I got into melodic death metal and such in 1993, when Carcass released their classic album 'Heartwork'. I didn't think about term "melodic death metal" back then, but it was becoming bigger by 1995, when Dark Tranquillity released 'The Gallery', Sentenced got their 'Amok' out, Dismembered ear-raped their fans with magnificent 'Massive Killing Capacity', and In Flames' EP 'Subterranean' had been in heavy rotation for a year.

I was thrilled with the melodic death metal for some years, but my interest started to wane when we got into the new millennium. Badly. Many of the old bands quitted or turned into something else (read: pop music artists), and new bands didn't manage but to copycat the pioneers and 2nd wave bands. Sometimes there was a beam of light trying to bring some life to this dying genre, for example Insomnium, but I myself wasn't easily captivated anymore. I actually began to get into power metal in late 1990s, and that was to come my new love. For the second time, actually.

Sorry for babbling, but all this actually does come down to Be'lakor, an Oz band formed back in 2004. Their third album 'Of Breath and Bone' is the first one from them I got to hear. In a way, this is like a time machine. It captures the spirit of mid 1990s, taking a lot of influences from older Dark Tranquillity and Opeth, but also from much younger Insomnium. Be'lakor sound very, very Scandinavian. Dark Tranquillity and Insomnium influences are strongest on 'Remnants', the song that happens to be a hugest broadside of melodiousness found on the album, that is thrown at a listener. Twin guitars are weaving beautiful tapestry, and backed by the drums and the bass guitar. This use of twin guitar doing melodies reminds me of Dark Tranquillity's 'The Gallery' (1995), which is one of the best works in this kind of playing style. Not a bad album to be inspired by! Of course there are riff parts, as well as one guitar doing melodic work and other doing rhythm stuff, so it's not all about the twin guitar melodies. While the album is a lengthy one, there's not so much of non-distored / acoustic guitar playing on it. I personally wouldn't mind, if there was a pinch more...

Anyways, Be'lakor's competence in both, catchy and dramatic songwriting, comes clear straight from the beginning of 'Abeyance'. They also tread to progressive territory for a few steps, but easily manage to keep it in their hands. It all feels solid and harmonious, and nothing like the band throwing a part after another part and a melody after another melody. The music portrays the lyrics well, which are about life, loss and death. And perhaps beyond... The vocals, then. They are rather deep and powerful growling, sounding somewhat like Mikael Ã…kerfelt of Opeth. The keyboards play an important part in Be'lakor's sound, playing melodies or tapestry-like things. The rhythm section is defintely nothing like same through and through, but the bass guitar is the element, that is a bit distant and undetected.

There is a lot of stuff to be discovered on this album. It should please a melodeath fanatic for months, I believe. And there's a good chance for it to become one of those albums, that is frequently listened in future. They sound like they came from Scandinavia, and that is one of their weaknesses, in a way. If they could take a couple of steps towards more characteristic things, then they would really be winning. But as they are now, I'm not complaining. Be'lakor are young and they are hungry!

Rating: 8½ (out of 10) ratings explained

Reviewed by Lane
04/17/2013 20:56