Does not quite live up to the expectations established by '...Hell'.
It was only about fifteen months ago that Sweden's The Murder Of My Sweet unleashed their stunning concept album 'Beth Out Of Hell'. The band now returns with their fourth record, 'Echoes Of The Aftermath', an album that comprises of a dozen new tracks and slated for a January 2017 release on Frontiers*.
While retaining much of their Cinematic and Symphonic attributes, TMOMS takes a more straightforward song-writing approach on their latest offering. Whereas '...Hell' showcased the band at their most ambitious, 'Echoes...' makes a concerted effort to eschew the long-form, conceptual framework of its predecessor to focus on material more in line with commercial sensibilities. Additionally, the band also pull inspiration from their Nordic lineage to use as a foundation for some of their riffs and melodies on this latest effort.
As much as 'Echoes...' is more accessible and less demanding on the listener, it does not quite live up to the expectations established by '...Hell'. In keeping with its forerunner, as well as the band's penchant for the grandiose, 'Echoes...' opens with 'Sleeping Giant', an episode that spans more than six minutes. Despite Angelica Rylin delivering another vocal performance resplendent with grace and elegance, the songs ultimately lack the depth and drama established by last year's record. That said, without the confines of needing to fit each composition into an established storyline, the songs sound more organic and less premeditated. Despite none of the tracks being able to be described as particularly sub-par, there is nothing on 'Echoes...' that is a notable standout. It is arguable that a bit more time would have afforded The Murder Of My Sweet the opportunity to develop a stronger collection of songs.
With all that said and taken into account, 'Echoes Of The Aftermath' is still recommended for established fans of the band.
Brent Rusche
(* this review is From Fireworks Magazine #77)
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