{"id":36442,"date":"2025-01-13T13:28:14","date_gmt":"2025-01-13T11:28:14","guid":{"rendered":"https:\/\/www.heavyworlds.com\/it\/?post_type=review&p=36442"},"modified":"2025-01-13T13:36:11","modified_gmt":"2025-01-13T11:36:11","slug":"eng-ita-the-halo-effect-march-of-the-unheard","status":"publish","type":"review","link":"https:\/\/www.heavyworlds.com\/it\/review\/eng-ita-the-halo-effect-march-of-the-unheard\/","title":{"rendered":"[ENG\/ITA] THE HALO EFFECT – March of the Unheard"},"content":{"rendered":"\n

[ENG] <\/strong>What a strange yet fascinating effect The Halo Effect<\/strong> has on me (excuse the pun). As a devoted fan of Swedish melodic death metal, I can\u2019t help but be captivated by such a release. All the members are former In Flames musicians who reunited in 2019 and have now arrived at their second album, following their strong debut, Days Of The Lost<\/em> (2022)<\/strong>.<\/p>\n\n\n\n

The ever-prolific Mikael Stanne takes the lead on vocals. As the first-ever singer of In Flames, Stanne later gained greater recognition as the frontman of Dark Tranquillity and more recently of Grand Cadaver and Cemetery Skyline. We have Peter Iwers on bass (who played with In Flames from 1997 to 2016), while Daniel Svensson (a member from 1998 to 2015) handles the drums. Guitar duties are shared by Niclas Engelin (who worked with In Flames intermittently between 1997 and 2022) and Jesper Str\u00f6mblad. The latter founded In Flames back in 1990 but left in February 2010, a year after entering rehab for alcohol abuse and pulling out of a tour. Only recently Str\u00f6mblad has revealed that part of his decision to leave the band stemmed from disagreements over the musical direction they were taking at the time. The other members were leaning toward a more radio-friendly sound, at the expense of the characteristic Swedish death metal that In Flames helped pioneer.<\/p>\n\n\n\n

This divergence is central to understanding The Halo Effect. With their second album, they reaffirm and further strengthen their intent to deliver top-tier melodic death metal. After all, the musicians involved have shaped the very history of the genre, and I believe they remain among the best at it, especially when compared to the recent output of both In Flames and Dark Tranquillity under Stanne\u2019s leadership.<\/p>\n\n\n\n

The Halo Effect<\/strong> seems to fill the void left in the early 2000s when In Flames pivoted toward (often questionable, I must add) sounds far removed from their roots. “March of the Unheard<\/strong><\/em>” feels like an album written between 1997 and 2002 but with a modern, pristine production that is polished and full-bodied without being overbearing. Stanne\u2019s vocal performance, paired with the enveloping guitars of Str\u00f6mblad and Engelin and the precise rhythm section of Iwers and Svensson, makes their melodic Swedish death metal instantly recognizable.<\/p>\n\n\n\n

The 12 tracks on this album are a concentrated dose of unmistakable echoes from their former band. Take “Detonate<\/strong><\/em>“, for example\u2014it sounds like a track straight off Clayman<\/em> (does Pinball Map<\/em> ring a bell?), or “Cruel Perception<\/strong><\/em>“, the title track, or “A Death That Becomes Us<\/strong><\/em>“. Not to mention the beautiful instrumentals, “This Curse Of Silence<\/strong><\/em>” and “Coda<\/strong><\/em>“, which harken back to the Whoracle<\/em> era. Tracks like “Our Channel To The Darkness<\/strong><\/em>” and “Burning Point<\/strong><\/em>” almost feel like Dark Tranquillity, though this influence hovers over much of the album due to Stanne\u2019s unmistakable growls. This holds true even when he alternates between growls and clean vocals, as in “Forever Astray<\/strong><\/em>” and “Between Directions<\/strong><\/em>“. The sporadic electronic touches\u2014never overused and subtly integrated\u2014reminded me of Engel.<\/p>\n\n\n\n

The interwoven guitars are another defining element of The Halo Effect<\/strong>\u2019s music. Str\u00f6mblad and Engelin deliver a tremendous performance, weaving harmonized guitar parts into cascades of catchy melodies. “March of the Unheard<\/strong><\/em>” is everything a fan of these sounds could hope for. \u201cNothing new,\u201d you might say. But this album sounds incredible and its tracks are immensely enjoyable: compact (rarely exceeding 4 minutes) and packed with consistently excellent melodies. Isn\u2019t that what matters most? Beyond all the debates about the band, the comparisons and the speculation?<\/p>\n\n\n\n

This isn\u2019t just music for nostalgic fans\u2014it\u2019s a fantastic album, written and performed by musicians who\u2019ve been mastering this genre for over 30 years. It could easily serve as a blueprint for any new band aiming to play authentic melodic death metal. If only The Halo Effect had dared to push a little further, embracing more innovative approaches and carving out a truly unique sound, they might have achieved perfection.<\/p>\n\n\n\n

This may not be the bible of Swedish death metal (that was written in the 1990s), but The Gospel <\/em>according to which The Halo Effect<\/em> certainly exists!<\/p>\n\n\n

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[ITA] Che strano e al contempo bell\u2019effetto mi suscitano i The Halo Effect<\/strong> (scusate il gioco di parole<\/em> ndr<\/em>). Da grande appassionato del melodic death metal di stampo svedese, non posso rimanere indifferente di fronte a una simile release. Tutti i componenti sono ex membri degli In Flames, riunitisi nel 2019 e giunti oggi al loro secondo album, dopo il buon disco di debutto “Days Of The Lost<\/strong><\/em>” del 2022.<\/p>\n\n\n\n

