Independent review

What to do if you simultaneously love Black Sabbath both with Ozzy and with Dio, but have worn out Iommi's riffs to complete disgust? Listen to Candlemass. The Swedish doom collective under the leadership of bassist and author of all songs Leif Edling took the style to a new level. It is precisely thanks to Candlemass that doom was recognized as a separate genre (the name is transformed from the title of their disc Epicus Doomicus Metallicus). It turns out that BS performed proto-doom. The period from 1987 to 1991 is considered classic, when Messiah Marcolin occupied the place behind the microphone stand - a metalized version of Ozzy. The 2005 album is the Messiah's comeback to the band, and the three albums recorded without him, as well as the vocalist's solo work, did not have success. In the end, we get a real full-fledged return. A return to the roots in combination with excellent vocals, clear riffs and a modern level of recording. Black dwarf with its tooth-breaking riff destroys stronger than Neon nights, the average listener can confuse Seven silver keys with Osbourne's solo work. Further after a portion of standard doom comes Witches with a killer rhythm section. Born in a tank takes with pressure and a memorable chorus. Spellbreaker is multi-level and epic. And The day and the night returns us to the world of primordial doom and gives the last powerful chord to this reunion. Messiah left the collective again, but fulfilled his mission - the 2005 album took the band to a new level, and subsequent records with Robert Lowe only consolidated the success. The new Candlemass doom began to build a wall of sound, which they lacked even on the recordings of the classic period.

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