Reviews list for Candlemass - Sweet Evil Sun (2022)

Thirty-six years on from the release of their genre-defining debut, Epicus Doomicus Metallicus, Candlemass have come full circle with the return of Epicus vocalist, Johan Längquist. The band have featured some great doom metal singers over the years, particularly Messiah Marcolin and Rob Lowe, but it was with Längquist that they first made their name. Epicus Doomicus Metallicus was a seminal doom metal release and one of the genre's most important albums, to the extent that a whole subgenre was named after it and Längquist's contribution was integral to it's success. This all, of course, does not mean that Sweet Evil Sun is anything like as good as the debut, it demonstrably isn't. A lot of water has passed under the bridge since those days and Candlemass' style has actually changed very little, so a degree of stagnation is to be expected. That said though, neither is this the sound of a band going through the motions in search of one more payday, so consequently it sounds heartfelt, albeit quite generic. I would have no problem putting this on a par with Rob Lowe releases like King of the Grey Islands or Death Magic Doom and it is much better than the band's 1990's output.

This being Candlemass, even though it is mid-tier material for them, it is still better than a significant proportion of new doom metal releases - it is chock-full of terrific doom metal riffs (check out the crawling riff to Angel Battle as it transitions into a faster, Sabbathian killer and back) and catchy, singalong choruses (the title track and Scandinavian Gods in particular). Längquist's voice still possesses great power despite the passing of the decades and Leif Edling's former co-conspirator in Avatarium, Jennie-Ann Smith, shares vocal duties on the track When Death Sighs which, if memory serves, is the first time Candlemass have featured female vocals and makes for a really nice dynamic within the track, adding an additional dimension to Candlemass' traditional sound. When Death Sighs also features my favourite guitar solo on the album as Lars Johansson channels Tony Iommi circa his masterful Dirty Women solo.

My biggest criticism would have to be reserved for the production. There just doesn't seem enough bottom end and the album sounds overly trebly, which is never a good thing for a doom metal release in my book, and here I think it robs the tracks of some of their power and heft. Of particular irritation was the drum sound on Scandinavian Gods which threatened to derail an otherwise very enjoyable track. Overall though, I would have to admit to being somewhat surprised by the quality of a release from a veteran outfit which, in all truth, I held out very little hope for.