The Black Flower

With “Catholic” as my introduction to the band, I was in a dreamlike state; sweltering melodies, reverberating guitars, hallucinated atmosphere, and some of the most somber vocals this side of the gothic genre. The tone has come down a lot from the menacing debut, becoming romanticized and more comforting. Not to say that the band has gone poppy on us (though it can be viewed that way), but this new direction still holds key the characteristics of the debut (closer to Ikon than anything on the metal side).

Wåhlin’s voice has become less of the depressing bawls, turning into ethereal cries that layer another heartbreaking vibe to the music’s subtle, jazzy aura. He’ll alternate between the softer chants and delicate singing / scripture speaking of sorts that continue to draw you in and make you feel right at home; listening to this while going to sleep can make for quite a vivid, visual experience. Drumming encloses Wåhlin’s vocals more as airy pressure on the senses, steer you into the correct direction as you float on through your dream. There’s much less of a kick from the double bass and only minor stomping patterns like on “Eternal Summer” which aid the consistency anyway. That’s where Diabolique’s drumming manages to outweigh most bands; it’s not the simplicity, but the effect that one achieves from the style. The mood only goes further with this trembling, otherworldly rhythm brought on by the drums.

Holding more gothic rock influences than doom influences like on the last album, The Black Flower’s guitar tone is lush and zealous – so captivating and solemn the whole way through without any drop in mood. Of course, there’s less bite than the debut, but that wasn’t the desired result; attempting something that’ll put you in a fluid reverie requires haunting guitar leads and soothing riffs that continually put forth this atmosphere. There aren’t many overhanging solos, but the ones that do show up are harmonious and tactful in their looming prance. At the core, this album wouldn’t be as tough if the bass wasn’t as powerful as last time, serving as one of the last traces of evil the debut proposed to the band. The tone here is vicious and swims again through the guitars with aberrant aspirations, submerged with delusion and a dismal outlook on the whole picture.

With this album, I believe the band found their best sound. The combination of melancholic melodies, sorrowful riffs, and a wistful atmosphere is just too much for one band’s album. The debut qualified as a doom lover’s fantasy, but this one takes a softer approach and manages to beat that one in nearly all departments. The fact that this has been buried for so long without a mere mention is absurd and begs to be heard. If you love Necrolord’s artwork at all, then you’d be well off giving his band a try; no shame here, only gain.