Swedish Doom legends CANDLEMASS bring us yet another solemn offering of epic sorrow filled metal. Yes, Messiah Marcolin has left once again left the band for various reasons. Once you’re done putting away you’re handkerchiefs, you’ll pleased to know CANDLEMASS have created a record that may even be considered superior to their self-titled predecessor. Just as BLACK SABBATH proved there was life after Ozzy with Dio, CANDLEMASS proves there is life after Messiah with King of the Grey Islands and Robert Lowe.
Founders of the modern doom metal movement and one of the best-known BLACK SABBATH and TROUBLE-inspired bands, CANDLEMASS (which originally included vocalist Johan Langquist, guitarist Mats Björkman, and drummer Mats Ekström) formed in 1985 following the demise of bassist Leif Edling’s first band, NEMESIS, due to a copyright lawsuit. After introducing the new endeavor into the tape trading circuit that same year with the Witchcraft demo, CANDLEMASS’ 1986 full-length debut, Epicus Doomicus Metallicus, soon proved itself to be graced with a prophetic title. Its intent could easily be summarized by the album insert, which read, “To hatred, bitterness, pain, depressions, and hangovers: without you, this album never would have been possible.”
Only after the arrival of their new, relatively unknown vocalist Messiah Marcolin (ex-MERCY) for 1987’s Nightfall did the band’s trademark sound begin to develop, complemented by the addition of lead guitarist Lars Johansson and new drummer Jan Lindh. The sullen compositions – touting hefty riffs and darkling melodies embellished by Messiah’s remarkable, near-operatic vocals – quickly immortalized this enhanced line-up and crowned the album as a centerpiece to the doom metal genre. Propelled by the generated buzz they aptly deserved, CANDLEMASS delivered a successful appearance at Holland’s Dynamo Festival in the summer of 1988, fielding contract offers from several major labels. The band rounded out their momentum-gaining year by touring Scandinavia with SLAYER and prepared themselves to work on the follow-up to what was already being hailed as a doom masterpiece. Released in the U.S. in November 1988, the band’s third album, Ancient Dreams, was successful enough to enter both the American Billboard Chart and the Swedish Album Chart, securing them European tours with MOTÖRHEAD, DESTRUCTION, SACRED REICH, and CORONER, and an American tour with LIEGE LORD. These achievements were commemorated in CANDLEMASS’ native Stockholm with a recorded live show (“one of the best we ever played,” say the band) that surfaced as a live album two years later. Hitting the live circuit hard in Europe with a headlining tour launched at London’s Hammersmith Odeon with NUCLEAR ASSAULT, DARK ANGEL, and ACID RAIN after charting once again in Sweden with 1989’s Tales Of Creation, the band teamed up with KING DIAMOND and SAVATAGE for a second tour of Europe. Internal tensions with management were high for the past two years, and the release of Live closed a chapter in the band’s career in 1990 when Messiah left to found MEMENTO MORI.
Singer Tomas Vikström was drafted as Messiah’s replacement for 1992’s Chapter VI. Documenting a very chaotic period in the band’s career, the results were a more traditional metal sound, a Swedish Grammy nomination, and sadly, the band’s demise by the end of 1993. Edling went on to form and record with his new group ABSTRAKT ALGEBRA in 1994; Björkman, Johansson, and Lindh formed and recorded with Zoic in 1996. Edling eventually resurrected the CANDLEMASS name with a brand new line-up. Recruiting vocalist Björn Flodquist, guitarist Michael Amott (ARCH ENEMY / CARCASS / SPIRTUAL BEGGARS), keyboard player Carl Westholm and drummer Jejo Perkovic, 1998’s Dactylis Glomerata (named after a flower Edling is allergic to) offered an unclassifiable musical style that bore little resemblance to the pure doom of the band’s beginnings. Further line-up changes ensued, with guitarist Mats Ståhl replacing Amott prior to the release of 1999’s From The 13th Sun. The classic lineup returned to action in 2002, releasing the two-disc Doomed For Live, but personal differences prevailed, and in May 2004, the group officially disbanded once again, but not before destiny rightfully intervened.
Reunited to play “Solitude” and “Samarithan” at guitarist Björkman’s wedding, the band’s collective chemistry was obvious to everyone, and – most importantly – they decided something should be done about it. In late 2004 the band entered famed Polar Studios (LED ZEPPLIN / ABBA) and recorded their comeback album in ten days. The result was what many fans and critics heralded as the bands best work since Nightfall and a glorious return to form. So it came as such a major shock when Messiah Marcolin decided to leave the band right before the doom legends would record arguably their strongest records in years.
Without a singer and in need of creditable replacement, the band turned to the only man that could possibly replace Messiah, Rob Lowe of the legendary SOLITUDE AETURNUS. Recorded once again at Polar Studios, with Rob Lowes vocals recorded at Nomad studios, the final mix was done this time around by none other than Peter Tagtren (HYPOCRISY, PAIN). It’s safe to say that once you here King of the Grey Islands any doubts you may have had will be laid to rest. In fact, past detractors who were initially turned off by Messiah’s operatic style might even find the band more appealing now with Rob Lowe on vocals. The master of Doom, Leif Edling himself, discusses the concept to the lyrics this time around: “The album is a concept album about depression and suicide in the modern society. The road to ruin for many ‘kings of grey islands’ that can’t stand everyday life and want to do something about it. No need to say this is CANDLEMASS’ black album!”
