NEMESIS (CANDLEMASS)-DAY OF RETRIBUTION-RARE ORIG-1984
$
36
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Description
Nemesis – The Day Of Retribution
Label: Finger Print Records Catalog#: FING MLP 003 Format: Vinyl, 12", Mini-AlbumCountry: Sweden Released: 1984 Genre: Rock Style: Heavy Metal
Tracklist
A1 Black Messiah A2 In God We Trust A3 Theme Of The Guardians B1 The King Is Dead B2 GoodnightVINYL LOOKS GREAT!!
Well, if I’m gonna start on a Candlemass kick, I may as well begin when the clock started ticking. Some sources say The Day of Retribution was released in ’82, while others claim ’84. Two years in the music industry isn’t a drop in the bucket, but isn’t anything to get your underwear twisted over unless you’re a stickler like me. In ’84, Leif and the gang would’ve been right on target with Trouble, St. Vitus, and even Death S.S.. In ’82, they would’ve jumped a few calendars to climb aboard with Witchfinder General and countrymates Mercy. Does it really matter? With all the threads centering on who did what when and who did it before whom, I’d say sure. It also helps accurately measure the hiatus between this ep and Candlemass’s debut.
There’s something about an outdated, raw production that can throw a smile on my face, especially when it’s a foundation to a well-known oldie such as “Black Messiah”. It’s hard to imagine those reverberating high notes Messiah Marcolin hits in the converted “Incarnation of Evil” could sound so devolved coming from someone else’s mouth, even if it is band mainman Leif Edling’s. Edling, in all his untrained elegance, planned or not, can be effective in his despondent delivery, and when at times laced with a fiendish edge, amplify the natural affliction imparted by the music. Honestly though, with his endearing distortion of the English language and sometimes off-key moments, the job does seem a tad over his head in instances.
For the most part less dejected, “In God We Trust” begins and ends with a quick, bustling riff that is three parts traditional, one part semi-thrash, while the midsection transforms into a shambling, melancholic dirge for an effective contrast. “Theme of the Guardian”’s fairly simplistic, yet haunting main riff combined with a structured, yet slightly urgent gait seeps an almost mystical air, circulating around woeful vocals and some well-played solos via Anders Wallin. The slow-burning fireball that is “The King is Dead” entwines more accomplished soloing with courageous rhythms, the tandem most memorable at the song’s start, and as a whole comes across in a strange pre-future veteran fashion. Distorted and echoed acoustics are a mainstay in “Goodnight”, swirling beneath fumes of doom-laden riffs and that aforementioned eccentric vocal tonality.
While much of this doesn’t compare to some of the other stuff written by Edling and Candlemass, it is a formidable, albeit scarce effort most will probably not find in its original format. It has been re-released by Metal Blade and Active records on other formats and comes with bonus tracks like the great pair of demo Candlemass tunes “Blackstone Wielder” and “Demons Gate”, both of which will be featured in grander glory on Epicus Doomicus Metalicus. Still, I wouldn’t have minded hearing some of these tracks refurbished like “Black Messiah”.
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