Tiamat
The Astral Sleep

THE REVIEW

Many extreme metal fans from the last fifteen years, I believe, cannot forget this work by the Swedish band Tiamat (from Hammarby-Stockholm, just for a change) which distinguished itself as a true pioneer in the use of unashamedly melodic elements within the early 90s death-black scene.

Released under the Century Media banner in 1992, a couple of years after the raw and malevolent "Sumerian Cry," this is indeed the platter that will grant the Nordics the title of "creators" of the melodic-death sound (along with At The Gates from Gothenburg) and will later serve as an inspiration for many Swedish and non-Swedish bands, among which I particularly highlight the now-famous Katatonia. The album comprises a full twelve tracks, each averaging five minutes in duration, with a surprisingly crystal-clear production where all the instruments find the right space and balance.

The genre offered by our guys turns out to be complex, highly articulated, and therefore, difficult to classify. Introduced by a horror-symphonic style intro, it begins with the devastating "Lady Temptress,” a death-thrash assault with breathtaking riffs combined with Edlund's raw and inspired screams. The impressive rhythm section overwhelms the listener without mercy, while the final solo offers glimpses of melodic brilliance that we will find in subsequent tracks.
Indeed, with the triptych "Mountains of Doom,”"Dead Boys Quire,”"Sumerian Cry 2nd Part," Tiamat captivates us with November-like harmonies of doom-gothic origin, combined with the fury of classic Scandinavian death. Soft acoustic guitars duet with fierce and sharp riffs, all framed by effective keys with very symphonic hues. There are also some quite interesting Hammond parts in the last of the three mentioned.

Johan's growl, hoarse and tormented, differs significantly from the typical black-death styles and gives the music an additional touch of originality (one of the few truly capable of "singing" death metal).
The tracks "On Golden Wings” and "Ancient Dreams,” follow, brutal and raw, showcasing a guitar style reminiscent of the well-known compatriots Unleashed. The solos by Thomas Pettersson are effective, the variety in the guitar work is incredible, characterized by a "progressive" attitude that we will find in the future seminal masterpieces "Clouds” and "Wildhoney.”
"The Southernmost Voyage” makes us realize what kind of musicians we are dealing with: absolutely unpredictable and imaginative! It's an acoustic ballad enriched with very mournful keys, whispered and gloomy vocals, a true ode to the ancestral, the wounds of the heart, the dreams destined to shatter against walls of ice and indifference.
Among the final tracks, "A Winter Shadow” is noteworthy for its atmosphere steeped in the combo's blacker past and, in particular, the solemn "Angels Far Beyond,” a highly successful hybrid between thrashy riffs-heavy solos and gloomy and piercing symphonic sequences. Johan despairs at the microphone, generating cascades of endless nightmares..
"The Astral Sleep” embodies the melo-death sound and, in my view, invents it from scratch by combining elements which, although originating from distant rock-metal genres, create an almost perfect amalgamation. The "almost" is mandatory because, in the future, the Nordics will smooth out the few rough edges and further surpass themselves.

Final note for the quality of the musicians, possessing astounding mastery considering their average age (19 years!). Make it yours.