Meadows End (SWE)

Death Metal , Melodic Death Metal
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Meadows End (SWE)

Príspevokod užívateľa Horex » 01 Máj 2021, 14:04

Meadows End - Sojourn (Digipak Edition) (2016)

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Year : 2016
Style : Melodic Death Metal
Country : Sweden
Audio : 320 kbps + all scans
Size : 144 mb


Bio:

MEADOWS END originates from Sweden and plays Symphonic/Melodic Death Metal. The band plays a unique and diverse style of their genre with an old school groove blended with a modern sound.Meadows End started out as a hobby project by childhood friends in 1998. This was in the wake of the Gothenburg era with bands such as At The Gates, In Flames and Embraced. Years of demos and periods of hibernation followed. It was not until 2009 when half the band members were exchanged that Meadows End decided it was business time. In 2010 the first full length album ODE TO QUIETUS was produced and released by the band themselves. It got well spread on the internet much thanks to YouTuber Ed 'Infidel Amsterdam' Veter. The album was well received and especially the song My Demon became critically acclaimed.Since 2012, Meadows End has been working on the follow up and on June 13 2014 the second full length album THE SUFFERWELL will be released! It contains eleven songs and was recorded during October-December 2013. The album is self-produced and meets all the tough industry production standards of today. The Sufferwell was mixed and mastered by Oscar Nilsson at Crehate Studios, Gothenburg. Cover artwork was made by Fredrik Burholm. Just like its predecessor, The Sufferwell will be self-released.

Album:

When Meadows End announced that their latest album, Sojourn, would consist of previously unused material predating the excellent The Sufferwell, my mind immediately raced to Ode to Quietus and how vastly different it was, not just in quality but in stylistic leaning as well. Usually, this is a practice reserved for the true and elite hordes of black metal, not the comparatively more urbane breed of melodeathers, but I can also understand not wanting to let good material go to waste. So, for an independent band trying to register more blips on death metal awareness radars, using old material can either be seen as a miscalculation, because the last stopping point, which was of exceedingly high quality, is still waiting for a continuation, or a viable strategy, because more content naturally generates more exposure.As will become very obvious, though, Sojourn is not to be missed, for it is very much reflective of its name and therefore worthy of the massive amount of time it asks of you. It is a very soothing, gossamer form of melodic death metal that is every much defined by its atmosphere as its crunchy guitars and clearly enunciated, resonant gutturals. But what the album readily lacks is something that can be noticed when compared to Dark Tranquility’s Damage Done, an album that shares many of the surface level distractions to handsome effect, so much so it can be hard not to notice under its pretty keyboards. Sojourn is noticeably slower in pace, which lessens the impact of its inherently aggressive thrashiness, and it is also less reliant on hooks and formulaic structuring, which by default, lengthens the album without adding extra minutes to its runtime. Such a lack of graspable riffs makes for a questionable entry point for anyone interested in melodic death metal but it can also make for a richly satisfying and extensive case study of what the subgenre can fully do.It is vastly different from much of the modern melodeath, where heavily saturated riffs drunk on melody and melancholy dictate a band’s identity, which can be a crutch when not pulled off well. Sojourn, actually, with its heavy reliance on keyboards on such songs as “Nightmare’s Reef” recalls a late 90s style of Swedish melody that Diabolical Masquerade was known for, as well as some more gothic theatrics that will assuredly invoke Lacrimosa’s Elodia. For death metal, it admittedly seems rather odd; it’s wispy and airy, even gothic in atmosphere like early Cradle of Filth or Ebony Tears (e.g. “Heathens’ Embrace”) and it’s not so technically complicated (or deficient) as to not resonate emotionally during some of the higher moments (“Soulslain,” for example, has an excellent climax midway before returning smartly to its main rhythm).It is definitely to the credit of Meadows End that their closest comparisons exist solely outside of their chosen subgenre, and if that sounds as odd as it does for me to say it, then I think the band made the right decision to unearth this material. As anachronistic as it may initially seem it is actually quite forward thinking; once the focus no longer blurs, the vision turns sharper, and its edges become cleanly defined, Sojourn will reveal many secrets and subtleties that you didn’t even know existed within melodic death metal. It colors very liberally outside the lines such bands as Insomnium, Omnium Gatherum, and Noumena have established and others imitated, and it does it so convincingly that it’ll be hard to go back.