Alla voce vi \u00e8 sempre il prolifico Mikael Stanne<\/em>, primo cantante storico degli In Flames<\/em>, poi meglio conosciuto come leader dei Dark Tranquillity <\/em>e delle pi\u00f9 recenti band Grand Cadaver<\/em> e Cemetery Skyline<\/em>. Al basso troviamo Peter Iwers<\/em> (negli In Flames dal 1997 al 2016) e alla batteria Daniel Svensson<\/em> (con loro dal 1998 al 2015). Alle chitarre ci sono Niclas Engelin<\/em> (ingaggiato pi\u00f9 volte tra il 1997 e il 2022) e Jesper Str\u00f6mblad<\/em>. Quest\u2019ultimo fond\u00f2 gli In Flames nel 1990, per poi lasciarli nel febbraio 2010, un anno dopo essere entrato in riabilitazione per abuso di alcol ed aver interrotto il tour in corso. Solo recentemente ha rivelato che la sua decisione di abbandonare la band fu in parte dovuta a divergenze sulla direzione musicale intrapresa all\u2019epoca. Gli altri membri, infatti, erano orientati verso un sound pi\u00f9 radiofonico, a discapito del caratteristico swedish death metal, di cui gli In Flames sono tra i pionieri.<\/p>\n\n\n\n

Questo aspetto \u00e8 il punto focale per comprendere appieno i The Halo Effect<\/strong>. Con il loro secondo album riconfermano e rafforzano ancora di pi\u00f9 l\u2019intento di suonare ottimo melodic death metal. D\u2019altronde, i musicisti coinvolti hanno fatto la storia di questo genere, e credo che attualmente siano tra i migliori a suonarlo, soprattutto se confrontati con le produzioni recenti degli In Flames e degli stessi Dark Tranquillity di Stanne.<\/p>\n\n\n\n

I The Halo Effect <\/strong>occupano idealmente quel posto lasciato vacante agli inizi degli anni 2000, quando gli In Flames virarono verso sonorit\u00e0 (spesso discutibili, aggiungerei) lontane dagli esordi. “March of the Unheard<\/em>” <\/strong>sembra un disco composto tra il 1997 e il 2002, ma con una produzione moderna, impeccabile, pulita e corposa al punto giusto. Il contributo vocale di Stanne, unito alle chitarre avvolgenti di Str\u00f6mblad ed Engelin e alla precisa sezione ritmica di Iwers e Svensson, rende immediatamente riconoscibile il marchio di fabbrica del melodic death metal svedese.<\/p>\n\n\n\n

Queste 12 tracce sono un concentrato di innegabili echi della band madre. Basti ascoltare “Detonate<\/strong><\/em>“, che sembra un brano uscito da Clayman<\/em> (qualcuno ha detto Pinball Map? ndr<\/em>), oppure “Cruel Perception<\/strong><\/em>“, la stessa title track o ancora “A Death That Becomes Us<\/strong><\/em>“. Per non parlare delle bellissime strumentali “This Curse Of Silence<\/strong><\/em>” e “Coda<\/strong><\/em>“, che richiamano qualcosa dell\u2019album “Whoracle<\/em>“. In “Our Channel To The Darkness<\/strong><\/em>” e “Burning Point<\/strong><\/em>” sembra quasi di sentire i Dark Tranquillity, anche se questa sensazione aleggia un po\u2019 in tutti i brani cantati, per via dei continui richiami dovuti all\u2019inconfondibile growl di Stanne. Anche quando questo viene alternato con le voci pulite, come in “Forever Astray<\/strong><\/em> “e “Between Directions<\/strong><\/em>“. Gli inserti elettronici, mai invadenti e inseriti qua e l\u00e0, ricordano gli Engel.<\/p>\n\n\n\n

Le chitarre intrecciate sono un altro elemento predominante nella musica dei The Halo Effect<\/strong>. Il lavoro di Str\u00f6mblad ed Engelin \u00e8 imponente, un tripudio di chitarre armonizzate che producono una cascata di melodie orecchiabili. “March of the Unheard<\/strong><\/em>” \u00e8 quanto di meglio un amante di queste sonorit\u00e0 possa aspettarsi. Nulla di nuovo, direte. Ma questo disco suona da dio, e le canzoni al suo interno sono godibilissime, compatte (raramente superano i 4 minuti) e dalle melodie sempre azzeccate. Non \u00e8 forse questo che conta di pi\u00f9? Al di l\u00e0 delle discussioni sulla band, dei paragoni e delle speculazioni?<\/p>\n\n\n\n

Non si tratta solo di musica per nostalgici: \u00e8 un gran bell\u2019album, scritto e suonato da chi questo genere lo mastica da pi\u00f9 di 30 anni. Potrebbe tranquillamente essere preso come modello da tutte le nuove band che desiderano suonare del sano melodic death. Se solo i The Halo Effect<\/strong> avessero osato un po\u2019 di pi\u00f9, adottando soluzioni pi\u00f9 innovative e creando un sound pi\u00f9 personale, avrebbero ricevuto il massimo dei voti. Non saremo di fronte alla bibbia del genere swedish death metal (quella \u00e8 stata redatta negli anni \u201990), ma il vangelo secondo The Halo Effect <\/strong>esiste eccome!<\/p>\n\n\n\n

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