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Crestfallen, which is the fifth track (yes - without hardly noticing it one storms through several tracks in a flash. Time flies away in this very well balanced release) - is the initial English representation and works it's way from mid-tempo to speed metal. Lyrical aliteration is here at its peak. Pace is however somewhat lowered as the ballad "Kvinnorovet" makes its' appearance with only "clearly" sung vocals and with one of the most outstanding folklorish lyrics to date. The CD:s high melodiscism is here obvious. Make no mistake though: A ballad is here succeeded in the most extreme way as the blasting "Haxor, Maror och Vittror" throws the moodswing into the extreme with grinding drums and undisputed heavyness. This 7:th track is the fastest most "Black-Metal-ish" song of Elvira Madigan up to and including this album. What makes it more interesting is that it never compromises on the melodies in any way. "Djavulens Novis" manages to round the excentric "Haxor..." off´with a heavy steady rythm before having "ecclesia non novit sanguinem?" enter the stage with mellow orchestration. And together with the next track "Interludium I" it serves as a nice first part of a well deserved instrumental duette. "Interludium I" is entirely played on piano - which feels rather nice and somehow not unexpectable at this point. "The Kindred (Salem 1692)" attacks ferociously at this point and to the delight of those who prefer the English language. This eleventh song differs quite a bit to what has been heard up until now on the CD in a certain way; it has quite often very few keyboards to the benefit of the distinctive riffing tightly tied together with the spitting vocals and many "hooks" and turns. Again - Christianity is deservingly dragged out and whipped with frenzy, and critizised for its' bloodthirst history. A first of a two part storyline (-the second part featured in a song recorded years previously!) is told in the mighty track "Ritual". The importance of Folk music as influence in Elvira Madigan now clearly becomes obvious again and once more reminds the listener how immensly diverse this CD is. The song takes the listener on a journey through elaborate moods and beautiful soundscapes. And out of this well crafted song the album is rounded off with something that appears at some extent like a minor trilogy beginning with "Gregory IX" (remember to check each songs specific details regarding these strangely named instrumentals). It is a typical symphonic Elvira Madigan song which allows "Dark is the Seraphim" to enter in the most dramatic way. Well, "dramatic" is perhaps the very trademark of this last non-instrumental track in its' entirety. It manages to be heavy, fast and mellow without ever having a misplaced tempo change. At times a quite "thrashy" approach makes it a memorable track indeed and to finish both this trillogy and the entire album is the rock-ish "Honeythorne" which borders mostly between metal and symphonic rock. With it's many tasteful solos it plays an important part in the albums general feel and also acts as further testament to the diversity of EM. |
