My Passion // Your Pain

I don't know why, but I decided to check out this album after so many years. As a teenager who was just getting into metal, I loved it, but how does it hold up now that I'm older and more experienced? Well, let's take a look.

I'll start by saying that Callenish Circle played thrashy melodic death metal that’s heavily inspired by At the Gates. It's thankfully not a carbon copy, but the similarities are obvious. The guitar tone, the riff and song structure, the vocals, they are all very similar. However, while may other bands merely stuck to copying the aforementioned genre starters (or popularizers, depending on your perspective), Callenish Circle spice things up a bit; for instance, Dwelling in Disdain starts of with a brief electronic section, while My Hate Unfolds, which happens to the best track on this album, features samples from American Psycho... Long story short, you can say that At the Gates provided the basic recipes, while Callenish Circle decided to change the combination of spices wherever the band deemed it appropriate.

All the instruments can be heard without much problem. Granted, the bass could’ve been a bit louder in the mix, but Soul Messiah does feature a neat, but short bass fill right before the breakdown that actually works (weird, right?), and there are other moments where the bass does manage to break through. The guitars are arguably the best part of this album, but the drums are not far behind. Just try not to headbang to the main riffs in Soul Messiah and Forsaken, or the one in what I've already said is the best song! Like I said already, the vocals are one of the biggest similarities to one of the earliest melodic death metal bands. In fact, they're arguably the part of Callenish Circle that’s most similar to At the Gates.

Near the end, we get a trilogy consisting of My Passion, Conflicts, and Your Pain. To be honest, I don't really get why it was split in three parts in the first place; if nothing else, Conflicts is nothing more than an overglorified bridge. This trilogy could've easily been streamlined and made into one song and that would’ve improved the overall score. Speaking of problems, are there any others? Well, Dwelling in Disdain, while it does have a neat electronic intro, feels really rough around the edges, which I could say for Misled as well. Also, there are scattered moments that needlessly drag (some parts of What Could’ve Been and This Truculent Path come to mind). If those moments had been removed, the score would’ve been higher.

Overall, it's good as a gateway to thrashy melodic death metal, but even if you're already into that, this album is still worth a listen or two. It's not quite as good as I remember it, though, but nevertheless, I am glad that I revisited it. Too bad Callenish Circle are kind of forgotten about.

All aboard the bandwagon. The year is 2003, and everybody wants a piece of the trending melodeath sensation. In places like North America bands were mixing only elements of it into their music to form the metalcore movement, but in Northern Europe at the time, chances were if you were a band from the Netherlands and played anything between thrash and death metal, you would sound something like this.

It wouldn't be unfair to say this is basically somewhere between the sound of the critically acclaimed 'Slaughter of the Soul' album and Soilwork's second record 'The Chainheart Machine'. The melodeath screamy yet forceful vocals sound like a carbon copy of early Soilwork's Bjorn Strid. The guitars are pure melodic death riffing with tons of the characteristic downstroke bass note then articulated melody on the string below, with a particular emphasis here on the riffy aspect as the bass/root-notes sound deliberately almost sucked in so as to get that controlled low end and strong accented melodic attack bulging forward at the front of the mix. When the guitars don't play techno metal, they'll grace the tracks with suspended full sounding power chords, more alt metal sections with chorus-like chord strumming, or some of the bluesy pentatonic licks a la At The Gates. Of course the album contains quite a few lead/solo moments, all in melodeath tradition comprising steadier melodic phrasing with the occasional harmonic minor/middle-eastern sounding segments, and naturally, a few neoclassical arpeggios.

It should be said the riffing is cohesively put together, and beyond how stereotypical the album sounds as a whole the songs are surprisingly pleasant and carry a serious punch to them quite regularly. The album isn't exactly hypnotically enticing from beginning to end and some songs will fall more under the more-of-the-same category, although none are genuinely bad either, but the first four tracks are some really solid early 2000's melodeath that does enough to avoid being pure copycat material.

The area of tracks 8-10 consisting of the title-tracks 'My Passion //' to '// Your Pain' is quite honestly excellent melodic death altogether and showcases the band's ability to write with maturity, using space and variety versus the usual constantly action-packed material. The main lead themes get stuck in the listener's head in a hurry, with a great use of leitmotiv repetition; the verse puts the techno-metal guitars on hold as there are just vocals over bass and a light drum presence, and the in-between instrumental track, acting as an interlude, is just acoustic guitars introducing a pleasant natural feel to the ride.

On a deeper note, I'll go ahead and include this in the review, a passage from the movie 'American Psycho' which actual sample is featured at the start and end of the track 'My Hate Unfolds'. I'm putting this here as its message does not leave one indifferent (to say the least...) and it's interesting the band would think of utilizing it the way they did and it establishes a colder feel to the album:
"My pain is constant and sharp, and I do not hope for a better world for anyone. In fact, I want my pain to be inflicted on others. I want no one to escape. But even after admitting this, there is no catharsis; my punishment continues to elude me, and I gain no deeper knowledge of myself."

