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I think I am in love. Nah, I know I am. And it was from the first sight too. As soon as the first spin-through of Slumber’s Fallout was over I felt it. I needed more of this music. With every other listen, the “repeat” button was pushed again. I had to do a lot of driving this week and ended up listening to Fallout pretty much non-stop. There is a sacred album list which I only tap into when I am feeling extremely down. Completely different styles, from melancholic to blasting, the albums from that list help me to pull through during my toughest moments. Hereby, with Fallout I have found another album I can add to this list.
A totally unknown Swedish six-piece prior to this debut, Slumber recorded and sparingly released two demos prior to Fallout. Whether it was on the strength of those demos, or somebody at Karmageddon/New Aeon had some foresight, Slumber was signed. Promotion or not, music on Fallout speaks for itself, Slumber will enter my pantheon of melodic doomdeath superbands where Opeth, Katatonia and My Dying Bride reign supreme.
Some people would complain and point out that some riffing on Fallout is very reminiscent of Katatonia on Brave Murder Day, especially opening portions of Conflict, Dreamscape and A Wanders Star. So damn what? It is about time somebody discovered Anders Nystrom’s brilliant distinct chord progression thrown against the overall wall of sound. Slumber takes this riffing style, combines it with double bass melodic death metal chops (Rapture, Distress) and slower heavier doomier My Dying Bride chords (Dreamscape). All in all this combination provides for an unbelievable flow, especially given the amount of elaborate and complex arrangements surrounding these songs. This music flows like a waterfall, never to waver and never to stagnate. It mesmerizes and pulls you right in.
On top of melodic doomdeath Slumber throws a couple of symphonic elements. The band does not overindulge in those, providing them very judiciously. Electroacoustic part in Rapture becomes another flowing river solo, only to end up with pounding heavy chords, female backing vocals and male growling (see more on the latter below). All of these elements together create an impression of chorale pressing on you from the ceiling of the ancient cathedral, bringing the listener down on his knees in reverence. The band repeats this moment again on Conflict, and lets female singer to do backup along with the soaring keyboards at the closing point of A Wanders Star. Acoustic moments (Rapture, title track) add another dimension to the music, that of a rainy autumn day.
The band apparently uses two vocalists, Siavosh Bigonah is full-time and Jari Lindholm plays guitar as well. Whoever is singing, male growl is very deep and guttural, but definitely not in your face. Hidden somewhere behind in the mix, this male suffering vocals become just another instrument in the Slumber ensemble, just like Dan Swano was using his voice in recent Crimson II by Edge of Sanity.
The album would not have been complete without guitarists Jari Lidholm and Aniel Albertsson weaving intricate melodies and long elaborate solos, folk Norse music inspired (Fallout) or the one that slices pieces off my soul and makes grown men cry (Distress).
Opeth, old Katatonia, My Dying Bride, Yearning, Mourning Beloved fans - you need to hear this album, it has “can’t miss” tag attached all over it.
Edited by Misha: I can finally make my mod-powers useful, now it's readable ;)
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