Candlemass

來(lái)自瑞典的CANDLEMASS依靠樂(lè)隊(duì)出眾的才華重現(xiàn)了昔日BLACK SABBATH所特有的沉緩如巨磨般的音樂(lè)氛圍，并在英國(guó)新浪潮重金屬運(yùn)動(dòng)的后期對(duì)當(dāng)時(shí)幾乎所有的重金屬樂(lè)隊(duì)都產(chǎn)生了相當(dāng)顯著的影響。可以說(shuō)，正是這支樂(lè)隊(duì)開(kāi)創(chuàng)了現(xiàn)代厄運(yùn)金屬樂(lè)的一個(gè)新時(shí)代，在整個(gè)Doom Metal樂(lè)壇里，他們和起到了承前啟后的作用，聯(lián)系了70年代末到80年代初的Doom樂(lè)隊(duì)諸如PENTAGRAM、SAINT VITUS和80年代末的Doom樂(lè)隊(duì)諸如CATHEDRAL、VITAL REMAINS等。
1985年，貝司手Leif Edling所在的NEMESIS樂(lè)隊(duì)解散以后，他和主唱Johan Lanquist、吉他手Mats Bjorkman以及鼓手Matz Ekstrom一起組建了CANDLEMASS。組隊(duì)僅僅一年，樂(lè)隊(duì)的處女作Epicus Doomicus Metallicus（史詩(shī)、厄運(yùn)、金屬）便宣告問(wèn)世，而且一經(jīng)推出就得到了當(dāng)時(shí)重金屬圈內(nèi)人士的首肯。這張經(jīng)典的Doom Metal專輯中已經(jīng)包含了日后諸多此類樂(lè)隊(duì)頻繁使用的大量音樂(lè)元素，諸如磨盤般沉重緩慢的吉他riff、飄渺美妙的歌特女聲、旋律優(yōu)美的鍵盤段落和復(fù)雜多變的曲式。雖然這張專輯在多年之后的今天已經(jīng)被奉為經(jīng)典，但在當(dāng)時(shí)卻并沒(méi)有引起多少關(guān)注，或許只有當(dāng)年的CATHEDRAL、VITAL REMAINS的樂(lè)隊(duì)成員對(duì)他們表示了興趣。
樂(lè)隊(duì)直到1987年發(fā)行專輯Nightfall（夜幕降臨）以后才真正確立了自己在樂(lè)壇獨(dú)一無(wú)二的地位。此時(shí)的樂(lè)隊(duì)陣容已經(jīng)發(fā)生了很大的變化——Jan Lindh成為了樂(lè)隊(duì)的新任鼓手，此外增加了一名主音吉他手Lars Johansson，而最重要的變化莫過(guò)于主唱Messiah Marcolin的加入，他的歌劇般的唱腔加上沉重的riff和黑暗意味的旋律與富于文學(xué)底蘊(yùn)的歌詞相得益彰，而樂(lè)隊(duì)在現(xiàn)場(chǎng)演出時(shí)更是裝扮成類似僧侶的模樣，這一切使得CANDLEMASS與當(dāng)時(shí)的那些Thrash Metal樂(lè)隊(duì)從外形到音樂(lè)以及氣質(zhì)上均有著明顯的分別。
此后，樂(lè)隊(duì)又先后發(fā)行了專輯Ancient Dreams（上古之夢(mèng)）（1988）和Tales of Creation（創(chuàng)造的神話）（1989），這兩張專輯同樣獲得了成功，而樂(lè)隊(duì)在專輯中的表現(xiàn)也日臻完美，此時(shí)的CANDLEMASS正處于職業(yè)生涯的黃金時(shí)期。然而，隨著主唱Messiah Marcolin離隊(duì)去組建自己的樂(lè)隊(duì)MOMENTO MORI（簽約于Blackmark公司），樂(lè)隊(duì)也一下子陷入了困境。CANDLEMASS隨后發(fā)行了一張現(xiàn)場(chǎng)專輯，其中收錄了Maarcolin時(shí)期的一些現(xiàn)場(chǎng)錄音。
隨后，Tomas Vikstrom成為了CANDLEMASS的新主唱，樂(lè)隊(duì)在1992年發(fā)行了專輯Chapter VI（第六章），仍然延續(xù)了以往的風(fēng)格，但此時(shí)的搖滾樂(lè)壇已不再是重金屬音樂(lè)的天下，因此這張專輯成績(jī)平平，不久以后樂(lè)隊(duì)宣告解散。
CANDLEMASS 解散后，樂(lè)隊(duì)的創(chuàng)始人Leif Edling在1994年的時(shí)候組建了一支名為Abstrakt Algebra的樂(lè)隊(duì)，風(fēng)格偏向傳統(tǒng)的歐洲式重金屬。但是在這支樂(lè)隊(duì)僅發(fā)行了兩張專輯后，Edling又決定重組CANDLEMASS。他找來(lái)了主唱 Bjorn Fklodkvist、吉他手Michael Amott（他是偉大的瑞典金屬吉他手，曾加入過(guò)CARNAGE、CARCASS、ARCH ENEMY等樂(lè)隊(duì)）、鍵盤手Carl Westholm和鼓手Jejo Perkovic。新樂(lè)隊(duì)在1998年錄制并發(fā)行了專輯Dactylis Glomerata，這是一張先鋒派的前衛(wèi)金屬樂(lè)專輯，與樂(lè)隊(duì)以往的厄運(yùn)金屬風(fēng)格有比較明顯的差異。隨后，樂(lè)隊(duì)的吉他手換成了Mats Stahl并在1999年發(fā)行了新專輯From The 13th Sun（從第13個(gè)太陽(yáng)）。
雖然CANDLEMASS依然存在并且做著不錯(cuò)的金屬音樂(lè)，但是已經(jīng)不可能超越當(dāng)初經(jīng)典的Doom Metal風(fēng)格了，不管怎么樣，CANDLEMASS最早的四張專輯都是Doom Metal音樂(lè)歷史上不可不提的重要作品，它們對(duì)現(xiàn)在大量以旋律和編排取勝的Doom/Gothic Metal樂(lè)隊(duì)有著無(wú)法估量的影響，實(shí)際上，如果你喜歡THEATER OF TRAGEDY、ON THORNS I LAY、LAKE OF TEARS或者CREMETARY這類樂(lè)隊(duì)的話，那么你不妨直接去聽(tīng)CANDLEMASS的前四張專輯，因?yàn)槟抢锩嬉呀?jīng)包括了一切。
