ENTOMBED A.D. - Dead Dawn

February 5, 2016, 8 years ago

(Century Media)

David Perri

Rating: 8.0

review entombed a.d. black death

ENTOMBED A.D. - Dead Dawn

Entombed's massive influence on extreme metal continues to be felt in the present day, as this Stockholm band's genre re-defining debut Left Hand Path (1990) and its follow-up Clandestine (1991) still inspire groups the globe over with their tone, energy and aura of absolute confidence. Wolverine Blues (1993), To Ride, Shoot Straight And Speak The Truth (1997), Uprising (2000) and Morning Star (2001) are also standouts in the catalogue as each record possesses its own unique set of strengths, but what one notices most is the time that's gone by since each was released. Morning Star, the last Entombed album to actually live up to the band's potential and legacy, came to fruition 15 years ago. That isn't exactly yesterday.

Lineup changes, new labels, not-entirely-useful EPs and uneven latter-day records have unfortunately been a part of the Entombed story along with the above-mentioned classic albums, which has no doubt frustrated long-time followers of the beast Nicke Andersson once led. And it's like all of that squandered promise and momentum was aurally represented on Back To The Front, the 2014 'debut' from Entombed A.D., the group fronted by long-time Entombed vocalist L-G Petrov. The Entombed vs. Entombed A.D. issue is one we're not going to get into here, but Back To The Front was a record that damaged the Entombed legacy badly: aside from its opening track, Back To The Front was lazy, haphazard and half-cooked in its apathy. As a result, not very much was expected of Dead Dawn, Entombed A.D.'s latest album. To be blunt, this scribe didn't even think a follow-up would ever surface: Back To The Front, to these ears, signaled the end. But, hey, life is full of unexpected surprises. And not only is Dead Dawn here, but it's... good?

Before we get ahead of ourselves, let's confirm that Dead Dawn is no Left Hand Path or Clandestine. But it is an impressive retreat to Stockholm death metal first principles, most of the songs here invigorating, full of down-tuned volume and well-written. Opener "Midas In Reverse" sets the rancorous tone, while "Down To Mars Ride", "Silent" and the title track assert themselves with the Entombed confidence of old. Both Metal Tim and I hear definite Mercyful Fate/King Diamond overtones in "The Winner Has Lost", the gravity and significance of which is understood by the metal world: if you channel Don't Break The Oath or Fatal Portrait, you're indicating that you've decided to up your game for real. That said, and unsurprisingly, some of Dead Dawn is also mired in the sort of aimless mid-tempo that has plagued so much of Entombed's later material. But, overall, Dead Dawn should be commended for its renewed focus and drive: this is a band that sounds reinvigorated and ready to try to further its namesake's legacy rather than forsake it.



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