Dark Tranquillity â Endtime Signals Review
By Steel Druhm
Dark Tranquillity have long held a special place in my heart since I first heard The Gallery back in 1995. Theyâre the indisputable champions of the âGothenburg Soundâ and the only original purveyor that aged well.1 While theyâve had distinct phases and dabbled in different approaches over their lengthy run, their core sound always resonated deeply with me. That said, theyâve had some sizeable ups and downs through the years with several albums falling short. 2020s Moment in particular was a standard-issue release that felt too safe and phoned in. It lacked the creative energy and highs of 2016s Atoma and made me wonder if the band was running out of creative steam. This made me approach Endtime Signals cautiously, hoping for better. After a bunch of time lashed to the stream of Endtime Signals, Iâm happy to report that the heart of Dark Tranquillity still beats strongly and the long-term prognosis may not be as dire as Moment suggested.
Endtime Signals opens mightily with âShivers and Voids,â which is the archetypal Dark Tranquillity song. It has their proprietary blend of sharp melodeath riffs and cold, sterile keyboards topped with Mikael Stanneâs excellent death metal rasps and a touch of his clean crooning for extra spice. Itâs moody and aggressive at once and has a chorus that sticks on first contact. Itâs exactly what I want from DT and it kills. This vitality and enthusiasm extend into follow-up âUnforgivable,â which packs fury and aggression, its blackened edges used to good effect. This sounds like something coughed up during the Fiction era and thatâs a compliment. âNeuronal Fireâ also surprises with its bright energy and urgency, making me wonder if I slipped into some earlier era of the bandâs extensive catalog. The chorus is hooky and all the pieces work in unison to get the blood pumping. Song after song delivers the goods that DT fans want with way more enthusiasm than the last time. I found my hope growing with each successive track that brought the hammer down on my grey matter. Maybe Moment was an aberration after all. Maybe.
âDrowned Out Voicesâ is an angry thrasher with nostalgic bits of Projector in its DNA, and âOne of Us is Goneâ is the classic DT emo/Goth ballad draped in grey hues and decorated with Stanneâs plaintive sadboi crooning. It works well and offers a nice change-up from the impressive melodeath onslaught. It isnât until eighth track âEnforced Perspectiveâ that something a bit less toothsome arrives, though itâs not bad. âOur Disconnectâ is around the same level, okay but not super ear-grabbing. Things course correct after this slightly flabby section, with a strong run to the finish carried by the extra heavy âA Bleaker Sun,â which reeks of the Damage Done / Character days, and the effectively Gothy mood piece âFalse Reflection.â The album feels a bit too long, but by keeping most songs in the 3-4 minute window, the pace is plenty lively. The end result is a DT album with real bite and heft.
With a new drummer and bassist on board, this still sounds like classic DT. The album even functions as an effective tour through the bandâs various eras, with certain songs strongly reminiscent of classic albums. It goes without saying at this point that Mikael Stanne kills it vocally. Heâs one of the best extreme metal vocalists and he never disappoints. His raspy death metal vocals are as good as ever and his Goth-tinged crooning is smoother than Doc Grierâs baby-like brain.2 He owns these songs and shines on the ballad-y cuts like âOne of Us is Goneâ and âFalse Reflection.â New-ish axe Johan Reinholdz does a significantly better job this time than on Moment, delivering plenty of razor-sharp riffs and moody harmonies that pierce the ear and embiggen the heart. His playing on tracks like âShivers and Voidsâ and âUnforgivableâ is alternately in-your-face and understated, and on several tracks, he successfully borrows the stadium melodeath aesthetic from Omnium Gatherum. Longtime keyboardist Martin BrĂ€ndström does his best to put a gothy, melancholic sheen over the material and he nails it. The material feels cold and a wee bit forlorn.
While Endtime Signals doesnât quite reach the heights of Atoma, itâs a sizeable step up from Moment. The things I love about Dark Tranquillity are back front and center and the writing is much more memorable. Fans will be pleased and newcomers should be impressed. Itâs nice to hear these guys back in the groove again giving the people some proper melodeath. Tranquillity now!
