Charon
Songs For The Sinners

THE REVIEW

The Finnish band Charon returns two years after the celebrated "The Dying Daylights" and presents us with a platter of absolute quality, ready to take on the heavy legacy left vacant by their compatriots, the never forgotten Sentenced. Yet, this might be the work in which the quintet from Raahe definitively distances themselves from the sound of their more famous cousins, in order to develop a proposal now completely devoid of obvious "external" influences.

Ten tracks with winning melodies, imbued with that romantic-decadent flavor typical of post goth-rock bands, relying on the velvety yet robust and very technical voice of J.P.Leppäluoto, a true protagonist behind the microphone, with a voice endowed with truly uncommon originality. An absurd hybrid between deep tones akin to the early Candlemass and the sweetened anger of "Ville Laihiala" from the aforementioned Oulu combo. The guitars of the Sipilä-Tuohimaa duo fail to surprise, tireless in grinding out powerful riffs loaded with elegance, capable of excelling in engaging twin-work and "stretching" into solos of class that are never pompous or out of place.

The rhythm section performs its task admirably, punctual, energetic, with a rocking groove at times and elevated by a sparkling production that creates the right spaces. No exaggerated technicalities in "Songs For The Sinners" but only brilliant melodies, catchy refrains to shout out loud and autumnal atmospheres recreated by singing full of melancholy and sentiment.

"Colder" and "Deep Water" undoubtedly serve as a magnificent opening helped by expansive riffing where Mr. Leppäluoto's voice is unleashed in the sadness-damnation duo, accompanied by the angelic sigh of talented guest Jenny Heinonen. "Bullet" stands out as a true highlight of the entire work, apocalyptic in its doom-metal lineage, releasing an angry and desolate chorus. The notable "classic" introduction with cello and the intense finale stands out among the most exciting parts of the record. Excellent also is the delightful, touching ballad "Air" and the fast anthemic "Ride On Tears", the latter being a faithful representation of the beloved (and equally hated) Finnish-goth clichés. Twin riffs reminiscent of In Flames, "urgent" and shamelessly melodic vocals, and a compelling drumming with rock'n'roll nuances are the ingredients for a stereotyped collage but full of pathos. In the final tracks "Rust" and "House Of The Silent" return the November-like settings reminiscent of rainy winds, amid the heavy-doom riffing of the former and the acoustic delicacy combined with metallic choruses of the latter. Once again, the vocal work is meticulously curated, where charisma, heart, and technical skill shine.

Ultimately, "Song For The Sinners" convinces and moves, boasting a scream-worthy mastering and confirms the capabilities of our artists already glimpsed in the past, finally freeing themselves from the cumbersome sentenced-sound to give birth to a well-defined style of their own.

Perhaps "radio-friendly" melancholy, but full of talent.