Kill My Only Enemy (Album)

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Founded in 2005, this Swedish band have gradually built up their following appearing on many prestigious stages, including winning the 2010 Stockholm finals of the World's largest new music contest, the Emergenza Festival. This début album reminds me of that all time masterpiece of symphonic gothic metal, Angtoria's 'God Has A Plan for Us All', the 2006 album that Sarah Jezebel Deva (using her rock voice) did with the Rehn brothers, who are also from Sweden, we have been waiting a long time for a follow up but only had two disappointing Sarah solo albums, well, Disdained have taken her crown, the Queen is dead, love live the Queen, metaphorically speaking of course. It has that unique fusion of deep thundering riffage, dramatic keyboard/orchestral flourishes that owe something to horror films, and those gorgeous glorious vocal melodies courtesy of strikingly beautiful flame haired Therese Thomsson's magnificent rich voice, a sort of cross between The Deva (in rock mode, not Cradle of Filth/Therion operatic) and Ian Perry. They also throw some melodic and prog metal into mix, liberally seasoned with extra searing power and there is a real sense of urgency as they rampage through their cataclysmic catalogue of almighty anthems. Production by Peter Norlinder and Dan Norman at Studio Precision is outstanding, Johan Persson 's drums sound like Thor's hammer, you can hear Therese's every breath, guitarists Niklas Dahlin and Johan Hartman envelop your ears in a sonic maelstrom, while Tomas Stolt's bass rumbles through your derrière. Even the very occasional growls are brilliantly done, accentuating the drama and atmosphere. By the way, Peter and Dan also play in a band called Slaughter of the Bluegrass that does bluegrass versions of death metal songs, the mind boggles, what next, Alison Krauss making an album with Dani Filth? Returning to the fray, the piano adorned 'Longing For Serenity' has a touch of Sirenia, the Hammond laced title track 'Kill My Only Enemy' is almost prog metal before it launches into one of their signature towering refrains, 'Numb' and 'Two Pages' are theatrical and symphonic, 'I Live For Your Pain' belts along menacingly, and 'Trust' is a colossal ballad. The whole album is well put together with a suitably grand intro, 'Prelude to a Dream', and a poignant piano coda, fittingly called 'The End'. Any self respecting gothic metal fan would be unwise to disdain this opus, this is a band with a premier league singer and sound is an esteemed 9/10 (Phil-Ravenheart music)

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