Rating: 3.5/5.0
DR: NA | Format Reviewed: STREAM
Label: Century Media
Websites: darktranquillity.com | facebook.com/dtofficial
Releases Worldwide: August 16th, 2024
Dr. A.N. Grier
Like many writers and readers, Dark Tranquillity has long been part of my life. I think I first explored these Swedes back in the days of The Gallery and never looked back. And that was a mighty time for the band, releasing incredible releases from then onâthe unique Projector, crushing Damage Done, and almost flawless Character. Then, the band went through several lulls before and after 2016âs Atoma, so there was a bit of hesitation going into Endtime Signals.3 Mikael Stanne and Martin BrĂ€ndström continue to keep this ship rolling, bringing in new blood to hammer out twelve tracks of melodeath that combine the heaviness and somber beauty the band has been producing for thirty fucking years. And Iâm happy they have not slowed down with this new effort. OK, thatâs a lie, there are some slow songs.
While the band will never touch their greatest moments again, Dark Tranquillity continues to be relevant in their way. While plenty of Dark Tranquillity wannabes exist, these gents always emerge above the pack. Their style is distinctive and emotional compared to the rest. Few bands can batter you with massive riffs as powerful as fellow melodeath legends, Mors Principium Est while making you want to cry with those beautiful guitar leads and clean vocals. Dark Tranquillity has always had an addictive character4 regardless of the quality of their output. With so many damn albums under their belts, never venturing far from what they do, and constantly adjusting lineups, their catalog is impressive. And Endtime Signals is another pleasant addition to their catalog. It wonât trump their best work but itâs good to see an uptick in quality following 2020âs Moment.
âShivers and Voidsâ gets the album going on a good foot with swimming chords, building energy, and that classic Dark Tranquillity combination of heaviness and melody. The chorus is one of the stronger on the album with Stanneâs rasps spitting at the sky. The follow-up track, âUnforgivable,â keeps things moving similarly, mixing a touch of At the Gates into the riffage before another powerful chorus comes into play. But the biggest difference is the crushing thrash licks on the albumâs back half, adding a touch of diversity to the album only two songs in. But of all the melodic hard-hitters, âThe Last Imaginationâ is one of the more memorable pieces on the record. Starting with a soft introduction, it finally erupts into an Evergrey-esque stop-start chug before climbing to the key-backed chorus. It also sports one of the best solos on the record before swinging into the strongest iteration of the songâs chorus.
As with most great Dark Tranquillity albums, Endtime Signals also contains sad, passionate clean vocals. Sometimes in combination with the harsher stuff, other times completely alone. âNot Nothingâ is of the former caliber and one of the album standouts. After opening with some sad, soft guitar work, those signature clean vocals arrive, shrouded in fitting effects. Then, the rasps charge forth with the dissonant riffage before blossoming into a chorus so Dark Tranquillity that it feels like being reunited with your baby blanket. For nearly five minutes, this song alternates between powerful builds and sad interludes before closing with a hopeless outro. âOne of Us Is Goneâ and the closer, âFalse Reflection,â are tracks that exclusively use clean vocals. After beginning with some damning strings and piano, Stanneâs clean vocals provide some hope for a brighter future in âOne of Us Is Gone.â When the distortion finally arrives, the strings, orchestration, and keys build with great intensity, pushing this song to its utmost conclusion. âFalse Reflectionâ is a fitting close to the journey taken on Endtime Signals. Using a simple piano-driven approach, Stanne settles into his clean-vocal element, providing support for a simply gorgeous song with a chorus that delivers the passion seamlessly.
Endtime Signals is the proper next step after coming off the lackluster Moment, delivering a combination of old-school Dark Tranquillity, modern-day seasonings, and everything in between. While petty, the two songs that do very little for me are âNeuronal Fireâ and âA Bleaker Sun.â The first is for its weird Amon Amarth subtleties and its mediocre chorus. In the same vein, but with an olden Dark Tranquillity nature, the bonus track, âZero Sum,â would have been a better addition. âA Bleaker Sun,â on the other hand, is so out of place with its speed guitar work and sinister key atmosphere. Neither song is particularly bad but they arenât as strong as others. This criticism aside, Endtime Signals is a strong release from these melodeath legends and one I will continue to return to for the rest of the year.
Rating: 3.5/5.0
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