Whenever a well known band releases a new studio album the metal community would contemplate and wait to grasp its aural contents. Sometimes the expectations can certainly heighten, depending on each individual’s point of view. But what really matters the most is the quality of the musical outcome. The question always lies over one prospect whether the latest outcome is comprised of extensive formulas and super ingredients to be topped over their previous album? Most of the anticipated albums are likely to look forward to with enthusiastic expectations and regards. But on what scale someone would grade the general performance when it comes to a legendary band like At The Gates? The year 2014 marked the return of the Swedish melodic death metal visionaries, when they released their highly anticipated album At War With Reality, which contained many outstanding tracks such Death and The Labyrinth, Heroes and Tombs, The Book of Sand, The Head of Hydra, The Night Eternal and many more. The comeback album was a defined paragon of how melodic death metal should sound like.

Though the Swedes always kept their song writing formula at superior scale, four years after the release of At War With Reality, At The Gates were finally touched by sudden creativity to return with their newly studio album, entitled To Drink From The Night Itself. Unfortunately the band had gone through some line-up changes. Lead guitarist Anders Björler decided to leave the band in 2017 and was immediately replaced by Jonas Stålhammar, the guitarist of God Macabre and Bombs of Hades. Jonas Stålhammar also appeared on Tomas Lindberg’s new project band, The Lurking Fear, which was debuted last year. To Drink from the Night Itself is based on a novel of the German author Peter Weiss. The cover art of the album is painted in absolute redness and it captures the idea of resistance. The album kicks in with a soothing instrumental track and features a singing choir and violin. Moving to the second track which carries the album title, you will hear a strong resemblance to the Slaughter of the Soul style. The blistering fast riffs of the duo guitarists Martin Larsson and Stålhammar are tenacious and the heavy beating of the drums are injected with a sense of adrenaline. Tomas Lindberg tormented vocals captures the sorrowful mood and they’re delivered with profound brilliance.

A Stare Bound in Stone is formalized with enough hooks and rhythmic structures where the tremolo melodies are picked with professional manner. Palace of Lepers is such a beautiful track. It’s gracefully emphasized on melodic tones, the trademark vocals of Tomas Lindberg will gives you goose bumps, as for the guitar signatures they are blended with ear worm melodies and soaring riffs. The frequent change of tempos from one track to another are carried forth vehemently.

In modern days of metal there have been many bands who try to invent a new sound, a only few genres have the capacity where bands can step out of their comfort zone and bring new methods to their musical compositions. At The Gates is likely to have the full capability to framework their musical style with a touch of darkness and despair. At War With Reality was entirely loaded with memorable riffs and fast pacing melodic death metal tracks, yet the latest album is immensely great. Daggers Of Black Haze is stuffed with emotive elements and a catchy chorus. The track begins with a theatrical piano when the guitars create the harmonious atmosphere. The sense of invigoration and understanding one’s ambitions is the prevailing factor of the band’s creativity and musical context. Therefore you’ll come across many fantastic songs which are saturated with ear worm melodies. At The Gates has always been valuing the guitars on the centerpiece. There’s also a fine combination of high pitch and rhythmic tones in the guitar techniques that can be heard on the fifth track.

In Nameless Sleep features the guitarist of King Diamond, Andy LaRocque, musically the track has a rising tempo in the middle section, Jonas Stålhammar emanates a storming riff. Drummer Adrian Erlandsson as usual provides the intensity and the thundering bass lines of Jonas Björler are loud. The personification of the darker songs such as The Colours of the Beast, The Labyrinth Of Tombs and Seas Of Starvation contain clean solos and lead guitars that enhance the overall atmosphere. In fact the departure of Anders Bjorler resulted into a fruitful outcome. Jonas and Lindberg worked hard to reshape the new album with dynamic and creative patterns while keeping the solid aggression well preserved. In Death They Shall Bleed is insanely fast and frantic, I personally feel that the new album orbits around the melodious spectra of the At War With Reality album. The final track, The Mirror Black, is a well-crafted finale of melancholy imbued with guitar melodies and classical instruments that fall at the very end of this emotional track. To Drink From The Night Itself is an outstanding record of indefinite creativity sprung flawlessly from the innovators of Gothenburg melodic death metal.

Release Date : May 18th, 2018
Label : Century Media Records
Tracklist :
1. Der Widerstand
2. To Drink from the Night Itself
3. A Share Bound IN Stone
4. Palace of Lepers
5. Daggers of Black Haze
6. The Chasm
7. In Nameless Sleep
8. The Colours of the Beast
9. A Labyrinth of Tombs
10. Sea of Starvation
11. In Death They Shall Burn
12. The Mirror Black