The Halo Effect’s debut, Days of the Lost, was always going to be a loaded endeavor – for the listeners. But it was clear from the release of the first single, “Shadowminds,” that this all-star Swedish melodeath “project” was something more to its founders. Though still decidedly melodeath, it felt more subdued and nuanced; almost ethereal. Less project. More genuine.
When the dust settled on Days, most seemed to like and not love it. And that felt fair. Solid debut. It kicked your teeth in certain places but not all the places. There was a confidence you’d expect. Yet there was something amiss. It needed more kicking.
The Halo Effect’s sophomore album, March of the Unheard, provides that kicking. That said kicking happens at the front end is a veteran choice. What I wanted from Days is here – late 1990s, Maiden-esque melodeath melodies; a mostly venomous snarl from Mikael Stanne; a powerful rhythm section; an impressive, acoustic instrumental (album closer “Coda”); and, more generally, some sense of urgency. Where Days felt closer in spirit to modern Dark Tranquillity, March is much closer to late 1990s/early 2000s In Flames. I doubt this was intentional – and I wouldn’t want it to be – but it made all the difference for this listener.
As impressive as March of the Unheard is generally, the songs themselves are what distinguish this second effort from Days. Namely, these songs have some weight to them. Album opener “Conspire to Deceive,” for instance, is an immediate shot of adrenaline. Though not the best song here – that might be “Our Channel to the Darkness” – it is the sort of confidence-inspiring song that sets the stage for what’s to come.
Excluding the instrumental, “This Curse of Silence,” March’s first seven songs feel like a response to those who were discouraged by the lighter feel of the debut. Even the sway of “What We Become” feels meatier on the bones. And the infectiousness and aggressiveness of “Detonate” and “Cruel Perception” are almost reminiscent of Dark Tranquillity’s Fiction.
March’s turning point at the eighth track, “Forever Astray” becomes clear when the clean chorus kicks in – and even clearer with the clean chorus in “Between Direction,” the ninth track. These two songs are much closer in spirit to the debut than they are to most of March. Consequently, the album loses some momentum that “A Death That Becomes Us” and “The Burning Point” mostly course correct.
March of the Unheard delivers on Days’ hint of heavy. That should be the talking point here. Full stop. If what attracted you to The Halo Effect was the promise of something riffier, this should leave you satiated.
Nice review! There are some Jester Race-Whoracle style riffs and song structures in here. I don’t think Stanne and Jesper have anything to prove anymore but I was hoping for something, I don’t know, perhaps more memorable? You could argue DT and IF have put out plenty of iconic releases and songs, so what do I know?! If you want some melodeath you can’t really go wrong here. The album was just kinda in one ear out the other for me. Enjoyed it while it was on though! 🙂
These songs kick hard live as well having just seen The Halo Effect play in Glasgow as part of the Halos over Europe tour.