Dark Tranquillity - Fiction
Century Media Records – 77615-2P – 23rd April 2007
by Tom Strutton
Performing an objective critique of a new album by a band with such a history and following as Dark Tranquillity is frequently a problematic and unenviable task. Is it still appropriate to acknowledge and give credit to a band for the pioneering contribution made to a genre some fifteen years ago? Is it fair to dismiss newer offerings simply because they are not as groundbreaking or innovative as the early ones? Can one critic put forward thoughts on such a record without risk of reprimand from passionate or disillusioned followers of the band, whilst still maintaining personal integrity? These are some of the thoughts that weigh heavily on the mind…
Dark Tranquillity’s eighth studio album is claimed in its accompanying press release to serve as ‘a blueprint of melodic metal’. Individuals will debate over whether this is a good thing or not, but few will disagree that blueprints are generally things that are laid down in the early years of a burgeoning genre, and that there are several classic earlier albums that have already earned that title. In truth, Dark Tranquillity have created a sufficient legacy and nurtured a following so firm that such grand designs are probably unnecessary. If today’s Dark Tranquillity truly wanted to produce anything of such revolutionary impact it would have to break out of the mould of melodic death metal altogether, and this just isn’t likely to happen. The best that these veterans can probably do is strive to make the best Dark Tranquillity album possible, and, as long as that album shows signs of care and consideration, it will most likely be well received.
Some will claim, not without reason, that Gothenburg melodeath is prone to generic rehashing, and as such it is inescapably going to appeal to a limited audience with an unrelenting thirst for its unique superficial idioms. Part of the reason Dark Tranquillity et al hold strong appeal is their ability to dress up a simple format in flashy gear, including memorable hooks delivered with vicious confidence. It is not surprising that the removal of one of these factors, confidence, is the reason why so much melodeath is weak and unconvincing. Weak melodeath is often the sound of a band lacking in confidence, a band wavering in self-belief that probably stems from foundational faults in their understanding of what melodeath at its best can represent. Fiction is definitely the sound of a band with confidence, the variety that comes from experience. If the song writing is too simple for your taste at least take this away with you.
Opening track 'Nothing to No-One' labours into view with a brooding bass line set to a straightforward semiquaver tom pattern, but doesn’t waste time launching into a classic melodeath riff (blueprint, anyone?). The whole thing sounds huge, if a little ordinary. Musical events take a turn for the more imaginative with the chorus, which presents a hauntingly sustained piano phrase over a staccato rhythm section. A similar keyboard/rhythm section device is taken up on 'The Lesser Faith', which has an even better chorus that shifts time signature and avoids obvious chord progression options. After a few spins, these opening two tracks should be enough to convince you that Fiction is worthy of your time, with 'The Lesser Faith' proving particularly memorable. Third track 'Terminus' presents a chorus that might be described as a swirling storm of malevolence, though its verse sections veer towards the dangerously hackneyed side of the genre. 'Blind Heart' is fast and catchy with its galloping E-riffery, again brimming with confidence and not afraid to explore more than one diversion throughout the course of the bridge. 'Misery’s Crown' is the most obviously melodic of the 10 tracks, with entire verses performed in clean vocals and keys that lend a soft touch to the whole affair. The final track, 'The Mundane and the Magic', possesses a sumptuous arpeggiated clean guitar intro that should have been expanded and developed throughout the length of the song, but instead the track descends into soft-touch, goth-chick, rock balladry which some may find disappointing.
Fiction presents no shortage of inventive and confident playing, and the whole things sounds huge thanks to Tue Madsen’s sterling production work. Occasionally it slips into standard fare, but on the whole it stands head and shoulders above its peers, such as In Flames rather flat Come Clarity. The only people that may openly dislike Fiction are those that either hate melodeath, or those that like Dark Tranquillity but think they have made better albums. The rest of us can enjoy this fine, confident, piece of work and take particular pleasure in its occasional moments of beauty.
