MNEMIC – “MNEMESIS”
NUCLEAR BLAST (2012)
It was back in 2003 that I was first introduced to the Danish Industrial/Progressive/Extreme metallers Mnemic but I still remember how impressed I was by the band’s debut release “Mechanical Spin Phenomena”. Following the release of the equally impressive follow up “The Audio Injected Soul” (2004) I somehow managed to lose track of the band and now that I am finally given the opportunity to review their cleverly-named latest work “Mnemesis” I do so with great anticipation and curiosity, in the knowledge that the team of musicians who worked on these ten new compositions are significantly different from those I knew almost a decade ago.
The first couple of spins were fairly inconclusive; apart from proving that nothing significant has changed in the way Mnemic compose their material, it did not help me decide whether I liked this album or not. Only after some time and effort on my part did I start to really bond with the compositions on offer but even this was a weaker bond than I had originally expected and hoped for. Don’t get me wrong – Mircea Gabriel Eftemie’s guitarwork is as impressive as always, especially his leads, and Guillaume Bideau’s vocals are not that much different from those of the much-loved ex-frontman Michael Bøgballe. The real ‘problem’ is that, with minor exceptions, these ten compositions, though enjoyable, are not memorable – very strange for an album that is the product of an audience-friendly, commercially-orientated work process.
The opening track “Transcend” provided a very promising start and its energy and passion took me back many years, however it was not long before I was brought back to reality through the rhythmically varied but somewhat predictable tunes of both “Valves” and “Junkies On The Storm”. Guillaume’s vocals in “I’ve Been You” are quite impressive and the same can be said for the Goth-sounding “Pattern Platform”, both making the same-titled “Mnemic” pale in comparison. The stand out composition of this album is the six minute “There’s No Tomorrow”, a song filled with beautiful guitar harmonies and passionate clean/brutal vocals, followed by “Heaven At The End Of The Wold” – a song that allows newcomer Brian Larsen prove his impressive drum skills. “Ocean Of Void” may feature some heavy low-chorded riffs but somewhat lacks inspiration, something that cannot be said of “Blue Desert In A Black Hole” – an atmospheric piece whose interesting thematic variations could potentially label it a “Prog Metal” composition.
I started listening to the album in the hope of being introduced to something truly unique and technically impressive and, though I have enjoyed the ride, I have to admit that “Mnemesis” did not meet with my expectations. Having said that, I understand that at this point in the band’s career, it is more important that the three new members find their feet and, together with the duet Eftemie/Bideau, create the foundations for moving this highly-respected band onwards and upwards. A pretty decent addition to the band’s discography but that is as far as it goes, I’m afraid.
John Stefanis
Rating: ***1/2 (3.5/5.0)
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