Forevermore

I came to Isole with high expectations. Epic Doom, for me, is an expansive trade. Riff after riff, multi pattern structures and rather emotive vocal deliveries- Solstice and early Candlemass being the yardstick with which I judge.
Isole differs sharply from bands like Candlemass and Solitude Aeturnus. The riff isn't the focal point- truth be told, it is hard to determine what is the focal point- and the songs are heavy laden with tons of melody which gets harder to stomach as the album progresses.


But it does progress- and quite nicely too. Isole are not one to stick with a riff till the cows come home. "Age of Darkness" is a case in point. It is a grandiose affair with a main riff and several other guitar thingies. It changes rapidly but never falters. Daniel Bryntse's vocal performance is outrightly passionate but gritty and remains so for most of the album. It would take you a couple of spins to truly remember the song though.


"Forevermore" is a very boring song until the fourth minute when the drums pick up the pace and the riff goes airbourne bringing forth a chugging bite- stolen from Testament perhaps?
"Premonitions" is very forgettable thanks to the never ceasing melodic guitar lines. But before you're yawned into oblivion, Daniel Bryntse's ascending choral yowl, not unlike Robert Plant's in "Achilles' Last Stand", slaps you back to reality.


"Beyond The Black" is nothing like the Metal Church song of the same name. This one is brutally self-indulgent and the point at which my exasperation reared its head. Bryntse sounds weary and it spills over to the listener. I couldn't wait for it to be over. The lengthy closer, "Moonstone" besides including a few impassioned growls to break the monotony of Bryntse's wailing, doesn't really cover any new ground. But there's no denying the beauty of the opener, "The Watcher". The smooth progression of its delicate riff is something to behold.
The lyrics are well written and well sung. Daniel Bryntse sounds like he is genuinely on the outside looking in. A vocal trait also possessed by Count Raven's Dan Fondelius- and just like the Count, the drumming works only to embellish the stormy riffing and does a good job of it.


Final Verdict: The album does have its moments.
Moments of pure genius and astounding beauty. But it takes you from that glorious high and slides you down to a very mundane, draining low.
Strongly recommended for fans of While Heaven Wept.