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Released on May 20, 2016 via Agonia Records
For those of you who do not know Sweden’s In Mourning, you should. While people have either been impatiently (or futilely) waiting for Opeth to revert to their death metal days, or applauding them for their 70’s prog turn, In Mourning has been quietly killing it in their shadow. Founded in 2000 by vocalist/guitarist Tobias Netzeil and bassist Pierre Stam, In Mourning has built an impressive catalog with their three albums Shrouded Divine, Monolith, and The Weight of Oceans. Weight was my introduction to the band, and I have been a fan ever since. Their latest offering, Afterglow, was released on May 20, 2016 through their new label Agonia Records.
Speaking of Opeth, I have read that In Mourning have been compared to them, but never really picked up on the similarities, until this album. The similarities for me are not fully in the song composition, but more in the rhythms. I am not talking about crushing death metal blasts, this band has never been known for that. The almost hypnotic grooves In Mourning produces on Afterglow remind me of Opeth’s ‘The Grand Conjuration’. We are talking about heavy as fuck, mid-tempo, windmill headbanging, rifftastic grooves that could go on forever. New drummer, and former member of Katatonia, Daniel Lijekvist has a lot to do with it. He gets to flex his rhythmic muscles a little more with In Mourning, and we all get to reap the benefits. In addition, Tobias does have a great death metal growl, but it is not quite the same as Mikael Akerfeldt’s. We are also treated to his clean vocals, which are strategically sprinkled throughout the album at just the right moments, and durations.
For whatever comparisons that are brought up between the two bands, for me it is all about the differences. I feel the guitars are one element that really sets them apart. There is an element of blues in Tobias’ rhythms, and especially his solos, that you rarely hear in any other songs of this genre. Even though there are many examples throughout the album of the different attributes I have listed, one track that puts them all together into one is ‘The Grinning Mist’. Probably no other song is a better example of what In Mourning has become.
Afterglow is not only In Mourning’s best album to date, but also an early runner for best album of its genre this year. Especially in a field flooded with talent, to me this record really stands out. Therefore, if you are looking for that perfect melodic blend of doom and death, In Mourning has served it up for you on a silver platter. So sit back, relax, and bathe in the Afterglow.
