Morgana Lefay
Sanctified

We are in 1995, a decidedly significant year in the metal scene coming from the Scandinavian peninsula, and in the midst of numerous high-quality platters (Amorphis, In Flames, Dark Tranquillity...), the Swedes Morgana Lefay release this thrash-doom gem with very fine epic nuances.

"Sanctified" (the third chapter in their discography) boasts a meticulously crafted production, sounds with enviable execution expertise, and, above all, a "measured" aggression that brilliantly combines with refined yet always powerful and effective guitar lines. The performance of each member of the band is noteworthy, particularly impressive is the skill of singer Rytkoenen in switching between Megadeth-like vocals and a warm and enveloping timbre in the two ballads present here.

"To Isengard" represents the soul of the band with its gloomy and combative pace, granitic drums, a thunderously pulsing bass, and riffs straddling apocalyptic doom-metal close to Candlemass and slow melancholic chants. The adorable ballad "Why" transports us into a universe of passages whitened by the first snow, so acoustic and light, yet closed by a metallic and abrasive finale with Rytkoenen's truly inspired vocals.

The trio of pieces that follow unleashes high-quality trashy riffs skillfully combined with acoustic breaks that particularly impress in the dark "Mad Messiah", a block of granitic guitars, mysterious lyrics, and medium-fast rhythms for pure headbanging. Notable also is "In The Court Of The Crimson King", marvelously introduced by the interweaving of Eriksson and Persson's two six-strings, precise and coordinated, continued by the raw voice of the singer and carried forward by very technical solos supported by the dynamism of the rhythm section. Tight!

In the finale, we are amazed by the chameleon-like attitude of our band, capable of suddenly shifting towards almost "gothic" arrangements in the semi-ballad "Sorrow". Sinister acoustic games, barely hinted keyboards, a velvety but explosive vocal approach, and deep nostalgic declarations. Many are the atmospheres proposed here, in eight minutes that take us through changing soundscapes painted by solos full of light and skill, where even wonderful notes of classical guitar appear, original and touching, closing with epic tones of winter forebodings.

In short, a great piece of work, perhaps forgotten by many, but well worthy of being rediscovered and appreciated, especially referring to those of you who are lovers of a certain type of refined yet always solid and direct metal. Original in a sea of repetitiveness.