veterans CANDLEMASS ought to be a band in rotation for every doom metal fan. Their 1986 debut album Epicus Doomicus Metallicus essentially gave the genre its name after all, and the Swedish savants are often considered one of doom’s “big four” alongside fellow heavyweights PENTAGRAM, SAINT VITUS and TROUBLE. So naturally, the release of their (lucky?) 13th studio album Sweet Evil Sun is likely to pique the interest of many.
Across a 38-year on-and-off career, CANDLEMASS have wavered between nailing their formula and falling short of their quickly claimed legend status. Sweet Evil Sun largely sits somewhere in the middle but ultimately marks a step up from their last outing. Since reforming for a second time in 2019 and bringing founding vocalist Johan Längqvist back into the fold, this album harks back to their early works, carrying all the hallmarks that made their debut such a success. Unmistakably and unashamedly 80s in delivery, Längqvist‘s epic vocals fit far better here on the likes of opener Wizard Of The Vortex than they did on 2019’s middling The Door To Doom.
Instead, Sweet Evil Sun is a far more full-bodied release than its predecessor, offering riffs and hooks aplenty. One feature that really stands out on CANDLEMASS‘ latest offering is their penchant for – and deft ability to deliver – huge choruses. In a genre as heavy as doom, it’s a rare occurrence to hear something you can sing along to, but the likes of the title track and the aforementioned Wizard Of The Vortex are so catchy and instant, it’s a wonder how these fit the doom label.
There is also a hefty injection of theatricality and drama laced throughout Sweet Evil Sun. When Death Sighs treads grounds far more melodic and invites ethereal, haunting secondary vocals from AVATARIUM’s Jennie-Ann Smith that interplay with Längqvist in an arresting duet underpinned by organs and marching rhythms. The closing pair of Crucified and Goddess keeps the melody flowing among a landslide of solos and guitar fills, before signing off with a short and sweet outro that (perhaps bizarrely) fades to rapturous applause. Even if you’re not feeling Sweet Evil Sun, at least CANDLEMASS themselves are proud of what you’ve just heard.
On a personnel level, the performances are stellar. Guitarists Lars Johansson and Mats “Mappe” Björkman serve up sizzling solos and chunky riffs aplenty, while the rhythm section of Leif Edling on bass and Jan Lindh on drums keep everything ticking along in an orderly fashion. But it’s Längqvist‘s turn in the spotlight that will draw the attention with his delivery ranging from powerfully soaring to gritty and gruff. It’s a charismatic, characterful performance that is impossible to overlook, and a reminder of what made that debut such a rousing success.
If you’re after new CANDLEMASS material, Sweet Evil Sun is about as CANDLEMASS as CANDLEMASS gets. While the age old adage of “if it ain’t broke, why fix it” certainly applies, there is an element of having heard it before – not just from the band themselves, but from the legions of bands they’ve inspired and spawned ever since. But still, sometimes it’s nice for the big boys to come through and remind us all how it’s done. Legends do what legends do, at the end of the day.
Rating: 7/10
Sweet Evil Sun is out now via Napalm Records.
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