Much has changed in the world of In Flames since they emerged in 1990, the band continuously refining and streamlining their sound (often in the face of fierce opposition) as they evolved and matured from their early years as melodic death metal pioneers. Incorporating electronic elements and even gothic touches, Siren Charms and Battles proved to be impressive outings for the band and, arguably, for every fan the band chased off with their increasingly melodic stylings, they gained two more (certainly, if the ecstatic crowd of sounds from the heart of Gothenburg is anything to go by). Now back with their thirteenth album, the band trailed a tougher sound than heard on the previous two outings, but although the album as a whole does have considerable heft, it actually feels like the spiritual and sonic sequel to the impressive battles, the band consolidating the melodic excursions of that record whilst allowing for some tougher, diamond-edged riffing to emerge across the album’s thirteen tracks.
Opening with subtle, ambient synths and a stair-stepping guitar riff that could as easily be lifted from early U2 as anything in metal, once it builds its head of steam, Voices emerges as a tough, dynamic lead-track complete with guttural vocals and a slight, industrial edge. With a gleaming, metallic production more reminiscent of come clarity than anything the band have released recently, voices still can’t resist a huge chorus, whilst the melodic lead break that soars across the latter half of the track is similarly hook-laden. It gets things off to an impressive start and shows that In Flames have lost none of their flair for combining seismic riffs with insanely catchy hooks. Keeping things at the heavier end of the spectrum, I, the mask offers no subtle intros, bursting out of the speakers with a rage that is genuinely surprising. A powerful song, it’s undone a touch by the fact that the chorus comes perilously close to plagiarising the band’s own the end from battles, although, if you’re going to borrow one of the previous album’s riffs, it makes sense to make sure it is one of the highlights. A good example of In Flames doing what they do best – pairing Titanic riffs and massive hooks; it is, nonetheless, one of the album’s weaker tracks, but it is followed by the crunchy call my name, a track which would comfortably fit on either battles or siren charms with its gleaming production and soaring, yearning vocals. A track that really hits home when played loud, the sweet riffs with which the band pepper the song and the heavier vocals pack quite a punch on the latter half of the track. Then there’s the blistering I am above to contend with. Here, the band deftly move from a claustrophobic verse that coils itself up before lashing out at the listener, to an arena-sized chorus. It should feel incongruous, but In Flames are nothing if not masters of this sort of thing, and the track will undoubtedly have live audiences eating out of the palms of their hands. In contrast, follow me, with its acoustic intro and atmospheric synths, really takes its time to unfurl and it’s a great song – the mid-paced music with its harmonised vocal truly earning the soaring chorus that emerges. The first half of the record comes to an end with future anthem (this is our) house, which opens with massed vocals screaming defiance before plunging into a swirling maelstrom of dark riffing. It’s a cracking track which perfectly pitches melody and aggression and it brings the first half of the record to a close on an emotional high.
Opening the second half of the record, we will remember is a mid-paced track that is very typical of In Flames’ recent output. With a shimmering lead giving way to a chunkier riff, it soon breaks down to a more sedate pace in order to allow the melodies to shine through. Throbbing bass synths underpin the slower in this life. Less immediate, it’s a track that places the emphasis primarily on the vocals and the guitars are necessarily muted in their approach. In contrast burn ups the tempo considerably, but it is the stunning deep inside that stands as the highlight of the album’s second half. With subtle eastern elements woven into the track’s atypical riff, along with deftly-layered vocals, deep inside is a perfect example of modern-day In Flames firing on all cylinders. Opening with a naked vocal, all the pain places emotion front and centre, and although the guitar work that simmers underneath the verse is well-worn, the overall outlook is more atmospheric with elements of the Cure incorporated into the verses. It’s another example of where less is more and, when the track does finally explode, it feels all the more powerful for it. The album officially ends with stay with me, a track awash with the quasi-orchestral sounds of the Mellotron and sensibly-led by acoustic guitars. It brings the album to an emotional close and, as the band slowly allow it to edge into heavier territory, the only slight disappointment is that it fades out rather than comes to a definitive end. Whatever, the melody haunts the listener long after the record has spun to a stop. As is now typical, physical editions come with a bonus track (available on both the digi-pack and the cool double vinyl, which comes complete with pop-up artwork) entitled not alone. A track that draws upon eighties influences, the low vocal on the verse and heavy synth elements sounding like a cross between Men Without Hats and Sisters of Mercy, not alone is a really cool bonus, even if it does unpick some of the emotional resonance of stay with me.
Having very much enjoyed both Siren Charms and Battles, I was intrigued to see how In Flames would progress on I, the mask, especially with the band making much of having returned to heavier pastures. In actual fact, the band have continued with the winning formula of the previous two offerings whilst throwing a few twists in to keep listeners hooked. Highlights include the Eastern-tinged deep inside, the gargantuan terrace-chants of (this is our) house and the show-stopping finale of stay with me but, as with the majority of In Flames albums, it is a record where different songs stand out depending upon when and how you listen to the record. In Flames continue to stand alone, pairing metallic riffs and melody with complete disdain for those who would rather see them pigeon-holed and compartmentalised. Their diversity is their strength and I, the mask is another triumph for the band. 8.5
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