Experimentation has always been a major part of In Flames’ sound.
Along with fellow countrymen At the Gates, Hypocrisy and Dark Tranquillity, Swedish death metallers In Flames have developed a hugely influential style that combines the aggression of death metal with the melodic sensibilities of bands like Iron Maiden and Dio. Dubbed the “Gothenberg sound,” after the city those bands call home, has been cited by such “Headbanger’s Ball” favorites as Killswitch Engage and Shadows Fall as a major influence.
In Flames evolution continues with “Come Clarity,” their eighth album and first for hardcore label Ferret Records since leaving metal giant Nuclear Blast Records. After 2004’s disappointingly accessible “Soundtrack To Your Escape,” it seemed as though vocalist Anders Fridén, guitarists Bjorn Gelotte and Jesper Stromblad, bassist Peter Iwers and drummer Daniel Svensson had a lot to prove. While “Come Clarity” can’t really be called a true return to form, it does paint an entertaining and hopeful portrait not only of In Flames’ past, but its future as well.
Perhaps the first thing that a listener will notice about “Come Clarity” is the production. The guitars are thick and crushing, the drums are crisp and powerful. Iwers’ bass is positively throbbing and Fridéns vocals, whether it is his high-pitched scream or his actual singing, are clear and, for the most part, intelligible. Producer Daniel Bergstrand does a great job reigning in the controlled chaos of their aggressive parts, while giving their softer, more introspective moments room to breathe, and everything can be heard in the mix.
The next thing fans will notice is the welcome return of what made In Flames great in the first place: guitars, pure and simple. After the keyboard-infused “Soundtrack To Your Escape,” the guitars are thick, snarling and at the forefront both rhythmically and melodically. Gelotte and Stromblad move effortlessly from clean fingerpicked passages to ferocious riffs and harmonized leads to soaring, fluid solos, and manage to make it all sound easy.
Svensson and Iwers do an admirable job keeping time, with Svensson’s drumming combining driving rhythms and tasteful fills, with occasional fits of double-bass fury (see “Pacing Death’s Trail”).
“Come Clarity” also sees the continued use of Fridén’s clean vocals, long a bone of contention amongst the band’s longtime fans. While they may be good enough to offer brief moments of respite from the constant barrage of screaming, downtuned guitars and pounding drums, they really are not good enough to carry a song, and they aren’t used all that sparingly. Despite its prevalence, Fridén’s slightly off-key warble seems a lot more controlled and confident this time around, and offers a good counterpoint to his usual screaming style.
The album contains some of In Flames’ best songwriting to date, and showcases their ability to rapidly switch gears musically between aggression and melody without missing a step. Rest assured, there are a lot of great air-guitar moments and sing-scream-along choruses.
Opener “Take This Life” literally explodes out of the speakers and grabs the listener’s throat with thrashy, galloping riffs that open into a melodic chorus that becomes instantly memorable – making what is sure to become a staple of their live set. “Reflect the Storm” is almost a polar opposite, with its slow tempo and multitracked vocals during the chorus creating a mournful, almost ballad-like quality.
The inclusion of clean, female vocals on “Dead End” is a new inclusion for the In Flames canon. Even though it has been done several times before by other bands, the juxtaposition of Lisa Miskovsky’s guest vocals (think Christina Scabbia of Lacuna Coil) with Fridén’s harsh screams is still surprisingly effective. The title track starts with folky, acoustic guitars that lead to a bombastic chorus and eventually a soaring solo. It is on this song that Fridén’s whiny, clean vocals really seem to hurt the song instead of strengthen it. There are a few too many cracks, especially during the verses, that are really distracting and more screaming probably would have really made it great. Despite this complaint, it is still one of the best songs on the album.
“Come Clarity” closes with the experimental “Your Bedtime Story is Scaring Everyone,” in which the first four minutes consists of ambient keyboards and electronic noises which erupt into chugging guitars and heartfelt screams before going as quiet as a whisper again. While this lesson in dynamics provides for an interesting listen, it is the only song on the album that is over five minutes long, with most of the other tracks clocking in at the three to four minute range. It would have been nice if some of the more progressive elements had been further explored. As is, most of the songs are extremely streamlined, but leaves the listener wanting more once the album is finished.
Other than those minor complaints, “Come Clarity” is a quality album from one of Sweden’s best. It offers a great view of the ever-changing entity that is In Flames, containing elements that span their entire career, from folky, acoustic guitars and kickass harmonized leads to some keyboards; from deep death growls to beautiful female vocals. That, combined with the consistent strength of the material – except for “Scream,” which is just silly – means “Come Clarity” should attract new fans with its accessibility without alienating the ones that have been with them for over ten years.
Is it the second coming of “The Jester Race?” No, but for what it is, it’s really good. Fans that may have given up on In Flames after their last two albums should do themselves a favor and check this one out. It may renew their faith.
Sure, perhaps they rely too much on catchy choruses instead of their guitar work for their hooks, but even the most jaded metalhead can’t deny the strength of the songwriting, which makes the songs stick in your head worse than ’80s New Wave. But don’t worry, there’s more than enough metal to incite headbanging and horn-throwing, not to mention offer a reminder that the frozen tundra of Scandinavia is still a hotbed for great metal.
In Flames is playing at the Newport Music Hall February 11 with Trivium, Devildriver and Zao supporting. They will have an autograph signing at Magnolia Thunderpussy, located at 1155 N. High St., at 5 p.m. the same day.