Basically the album starts off well with a very solid front row foursome and ends well with the 3-track planned climax as a surprisingly balanced farewell. The tracks in the middle are alright if the listener is a sucker for melodeath, but not essential otherwise. An album like this has a lot of potential for being laughably generic and immediately redundant, but this one is genuinely solid and offers enough unique personality that the listener might want to come back.

Annable Courts - http://antichristmagazine.com/review-callenish-circle-my-passion-your-pain-metal-blade-records/

Well, after a few sabbatical (and priestical, maidencal, metallical… ok, bad joke, but had to be done nonetheless) months from writing reviews, I finally managed to come back, and what a proper way in doing so by recommending this sadly overlooked great dutch melodeath masterpiece to all my metal brothers and sisters out there who dig the genre. I’ve already reviewed most of Callenish Circle’s brief discography, and had been waiting to complete this one, My Passion // Your Pain, undoubtedly the crowning achievement in the dutch band’s now concluded career, and in the ears of this humble reviewer, also one of the GREATEST melodic death metals ever produced.

As some former reviews have stated, one thing that sets this jewel apart from most melodeath albums is its high contents of quality riffs, far beyond “good” or “interesting”. My dear metal brothers and sisters, what we have here is a monstrous RIFF-FEST few times found in the polemic realm of melodic death metal, a genre flooded with thousands of indistinguishably dull bands appearing year by year out of nowhere. In fact, I can count with just one hand how many other melodeath albums display this level of awesomely catchy and compelling riffs. Yet somehow this is by-the-numbers melodeath, right out of the school of At The Gates and the all too known pioneers of the genre while at the same tome almost single-handedly blowing away most things those bands ever recorded.

Opener “Soul Messiah” might not seem THAT impressive at first, perhaps sounding too much like Slaughter of the Soul era At The Gates, but only liars could say it isn’t a power-drenched, neck-breaking, brutally sweet tune. However, MPYP true face starts to emerge with track number two, “Dwelling in Disdain”, which besides a few blast-beats and the maniacal vox of Pat Savelkoul includes a brief electronic sequence, a trait that will be further explored in the depths of the album. While this one-two punch already displays the album constants of amazing musicianship, unconventional song structures (at least for melodeath standards), memorable melodies, tight rhythmic (and audible) section, nice soloing and wicked riffage, the killing blow really comes with the flawless “Forsaken”, which boasts one of better (if not THE BEST) riff in all of melodeath existence. Not headbang to this is virtually im-fuckin-possible! That is, unless you’re a spineless twat who only listens to Lady Caca. I mean, you really need a tough neck to survive this shit!

Track number four used to be one of my favorites, but now it has descended almost to the last position in this album. Indeed, “What Could Have Been” if bands like Killswitch Engage and their clones had not come up with thousands of songs about break-ups. This song really used to signify so much! I played it day and night after my first major break-up, but now every neighborhood’s son is singing about the same shit, so it has lost its appeal to me long ago. Anyway, this seven-minute slow-paced one is packed with some low grunting by Mr. Savelkoul and a nice crashing of plates, and is still worthy a few listens.

The album recovers its intensity and stamina with “This Truculent Path” with its pissed-off alien robot voice-like guitars and dynamic drumming, and then another highlight among highlights, “My Hate Unfolds” rears its ugly head. Starting and ending with samples/quotes from the American Psycho film via a couple of narrations by Patrick Bateman himself, this double bass-powered “epic” encapsulates everything this outstanding records has and is. The chorus is particularly memorable, and again we hear those brief electronic interventions that make this, such an original album.

After the slightly more average “Misled”, the final confrontation begins, and we’re left alone with the closing trilogy of the title-track. “My Passion” is lyrically linked to the song “Obey Me” from CC’s previous album, as the whole multi-part epic explores master/slave relationships and the exploits of sentimental power and control. “Conflicts” turns out to be the weakest link here, the “filler” if you like, but it only consists in some echoing chanting voices and a mellow guitar. It would have been better if the guys have attached this one to the other two parts of the central trilogy. Not being the case though, you might skip this one, though it’s less than a minute in length. The last part, “Your Pain”, is the more compelling and developed, displaying nice changes in rhythm and mood, while bookending with the ever-excellent riffs of the first part.

Up to this point, our jaw surely lays shattered on the floor and our neck muscles have surely pulverized our spine. Yet, somehow we survive to listen to the bonus track, a cover song. Is it a good idea? Holy crap! We realize is none other than fellow dutchmen Pestilence signature song, “Out of the Body”, one of the best death metal songs EVER! So how do the Circle boys do? I must say that while the original one is unbeatable they manage a pretty good version, making a fine tribute to one of death metal’s greatest and proving what school they come from, being influenced by meatier stuff than the Gothenburg sound.