One of the fastest (hehe) and busiest bands in the whole Doom Metal and Metal scene, CANDLEMASS didn`t hesitate to deliver a full-length studio album as a follow-up to last year`s massive “Lucifer rising” EP. And it is as sensational and striking as its title! “Death magic doom” breaks the chains of genre restrictions and serves the listener an album of monumental, breathtaking (Doom) Metal formed to perfection.
Many listeners might be unaware that on CANDLEMASS` groundbreaking debut album “Epicus Doomicus Metallicus” (which gave a name to a whole subgenera) the vocal duties were not covered by Messiah, but by a certain Johan Langquist. Messiah joined Black Sabbath enthusiast Leif Edling and the rest of the crew in time for their second effort, the immortal and epic “Nightfall”. The density of all-time favourites such as “Dark Are The Veils Of Death”, “Bewitched” or “The Well Of Souls” on the 1987 album was, and still remains, breathtaking. After the release of 1989`s concept album “Tales Of Creation”, Messiah left the band for the first time. The two “comeback” albums “Dactylis Glomerata” and “From The 13th Sun” were recorded with different vocalists and saw the band experimenting with new moods and styles. The reunion with Messiah, who rejoined the band in 2002 for a legendary tour and more memorable shows, didn`t last long: shock and dismay hit the scene once again in 2004 as the next split occurred. Marcolin returned for the self-titled, massive “Candlemass” album which marked the band`s debut with Nuclear Blast. This opus embraced both a heavy, modern sound and the timeless CANDLEMASS trademarks that has won legions of fans since the bands early days in the mid eighties. After the monk had left for good during the recording sessions for “King Of The Grey Islands”, Robert Lowe (SOLITUDE AETURNUS) picked up the microphone in 2007 and delivered a hauntingly great job on this sombre concept album. The CANDLEMASS fans gave Robert a warm welcome on their following European tour – just listen to the live cuts on the “Lucifer rising” EP (2008)!
Now the Swedish/Texan fivepiece has returned with an album that deserves the title “classic” right from the start – because “Death Magic Doom” has it all! Uptempo Metal madness (’If I ever die’), grinding Doom (’Hammer of Doom’, which the record was initially supposed to be called) and – most of all – those immortal hymns with achingly addictive and beautiful melody lines (just check out ‘Dead angel’ or ‘The bleeding baroness’)! Recorded once more at the famous Swedish Polar Studios, “Death Magic Doom” captures CANDLEMASS at their personal best: immortal songwriting, incredible guitar solos and Robert`s brilliant vocals…Colossal, epic, heavy, doomy, you gotta love this one!!!