Isole
Born From Shadows

We were waiting for them after "Silent ruins," a work of craftsmanship that hadn't left anything particularly notable in their career, especially since it followed their recognized masterpiece "Bliss of solitude." These four Swedes seemed to have rested on the favor of the critics because BOS was a bolt from the blue: one of those classic doom albums that bloom without expectations but turn out to be extraordinary for the ability of "evocation" they possess.

There was thus a mixture of curiosity and "fear" in "Born from shadows," the latest effort from the Swedes, which saw the light in October of last 2011. The cover already showed signs of possible darkening, and the sound of the CD fully confirms it: with this new album, Isole has directed themselves towards a more epic and marked doom, where the decadent architectures of previous works (all those that came before "Silent ruins") are now just a memory. To be clear: we are not facing Doomsword as someone has mistakenly said, but the steering has veered towards a much more robust and dense sound, so much so that the convincing growl of bassist Henrik "Henka" Lindenmo makes its appearance more than once. Alongside a songwriting revised in a more aggressive key, there's also the usual good dose of existentialism and pessimism that the Scandinavian band has always exhibited since their beginnings.

In this dark and penetrating atmosphere that Isole sets up (thanks also to an excellent recording), the voice of Daniel Bryntse stands out, perfect for a genre where expressiveness is needed. He takes control of the band right from the opener "The lake" placed at the start to sweep away any doubts: the proposal has changed and probably with the passing of years will continue to change but the class and style remain. The mood changes in this song confirm it: it moves from an icy intro to growl to unexpected softening full of decadent pathos. "Black hours" and the lengthy "Born from shadows" take us back a bit in time to "Silent ruins" for their unremarkable pace that resolves in nothingness. However, noteworthy is the clearly Opethian break halfway through the title track, highlighting how the band of Akerfeldt and company is one of the muses inspiring the combo.

The album stands out for a dense sound like never before in their career, and the metallic significance of "Come to me" highlights their "new" route: an absolutely effective thrash/doom, of high quality thanks to the performers. Everything is well constructed so much that some have spoken of mannerism, but "My angel" and "Condemned" show us how the emotional charge that characterized CDs like "Throne of void" and "Bliss of solitude" is still present, with its fascinating charge of melancholy veiled by an underlying pain that remains perceptible.

"Born from shadows" is the work of a mature band that has understood the right formula to express this moment in their career. A hardening sound that was perceived and that with this new effort becomes real but also congenial to the emotions that the Gavle group manages to express. A doom metal with multiple facets, where each riff is simultaneously full of pessimism and negativity but also a sense of rebellion against the things of the world. In short: Welcome back!

1. "The Lake" (7:11)
2. "Black Hours" (7:08)
3. "Born From Shadows" (9:25)
4. "Come To Me" (6:47)
5. "My Angel" (10:31)
6. "Condemned" (8:48)
7. "When All Is Black" (5:22)