In Flames Albums (7)
What The Critics Say
Frantic metal band In Flames can deliver a good melody around the militaristic, precision drumming of Daniel Svensson and the occasionally guttural yelps of frontman Anders Fridén. Whether it's a tight, polished effort like "The Mirror's Truth" with traces of classic metal à la Iron Maiden or especially Judas Priest, In Flames definitely bring a sense of purpose to this record. From there, the group increase the Metallica-ish franticness with "Disconnected" that relies on heavy guitar riffs but a far lighter, almost airy chorus and bridge. This is improved upon later on the album as "I'm the Highway" takes the record to another level. Probably the heaviest track is "Condemned," that again is driven by Svensson and the guitar tandem of Jesper Strömblad and Björn Gelotte. These less intense moments are rarities, though, as "Sleepless Again" almost contains slight "emo" characteristics throughout. The group truly strike gold with the deliberate but delectable "Alias" that brings to mind classic Led Zeppelin in the various twists and turns it takes. Following a beefy, brawn-saturated "Move Through Me," In Flames save the crowning achievement for the lengthy, winding "The Chosen Pessimist," which opens like a reflective, introspective piece of music by Sigur Rós before finding its way effortlessly. In Flames continue to make their mark by being rooted in a strong metal or hard rock foundation but being musically and creatively inquisitive enough to seek out something more. ~ Jason MacNeil, All Music Guide
'The Tokyo Showdown'
Release Date 1/1/2001
Tracks 15
Label Nuclear Blast
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What The Critics Say
Recorded in 2000 during the band's Clayman tour, this hourlong live CD -- consisting mainly of songs from the Clayman, Colony, and Whoracle albums -- gives a good idea why In Flames has earned such wide appeal among metal fans. They're heavy and intense enough to satisfy a good portion of death/black metal listeners, but they also have a melodic flair and a general old-fashioned metal spirit likely to resonate with people more at home with bands like Iron Maiden or Rainbow. And while singer Anders Fridén's raspy, shouted vocals are mainly expressions of anguish and personal pain, these feelings are offset by the hopeful and often triumphant tone of the guitars. Plus, the band has written some great songs over the years, among them such set list highlights as "Behind Space," "Jotun," and &Clayman." Jesper Strömblad and Björn Gelotte's tag-team guitar work shines throughout, especially on the harmonized dual-lead sections, and the overall performances are tight and energetic. In addition, the sound is clear and well-balanced for a live recording, and there is little time wasted in between tracks on excess applause or stage banter. So, while Tokyo Showdown isn't totally essential for people who have all the band's other albums (all the songs have already appeared on their studio albums), fans will probably still want this one anyway, and they shouldn't be let down. Newcomers, on the other hand, will get a good overview of the band's work, although it's worth noting that there is only one track from their 1995 classic, The Jester Race. In any case, listening to this album, you get the impression that there was a lot of headbanging and fist-in-the-air action at the concert, and those are the same kinds of reactions this recording is likely to inspire. ~ William York, All Music Guide
What The Critics Say
The production value on Clayman is instantly apparent; the album's initial sounds jump right out and pull the listener in, conveying a power and excitement that lasts the duration of the disc. The songs on Clayman are what ultimately sell In Flames, though. With some of their best writing yet, they continue to tighten up a sound that could please fans of everyone from Queensrÿche to Arch Enemy to maybe even Satyricon. With their blend of speed, melody, and pensive aggression, In Flames is indeed hard to pin down. Clayman at its core, though, is invigorating, well-executed metal that, dare it be said, is a fun listen; this probably isn't far from what the band intends. ~ Matthew Kantor, All Music Guide
What The Critics Say
Like their countrymen Entombed, In Flames add the familiar influence (and sense of groove) of classic heavy metal to their extreme death metal sounds, as well as progressive instrumental interludes that help lend a feel of epic drama to their music. Colony's arrangements experiment with sound effects, melodic guitar leads, varied textures, and Hammond organ, adding more detail, contrast, and dramatic structure to the rush of their onslaught and making it a definite step forward for the group. ~ Steve Huey, All Music Guide
What The Critics Say
A master of progressive death metal or the "Gothenberg sound" practiced by many a Swedish band, In Flames delivers one of its best efforts with 1997's Whoracle. One extremely heavy number after another flows continuously from this record's track list, including standouts like the mind-bending "Gyroscope" and "Morphing Into Primal," just two of the original and extremely well-executed songs offered on this release. Indeed, some tracks are much better than others on Whoracle. Softer numbers like "Jester Script Transfigured," with its half-acoustic Metallica ballad vibe, could probably have been left off this otherwise powerful recording. There are also some rather unnecessary vocal histrionics, most notably on "Worlds Within the Margin," but this kind of overcooked "singing" really comes with the death metal territory. None of these sour notes manages to damage Whoracle, and the record has ultimately become accepted in the highly factional underground metal community as an important release not only for In Flames, but for the entire melodic death metal movement. ~ Vincent Jeffries, All Music Guide
What The Critics Say
The melodic sensibilities, classical-style guitar, and modal dexterity employed on The Jester Race have precursors in Iron Maiden, Dio-era Black Sabbath, and Judas Priest. It is doubtful that In Flames would argue this; they lovingly weave these timeless influences throughout their music, combining them with later-day thrash and death metal sounds. The vocals differ from the operatic Halford/Dickinson style, in that they are gravel-throated and growled, dealing with personal issues as opposed to fantasy. And indeed, many of the tempos are fast and tight, recalling the glory days of late-'80s speed. However, The Jester Race does not feel rushed -- it takes time to make its statements, not afraid to hit midtempo strides or get lost in the aforementioned melodic explorations, but always with a bite. The result is a definitive late-'90s take on power metal; cohesive, heartfelt, and heavy. ~ Matthew Kantor, All Music Guide
'Lunar Strain'
Release Date 1/1/1994
Tracks 1
Label Wrong Again Records
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What The Critics Say
Just about any genre or style of music has had skillful crossover artists who managed to win won over some nonbelievers. Grover Washington, Jr.'s tasteful jazz-funk reached a lot of people who hadn't necessarily developed a taste for the straight-ahead bop of Clifford Brown and Sonny Stitt; Willie Nelson's country-pop reached a lot of listeners who weren't necessarily into the hardcore honky tonk of Buck Owens and Lefty Frizzell. And in the metal world, In Flames has served as a bridge between the death metal/black metal underground and the more melodic power metal of Iron Maiden, Judas Priest, and Queensrÿche. Originally released in Europe in 1994, In Flames' debut album, Lunar Strain, attracted an interesting mixture of death metal/black metal, power metal, and thrash metal enthusiasts. Like the early releases of At the Gates, Lunar Strain helped write the book on what came to be known as "melodic death metal" -- an approach that combines death metal elements (extreme vocals, blastbeats) with the type of intricacy, musicality, and craftsmanship one expects from old-school masters like Dio, Maiden, Priest, and Black Sabbath. Most death metal favors brutality for the sake of brutality, but Lunar Strain does not govern by brute force alone and is -- by power metal standards -- much more accessible than the albums that extreme bands like Cannibal Corpse, Deicide, and Carcass were coming out with at the time. In 1994, the best was yet to come for In Flames; even so, this was a promising debut that had a major impact on melodic death metal and symphonic black metal. ~ Alex Henderson, All Music Guide