Official Dark Tranquillity Website
Official Century Media Records Website
Century Media Records – 77615-2P – 23rd April 2007
by Tom Strutton
Performing an objective critique of a new album by a band with such a history and following as Dark Tranquillity is frequently a problematic and unenviable task. Is it still appropriate to acknowledge and give credit to a band for the pioneering contribution made to a genre some fifteen years ago? Is it fair to dismiss newer offerings simply because they are not as groundbreaking or innovative as the early ones? Can one critic put forward thoughts on such a record without risk of reprimand from passionate or disillusioned followers of the band, whilst still maintaining personal integrity? These are some of the thoughts that weigh heavily on the mind…
Dark Tranquillity’s eighth studio album is claimed in its accompanying press release to serve as ‘a blueprint of melodic metal’. Individuals will debate over whether this is a good thing or not, but few will disagree that blueprints are generally things that are laid down in the early years of a burgeoning genre, and that there are several classic earlier albums that have already earned that title. In truth, Dark Tranquillity have created a sufficient legacy and nurtured a following so firm that such grand designs are probably unnecessary. If today’s Dark Tranquillity truly wanted to produce anything of such revolutionary impact it would have to break out of the mould of melodic death metal altogether, and this just isn’t likely to happen. The best that these veterans can probably do is strive to make the best Dark Tranquillity album possible, and, as long as that album shows signs of care and consideration, it will most likely be well received.
Some will claim, not without reason, that Gothenburg melodeath is prone to generic rehashing, and as such it is inescapably going to appeal to a limited audience with an unrelenting thirst for its unique superficial idioms. Part of the reason Dark Tranquillity et al hold strong appeal is their ability to dress up a simple format in flashy gear, including memorable hooks delivered with vicious confidence. It is not surprising that the removal of one of these factors, confidence, is the reason why so much melodeath is weak and unconvincing. Weak melodeath is often the sound of a band lacking in confidence, a band wavering in self-belief that probably stems from foundational faults in their understanding of what melodeath at its best can represent. Fiction is definitely the sound of a band with confidence, the variety that comes from experience. If the song writing is too simple for your taste at least take this away with you.
Opening track 'Nothing to No-One' labours into view with a brooding bass line set to a straightforward semiquaver tom pattern, but doesn’t waste time launching into a classic melodeath riff (blueprint, anyone?). The whole thing sounds huge, if a little ordinary. Musical events take a turn for the more imaginative with the chorus, which presents a hauntingly sustained piano phrase over a staccato rhythm section. A similar keyboard/rhythm section device is taken up on 'The Lesser Faith', which has an even better chorus that shifts time signature and avoids obvious chord progression options. After a few spins, these opening two tracks should be enough to convince you that Fiction is worthy of your time, with 'The Lesser Faith' proving particularly memorable. Third track 'Terminus' presents a chorus that might be described as a swirling storm of malevolence, though its verse sections veer towards the dangerously hackneyed side of the genre. 'Blind Heart' is fast and catchy with its galloping E-riffery, again brimming with confidence and not afraid to explore more than one diversion throughout the course of the bridge. 'Misery’s Crown' is the most obviously melodic of the 10 tracks, with entire verses performed in clean vocals and keys that lend a soft touch to the whole affair. The final track, 'The Mundane and the Magic', possesses a sumptuous arpeggiated clean guitar intro that should have been expanded and developed throughout the length of the song, but instead the track descends into soft-touch, goth-chick, rock balladry which some may find disappointing.
Fiction presents no shortage of inventive and confident playing, and the whole things sounds huge thanks to Tue Madsen’s sterling production work. Occasionally it slips into standard fare, but on the whole it stands head and shoulders above its peers, such as In Flames rather flat Come Clarity. The only people that may openly dislike Fiction are those that either hate melodeath, or those that like Dark Tranquillity but think they have made better albums. The rest of us can enjoy this fine, confident, piece of work and take particular pleasure in its occasional moments of beauty.
Official Dark Tranquillity Website
Official Century Media Records Website
