Review Summary: The textbook doom definition of an underrated gem
1992’s Chapter VI seems like the odd one out in Candlemass’s discography. With Tales Of Creation having seen the culmination of their defining epic doom ascent two years before, it plays like a sort of epilogue while also hinting at new developments that the band would ultimately abandon. These sentiments are further compounded by this being their only album to feature vocalist Thomas Vikström, who provides a different presence than his more bombastic forebears. This isn’t even the band’s fifth album, I guess their live release was considered to be their fifth chapter?
Ironically enough for such a historically overlooked album, Chapter VI might be one of the band’s more accessible efforts. Perhaps following up on the more power metal tinges that gradually trickled in, the songs are more upbeat with driving choruses while still keeping to a riff-oriented approach. It’s not too far off from what Black Sabbath had been putting out with Tony Martin as songs like “The Ebony Throne” and “Black Eyes” include the sort of shuffles that would fit well on Headless Cross.
Even if Vikström doesn’t match Messiah’s over the top delivery, he proves to be an incredibly capable singer. His level demeanor has thematically more in common with Martin or Solitude Arturnus’s Robert Lowe (foreshadowing) and boasts an arguably even broader range, able to channel a more sinister character on songs like “Julie Laughs No More” as well as the higher climbs on the chorus of “Aftermath.” He fits quite well with what the band was going for and while he has gotten his share of attention in other projects, it’s a shame he didn’t get to do more with them.
But while it seems like the band risked losing sight of their doom roots, the listener is reminded of how deep they go with “Where The Runes Still Speak.” This near nine-minute epic plays like their equivalent to a “Sign Of The Southern Cross” as its opening acoustic strums evoke an otherworldly atmosphere while the verses meditate on a sense of loss, topped by a simple but powerfully chugging chorus. By the time those inhumanly high wails are reached at the climax, it has already made a case for itself being among the greatest in the Candlemass canon.
Despite a somewhat different approach from Candlemass’s more recognized classics, Chapter VI ultimately proves to be cut from the same cloth. While the timing of its release combined with Messiah’s departure likely sealed its rather niche fate, the band’s mystical aura is very well-preserved with plenty of their signature flourishes still shining through. The undeterred songwriting also does well in navigating the more streamlined direction, resulting in an array of essential tracks. As far as I’m concerned, it’s a textbook definition of an underrated gem.