Line Up:

Mats Helli Bass (1998-present)
Jan Dahlberg Guitars (1998-present)
Robin Mattsson Keyboards (2008-present)
Johan Brandberg Vocals (2009-present) - See also: Soul Decay
Daniel Tiger Drums (2011-present) - See also: Amethyst

Tracklist:

01. Amidst the Villains 04:18
02. Remnants 04:40
03. Nightmare's Reef (Area of Thieves) 04:33
04. Heathens' Embrace 06:31
05. Soulslain 08:07
06. Deadlands 04:00
07. End of Fallens 04:30
08. All of Them 06:21
09. Angel Dreams (Elven Dreams) 05:21
10. Clench the Feet of Fools 05:46
11. Forever Haven 04:16
12. My Leading Command 05:02
13. Everlasting 05:01 (Bonus Track)

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Download links for all albums only on our blog here: http://goodmetalandhar.do.am/

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Download links for all albums only on our blog here: http://goodmetalandhar.do.am/
Odkazy na stažení všech alb naleznete pouze na našem blogu zde: http://goodmetalandhar.do.am/
Užívateľov profilový obrázok
Horex
Metalový král
Metalový král
Príspevky: 28123
Dátum registrácie: 21 Feb 2013, 19:14
Kontaktovať užívateľa:

Re: Meadows End (SWE)

Príspevokod užívateľa Horex » 01 Máj 2021, 14:04

Meadows End - The Grand Antiquation (Digipak Edition) (2019)

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Year : 2019
Style : Melodic Death Metal
Country : Sweden
Audio : 320 kbps + all scans
Size : 144 mb


Bio:

MEADOWS END originates from Sweden and plays Symphonic/Melodic Death Metal. The band plays a unique and diverse style of their genre with an old school groove blended with a modern sound.Meadows End started out as a hobby project by childhood friends in 1998. This was in the wake of the Gothenburg era with bands such as At The Gates, In Flames and Embraced. Years of demos and periods of hibernation followed. It was not until 2009 when half the band members were exchanged that Meadows End decided it was business time. In 2010 the first full length album ODE TO QUIETUS was produced and released by the band themselves. It got well spread on the internet much thanks to YouTuber Ed 'Infidel Amsterdam' Veter. The album was well received and especially the song My Demon became critically acclaimed.Since 2012, Meadows End has been working on the follow up and on June 13 2014 the second full length album THE SUFFERWELL will be released! It contains eleven songs and was recorded during October-December 2013. The album is self-produced and meets all the tough industry production standards of today. The Sufferwell was mixed and mastered by Oscar Nilsson at Crehate Studios, Gothenburg. Cover artwork was made by Fredrik Burholm. Just like its predecessor, The Sufferwell will be self-released.

Album:

It looks like this blog needs a bit more growling to move it back to our metal roots. Lately we were hunting about the folksy parts of the music industry a lot. And finally ended up in cheese covered Power Metal lands, populated by fantasy cookie monsters and fairy dust. So, it is great news that Meadows End finally came forward with their new full length album The Grand Antiquation.True to their credo, Meadows End kick off their 39 minute offering with a mix of Fleshgod Apocalypse, the hearty rumbling of Noumena and a slice of Wolfheart. Yet this is a much more refined tune than Sojourn ever mustered. This does however not come as a real surprise. The latter was indeed somewhat of a patchwork record, with loads of tracks that came to see the light of day over time.The Grand Antiquation by contrast gets you original material.Gone are the endless Nightwish-esque key interludes, and in comes something much more symphonic. An improvement over the last offering with a much more complex and straightforward approach to Melodic and Symphonic Death Metal, with a lemon twist and a shot of vodka to add spice.Yet straight away, the truckload of bricks in there almost overwhelmed me. It is a mighty wall of sound that surrounds you right off the bat, and continues to do so through to the bitter end. With a felt never-ending string presence and a totally locked-in choir performance. And this almost wore me out after a while.This is – of course and in part – inherent to the genre, where mixing both metal and classical elements risk to teleport you on top of some sort of tower of Babylon. A gazillion of elements added to the fray quickly risk to cease making sense, and become part of a bewildering amalgam of sounds. In addition and depending on the band’s ideas, the arrangement can be complex – and confusing. Which will leave the master out in the lurch, if you get my drift.The band’s improved performance becomes apparent as of Devilution.Meadows End waste no time to make their new style and direction known to the public. This continues in the somewhat nervous Storm of Perdition. Which more and more reminds me of a piece a Fleshgod Apocalypse on steroids would have done.It is interesting that the band started to introduce those Stortregn style solos, together with them mini-riffs proper to each track. And this turns out to be one of the main attractions of The Grand Antiquation.You also get zones of comfort like Svept i Sorgepläd. Those that seem to step straight out of something the aforementioned Noumea did beforehand. Or the weird female chanting and fairy laughter in Night’s Bane. Which transforms a relatively pretty simple song into something that defies norms.The Grand Antiquation is full of such moments.On one side things often inexplicably tend towards the worse, the simplistic path in a way. Then, out of that mighty wall of bricks, you all of a sudden find these pockets of weird excellence that make no sense. Or seemingly make no sense. Like the Non-Dreaming Eye in its delicious variation, crowned by a pretty tasty solo in the middle. And don’t I always get a kick out of the video with its share of hairy manly men rocking away in a sauna. Of all places. All these guys with one single chick to cheer them on. But back to the mastering, I do firmly believe that with less of a Berlin wall and more attention to dynamics, they could have worked it out in their favor. There’s a lot there that doesn’t really reveal itself. In other words, less compression and more of a master would have done this record a world of good.And sometimes Meadows End move down funky road big time. In Significance of Man kicks of with this leathery pseudo female front that made me wonder. Yet again, the track quickly disintegrates into the usual and comfortable growly complexity this record is so fond of. By the way, ’tis one of the most varied and interesting tracks on TGA with an ending Amorphis could not have done better.But finally, adepts of Symphonic and Melodic Death Metal will relish this record, no doubt about it. The Grand Antiquation really provides fodder for a lot of them sub-genres that populate that area of the metal multiverse. Also, the powerful delivery will surely make for a great live presence. Which in these days of declining revenues is ever more important.Sure, Meadows End did not re-invent the wheel, nor should they. This is rock solid Melodic and Symphonic Metal from the North. Intensely served, and straight from the roots of this metal-laden Yggdrasil, where everything stems from.Check it out and enjoy!

Line Up:

Johan Brandberg - Vocals (2009-present) - See also: Soul Decay
Mats Helli - Bass (1998-present)
Jan Dahlberg - Guitars (1998-present)
Robin Mattsson - Keyboards (2008-present)
Daniel Tiger - Drums (2011-present) - See also: Amethyst

Tracklist:

01. Devilution 05:34
02. Storm of Perdition 04:46
03. Svept i sorgepläd 05:14
04. Night's Bane 04:33
05. Non-Dreaming Eye 04:50
06. Her Last Sigh Goodbye 04:19
07. The Insignificance of Man 04:39
08. I stilla vemod vandra 04:29

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Download links for all albums only on our blog here: http://goodmetalandhar.do.am/

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Download links for all albums only on our blog here: http://goodmetalandhar.do.am/
Odkazy na stažení všech alb naleznete pouze na našem blogu zde: http://goodmetalandhar.do.am/

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