Candlemass Albums (10)
'Death Magic Doom'
Release Date 1/1/2009
Tracks 9
Label Nuclear Blast
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What The Critics Say
Candlemass founder/bassist Leif Edling has been quoted as boasting that Death Magic Doom is "the best album we have recorded since Nightfall." Edling definitely exaggerates; this 2009 release isn't their best album since that 1987 classic. But Death Magic Doom is excellent nonetheless, and it could easily go down in history as one of the finest metal releases of 2009 -- regardless of the absence of Messiah Marcolin. Some longtime Candlemass fans have a hard time believing that the influential doom metal band can excel without Marcolin on lead vocals, but truth be told, other lead singers have also served Candlemass well along the way (including Johan Längqvist in the beginning, Tomas Vikström in the early '90s, and Björn Flodkvist in the late '90s/early 2000s). And on Death Magic Doom, Robert Lowe (of Solitude Aeternus fame) has no problem rising to the occasion. A powerhouse of a singer, Lowe brings an appealing, somewhat Ronnie James Dio-ish quality to darkly melodic, Black Sabbath-influenced gems such as "Hammer of Doom," "Clouds of Dementia," "The Bleeding Baroness," and "Demon of the Deep." Lowe really goes that extra mile -- and between the impressively consistent songwriting and Lowe's inspired vocals, Death Magic Doom is clearly a winner. Nonetheless, some of Marcolin's admirers will refuse to listen to this 47-minute CD because of his absence and will wish that his reunion with Candlemass had worked out; that is to be expected. But Lowe's performances are nothing to complain about -- and even though Death Magic Doom isn't Candlemass' best album in 22 years as Edling has claimed, it is nonetheless an exciting addition to their catalog. ~ Alex Henderson, All Music Guide
'Lucifer Rising'
Release Date 10/6/2008
Tracks 12
Label Nuclear Blast
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'Doomed for Live: Reunion 2002'
Release Date 1/1/2003
Tracks 17
Label Powerline
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'Doomed for Live: Reunion 2002'
Release Date 1/1/2003
Tracks 17
Label Powerline
See Album Tracklist and Review
What The Critics Say
The last Candlemass outing that includes contributions from key, if not mostly original members, Chapter VI signaled the end of anything significant from Sweden's doom metal pioneers. The departure of vocalist Messiah Marcolin was perhaps good for the outfit's morale; however, his absence left the group without their most musically defining element. Marcolin's replacement, Tomas Vikström, does a decent job, but the unique delivery of his predecessor is indeed missing on this and every subsequent Candlemass offering. Encouraging tracks like "Where the Runes Still Speak" and "Julie Laughs No More" almost capture the gloomy aesthetic of Candlemass' better, late-'80s work. For the most part, though, Chapter VI is directionless when compared to earlier Candlemass material. Guitarist Lars Johansson tries mightily to spice things up with some fine performances, and his bandmates generally follow suit, but the occasionally above-average playing never makes up for an overall musical lethargy and the noticeable absence of Marcolin. ~ Vincent Jeffries, All Music Guide
What The Critics Say
Swedish doom originators Candlemass gave birth to an instant classic with their debut, Epicus Doomicus Metalicus. But their 1987 follow-up Nightfall managed to break even more new ground by introducing the operatic bellowing of new vocalist Messiah Marcolin, whose religious lyrics found the perfect match in the slow, grinding power chords written by bassist Leif Edling. Perfect examples of this formula like "The Well of Souls," "Samarithan," and "Bewitched" would become live standards for years to come and are nicely held together by short instrumentals, including a rendition of Chopin's "Marche Funebre." And while the band can't resist thrashing out just a tad on parts of "At the Gallow's End" and "Dark Are the Veils of Death," this is still a cohesive work, and a must for Black Sabbath fans ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Candlemass' third album, Ancient Dreams is not quite as immediate as its predecessor, but with repeated listens, its songs (mostly running in the seven-minute range) become just as compelling. Outstanding tracks like "Mirror Mirror," "Darkness in Paradise," "The Bells of Acheron," and "Bearer of Pain" combine sluggish, staccato riffs with surprisingly memorable choruses delivered by vocalist Messiah Marcolin with his trademark vibrato overload. The title track and "Incarnation of Evil" do seem to plod on a bit too long, but the more energetic "A Cry from the Crypt" picks up the pace with some typical late-'80s thrashing. The closing "Black Sabbath Medley" is interesting, but hardly surprising, making this an album for serious fans only. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Tales of Creation may not contain as many classics as some of Candlemass' previous efforts, but the band has never sounded better, and the exceptional production job fully highlights the operatic vocals of Messiah Marcolin without sacrificing any of the band's low-end guitar crunch. Unfortunately, the group wastes precious space on short spoken-word interludes, which, although they are meant to tie everything together, actually detract from the album's continuity. Another perplexing blunder is the inclusion of "Into the Unfathomable Tower," a very uncharacteristic, frenzied guitar workout which sounds more like a Yngwie Malmsteen outtake. Still, the band offers enough winners with the title track, "Dark Reflections," and "Tears" to keep things interesting, and the stunning "Under the Oak" is simply one of the best songs of the band's career. While definitely not a first choice for new fans, this album will certainly satisfy serious doomsters. ~ Eduardo Rivadavia, All Music Guide
'Epicus Doomicus Metallicus'
Release Date 1/1/1986
Tracks 6
Label Leviathan
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What The Critics Say
During the mid-80's, the European heavy metal scene was dominated by countless thrash, death, and black metal bands playing at breakneck speeds and screaming in a high-pitched frenzy. So when Candlemass released their debut, Epicus Doomicus Metallicus in 1986, its songs (featuring slow, lumbering riffs straight out of the Black Sabbath handbook and vocals delivered in a baritone, operatic style) offered up a stylistic curve ball of shocking proportions. After disposing of its deceptively optimistic introductory acoustic guitar, opener "Solitude" develops into a complete monster, replete with lyrics of suicidal depression and churning with the most colossal, down-tuned guitar riff since Sabbath's "Iron Man." And that's just the beginning, as succeeding tracks "Demon's Gate," "Crystal Ball," and "Under the Oak" (later re-recorded in its definitive version for the band's fourth album Tales of Creation) trudge by with deliberate, immutable doom. Although the group's vision was startlingly well-conceived and unique for its time, bassist, songwriter and all-around group leader Leif Edling had yet to find all the right components. And despite offering the strongest, most consistent songwriting of the band's career, Epicus Doomicus Metallicus was let down by vocalist Johan Lanquist, whose performance failed to deliver with the power and command of his immediate successor Messiah Marcolin. A pillar of classic '80s metal nonetheless, this album will satisfy all doomsters. ~ Eduardo Rivadavia, All Music Guide
