There is possibly no need to introduce IN FLAMES, one of the classic Melodic Death Metal bands to come from Sweden. With thirteen studio albums, three EPs, and two live DVDs behind them, on this 2020 they are celebrating the twentieth anniversary of their fifth record "Clayman", complete with new artwork (an upgrade from the original one, which has not aged well). "Clayman" is the sound of a band comfortable on their skin and at the top of their game. Whether you are on the camp of those who like their sound from "Reroute To Remain" on or not, it is clear that IN FLAMES had developed and perfected a formula over the course of their first five records, being in full-form on "Clayman", so it was not entirely surprising they choose a different path.

Hearing that main riff on "Bullet Ride" is just as powerful as it might have been twenty years ago. The remastered versions on the album add just a bit of shine on the original tracks, but for most of the part, things sound just as great as before. Guitar theatrics abound, with the classic MAIDEN-esque feel of the harmonized-leads, and tasteful shredding on tracks like "Pinball Map" and closer "Another Day In Quicksand". Christopher Amott's (from DARK TRANQUILITY) solo on "Suburban Me" is a fantastic guest spot on the record for sure. The synths become slightly more noticeable on these remastered versions, but their sporadic use has little to do with the more prominent electronic elements of later-era IN FLAMES. The most overtly pronounced use here is in the instrumental breaks of "Only For The Weak" and "Satellites And Astronauts" (a gorgeous almost-power ballad), functioning more as embellishment rather than constitutive elements of the tracks most of the time.

The album's sound is completed by hard-hitting bangers such as the title-track or "As The Future Repeats Today", with catchy riffing, powerful screaming and growling, and a dynamic rhythm section. The actual meat of the review has to go for the new content here, the instrumental bonus track "Themes and Variations in D-Minor" and the four re-recorded versions of tracks from the original album by the current line-up. Although beautiful, "Themes and Variations in D-Minor" feels entirely out of place on the record. The idea of taking bits and pieces from the record and compose this delightful string piece is commendable, but it sounds a bit odd in the context of the whole record. Still a worthwhile coda, that possibly would have sounded better at the very end of the album. Its five minutes pass by so quickly as it ebbs and flows.

"Only For The Weak" is the first of the original tracks to get a re-recorded version. It certainly amps-up the sheen of the original track and gives it a full Glam Metal treatment. I wish the synths were actually a bit more discernible as the mix ends up being weirdly wet for a 2020 release. The original track has more of a Gothic feel. I do not know if I am entirely sold on the concept, but it sounds like a fine radio-ready 80's track. When it comes to "Bullet Ride", the execution might be a bit too close to the original track, but I have to admit I like the clarity on the vocals on the verses. I am not really a fan of that snarly spoken word thing that Anders Fridén did on the original release and that was quite popular on the 90s for some reason (Axl Rose surely loved doing that). My only complaint would be the way the electronics are abruptly put in the mix. Also, what's with the muddy guitar tone?

Now it's time for "Pinball Map", possibly the most successful of the re-recorded versions here. Although for the first half it remains quite similar to the original, it blooms on the second half, with the addition of theatrical synths and other electronic flourishes. It is Gothic and dramatic yet still heavy. The title track closes this 20^th Anniversary Edition with another not entirely successful mix of the original sound with an electronic-heavy, modern flavour. It makes sense for the band to have this take on the song twenty years later, but still, the execution feels off, as if the track was at the same time too close to the original and too far from it. The disparate elements do not entirely fit, and the new version ends up sounding as if it was trying to be two different things at the same time.

Overall, there's very little to say that probably has not been said about "Clayman" already. It is a masterpiece of Melodic Death Metal (or a near-masterpiece at least) and the clear culmination of a process that IN FLAMES started with their debut and developed through the course of their first five albums. This new remaster is as good of an excuse as any other to go and give the album an spin in case you have not done it before. The new material is worth checking even if I am not entirely sold with some of the ideas, and will resonate more with those who have liked the direction the band took on this latter half of their career.