Lyrics and artwork conceptually bonded like siamese twins, and boasting perfect production with a great crunchy tone for the guitars, organic tones for the bass, unholy throat enhancement and those synthetic electronic splashes, this album stands along Carcass’ Heartwork and Amon Amarth’s With Oden On Our Side as my ultimate, undisputed melodeath favorites, but unlike those two, this album is criminally unnoticed and has remained pretty obscure among melodeath fans all these years. I’ve always believed that Callenish Circle ruled supreme the melodeath realm during the 2002-2003 period, but I must be the only metalhead with that belief, and therefore feel that something’s really fucked up with this world we live in. I’m now compelled to spread my thoughts about that and make you pick this one up and swallow whole…

“Obey me, seduce me, please me
Now touch me, adore me and serve me

Trust me, I'll be your guide”.

Is it normal to enjoy the oversaturated and overrated genre of melodic death metal? Fuck no. Is it normal to enjoy this album? Fuck yes.

If there ever was 'the' melodic death metal album to end all melodic death metal albums, it'd most certainly be this one. It's kind of hard to describe this, it blew me away that much, so I'll pick at it track by track!

"Soul Messiah"
The opening riff in this song is rather At The Gates-y, as well as the vocals. However where At The Gaes fail to impress, Callenish Circle impress! Although, this song seems to follow the same throughout its' entirety, and is relentlessly fast, only slowing down for the breakdown and the bass fill followed by the solo at 1:45, which however, isn't too remarkable of a solo.

"Dwelling In Disdain"
I treat this song with disdain, as it really isn't a good song, rather unremarkable and seems to plod along endlessly, and the solo is rather so-so. "What about the drumming you say?" Yes, that's also unremarkable.

"Forsaken"
If there ever was a melodeath metal song to headbang relentlessly to - it would be this! This song pounds forth with a tremendous amount of energy from the first second. The riffs are fan-fuckin'-tastic, and the guitar tone is awesome! I can't get over that guitar tone! The solo in this song (although sounding simplistic) is rather catchy, and grabs you to listen to the rest of the song, the drumming still isn't remarkable...

"What Could Have Been"
Whoa, unexpected. This song, despite its' slowness, is great. The riffs are catchy as hell, and the drumming is tight (yay, remarkable drumming!) and all is well. I repeat: Great song.

"This Trucelent Path"
Holy shit! This song rapes my ears in such a manner that I'm gratified by it! This song is excellent. The tempo is fast paced, and the drumming is good. The riffs are great, and the breakdown fits well with the rest of the song, and includes a good deal of double-kick drumming.

"My Hate Unfolds"
FHJSDJQJIA!!11one1 I'm speechless! This song is fucking AWESOME, the riffs are catchy and tight as hell, and the drumming is fucking flawless. The hooks and leads in it are fuckin' fabolous, and this is definately a song that you won't get sick of hearing for the hundredth time! Fucking awesome, and relentlessly fast!.

"Misled"
Eh, talk about let downs. I can't bring myself to like this song, there is nothing about it that's 'good', yes, the riffs are fast and catchy, yes the drumming is decent, yes the solo is nice -- but this song just plain sucks.

"My Passion"
This song in particular I am quite fond of. The opening hooks you right in with its' catchiness and that aweomse guitar tone. The drums again, are rather unremarkable in most parts, until at 1:33, where it starts to pick up and the drums stand out nicely. Good song.

"Conflicts"
Ugh, filler. Why do bands feel the need to write these? SKKKKIIIIIIIIIIIIIP.

"Your Pain"
Ick, I expected something great for a closing track; instead we're given this piece of shit. I can't even write anything about it, skip for God's sake.

"Out Of The Body" [Pestilence Cover]
To be honest, I've never heard the original, but, sweet merciful crap does this song own or what? The riffs are incredible, and with that guitar tone, it just adds to the awesomeness of this song, the drums are nice, and the vocals are usually deeper than their standard higher pitched rasp, the solo; however, is boring as fuck.

Overall, this album is a killer Gothenburg melodic death album, that isn't even from Sweden! Dutchies performing Gothenburg melodic death better than the Swedes unbelievable? Then pick this album up and give it a listen -- you won't regret it.

Highlights:
Forsaken
My Hate Unfolds
My Passion
Out Of The Body

With this being released in 2003 it shows that melodic death isnt dead, even if the stalwarts of the scene are fading out (In Flames, Soilwork etc with the exception of Dark Tranquillity).

When i first listened to this album i really liked the first couple of tracks but found the others kinda "samey" or generic. However after a few listens they have grown on me and are some of my favourites. Callenish Circle offer a newer sounding melodic death release with occasional synth passages but with rollicking drums, crunchy guitar riffs and excellent bass playing, the song writing also has substance. The spoken word part at the end of My Hate Unfolds bugged me abit but after some deliberation i relised that it actually fits quite well with the theme of the album "My Passion, Your Pain". For me it offers something new in the way the production and sort of "techno" passages and keeps true to the old with the killer riffs(some sound like At the Gates beautys) and pounding drums.

It leads a melodic death revival where In Flames and Soilwork have stumbled.

Favourite Tracks : Soul Messiah, Forsaken, Misled
What the hell, all of them