The new Leaves’ Eyes album, Meredead, provides plenty of atmosphere with dazzling production… but at what expense?
The first track, “Spirts‘ Masquerade,” provides a glimpse into the album to come, stylistically. Yet it acts as a rather weak opener. It feels disjointed, as if they took different ideas and threw them together at the last minute. Liv Kristine’s vocals sound subtle here as well–not out of creative choice but of lack of motivation. As a first song, this is not a good sign.
Yet Meredead picks up right away afterwards. The second song, “Etain,” has the right qualities of an opener. It builds slowly to start, but not for too long. It quickly goes heavy and energetic, and throughout the song we get samples of the folk and classic elements present throughout the album.
At times, these elements feel forced. Instead of integrating them into the songwriting, there are moments on this album where the songwriters seemed to feel they had to throw on some folk-ish part, instead of it naturally fitting into the song.
There are definite highlights on this album, such as the song “Velvet Heart.” Already I can tell this is going to be the one to get kids jumping in rhythm at Leaves’ Eyes concerts. Part of that appeal may be related to the fact that the opening measures are strangely reminiscent of a-ha’s “Take On Me.”
Another highlight of the album is the title track, primarily with the guitar work. In a matter of mere moments, it swoops from intricate classical guitars to an electric guitar solo incorporating a folk-style riff, leading into a duet. This is primarily a metal album, with the guitars providing rhythm more than leads. The solos are few and far between; they are competently played but too simplistically constructed.
Vocalist/Producer/Co-songwriter Aleander Krull only growls on one song, “Sigrlinn,” which feels like the album’s climax. This one song is perhaps the most different from the others in terms of songwriting. It mixes verse characteristic of the rest of the album with Krull’s growls leading into disco-style riffs, paving the way to a section that would work perfectly in a spy movie.
What Meredead lacks in songwriting it makes up for in production. Even with all of the instruments present at any one time, they all com across clear and distinguishable. The music sounds roomy, without being too spacey–in other words, the instruments have just enough room to breath while still sounding like the same unit.The choirs are particularly incredible, sounding thick and clear with an chilling quality to them.
Despite of Krull’s prowess, a great-sounding atmosphere does nothing if the core songwriting isn’t there. Overall, the composition is good for the most part. I recommend this if you like the last two Nightwish albums, or Griefshire by Elis (also produced by Krull). Simply put, Meredead falls just short of some of its own promises. In the end, I give the album horns up, just not way up. Still, catch them live if you can. They put on a fun show.
Ragged Good Looks 