AT THE GATES is one band that really doesn't need an introduction to the Metal community. You've heard of the "big four" of Thrash Metal, right? Well, AT THE GATES is one of the "big four" of Melodic Death Metal bands. Together with the other three (IN FLAMES, DARK TRANQUILLITY, and ARCH ENEMY), they all hail from Gothenburg, Sweden, and are widely credited with creating the "Gothenburg" sound. They haven't been as prolific with album releases as the other three, as this is only their seventh album. What do you do when you're one of the most influential bands for the style and your lead singer tragically passed away last year? You release a legacy album in his honor. This 12-track album is exactly that, a tribute to his memory. Many Metal fans can be finicky. Meaning, they have locked onto a sound and expect that same sound from all future albums. Others, though a bit rarer, are OK with bands shifting a bit from their sound and experimenting. I would fall into the latter category.

With all of this in mind, let's dive in. "The Fever Mask" is first, and it has that classic Gothenburg sound. It moves fast, fueled by aggression, lead guitar melodies, crunchy bass notes, and vocals that rage. You won't however find any clean vocals here, although you will find dual guitar harmonies. "The Dissonant Void" is shorter, but no less intense. Fast-picked guitar riffs support filthy vocals, and it moves forward with absolute authority. Melody is always a part of their sound as well, and they have dissolved in like stirring sugar into a cup of warm water. The extremes that often define the sound are not here. "A Ritual of Waste" is another burner, and the band seems to be firing on all cylinders. Here's a quick confession…I am a big fan of Melodeath, but haven't spent hardly any time with AT THE GATES' inventory. One thing that strikes me right away is how much Tomas's vocals define this band. They are shouted, and they are cadenced.

"In Dark Distortion" has some clean guitar work and once again, they have lit the nitrous on their race car and aim to shove the sound right up your ass. Indeed, that is definitely an accomplishment of the album. "Tomb of Heaven" features some keyboard/organ notes, but they are short lived. Much of the album's sound comes from the vocal shouts and the excellent guitar work. It isn't what you might call original, but that doesn't seem to matter much. Indeed, it's honest and genuine. "Parasitical Hive" is a mid-tempo number that in many ways defines the word "power." The riffs are straightforward and they move with confidence, and the vocals are excellent once again. The clean guitar passage is another winning sound. "The Phantom Gospel" is heavier and darker, and the band uses the shadows to create an ominous and frightening sound. "Förgängligheten" has folky sounds, proving that the band, with all of their experience, can still be diverse.

"Black Hole Emission" is the final cut, and the balance between aggression and melody was never more evident. Overall, while this album continues in the same vein as earlier works, if it ain't broke, don't fix it, as the saying goes. Long time fans will definitely appreciate their commitment to the simplicity of the genre, and newer fans, like myself, will remember what it meant to fall in love with the genre from the start.