While a combination of heavy melodic metal, thrash, death metal, and heavy riff rock might not be totally new, there's something very fresh and exciting about the way Chain Collector create this blend, reinventing some sounds and adding their own special touches. This album features killer guitarwork by Bomann and Kjell Jacobsen. The latter's solos are very pleasing: distinctive, varied in style and placement, never overly ostentatious. In "And Then There Were None," for example, there are two solos, the first drawn-out and waily, the second manic. In the album's grooving riffage especially, the guitar sound has an unusual resonance hovering over the heaviness, an effect accentuated by the easily distinguished bass of session man Endre Kirkesola (who is also credited with keyboards and samples, as well as having co-produced and engineered the album). Great rhythmic variations add to the groove's distinctiveness and ensure that it's never monotonous, while Anders Kobro's percussion contributes to its pounding relentlessness. "Neverwhere" is a perfect example of the way Chain Collector varies rhythms so effectively, creating a feast of crunchy grooving with an abundance of change-ups and thrilling riffs. This track is also a showcase for master of versatile, heavy drumming Kobro, whose playing stands out in the long instrumental parts, and features just the right amount of double bass.

The catchiness of this album is due not just to its groove but to the melodies, particularly those in choruses. Possibly the most arresting is that of "Harvester." It's gorgeous, dramatic, and dark-toned, a perfect setting for some of Johan Leonard's most brutally imagistic lyrics. A more delicate melody is heard on "Crucifixion" the album's biggest change of pace, with a haunting quality reminiscent of Green Carnation (especially the opening) that gives way to massive, energized forcefulness. The way the song switches back and forth between the two styles is beyond cool. Of all the tracks on the demo, this one seemed to excite listeners the most, and it still commands a great deal of attention on the album. When the lines between styles and genres are especially blurred, as in "Crucifixion," Chain Collector are at their most captivating. The brilliant chorus and relentless, heavily grooving instrumental passages in "Harvester," for example, are much more interesting than the verses, which are fairly standard thrash. The verses of "Hierarchy of Murder - Code of Silence" are also thrashy, but the complex percussion makes them striking, and in the last few lines of each there's a change into some kind of wild, tight, kicking rhythm. "Winter Princess" is another notably varied track, a perfect thrashy/groovy blend with verses that strut, a feverishly agitated chorus, and a cool, slinky main riff.

In comparison to the demo, the album's only source of disappointment for me is the reduction of the magnificent Kjetil Nordhus from lead (and sole) singer to what is essentially a supporting role, in favor of new member Svenn Aksel Henriksen, whose screamy shout doesn't have Kjetil's stylistic range. Only on "Crucifixion" and "Winter Princess," two of the songs from the demo, is Nordhus featured prominently, both songs a treat for those who enjoy the tough/evil mode he demonstrates only occasionally with Green Carnation (e.g., "Dead But Dreaming" on "The Quiet Offspring") and Trail of Tears. While Svenn is a good addition to the band, I would prefer that he be less dominant. On some songs, a dynamic balance between the two vocalists is achieved: "Tapping the Vein," for instance, shows them trading verses, then joining on the chorus in a nice rough/clean harmonizing. Their voices blend well, creating an effect that's like Kjetil with distortion or Svenn with a clean echo.

Even those who aren't groove freaks should appreciate that element of Chain Collector for its rhythmic diversity, heaviness, and above all utter relentlessness, which is matched by no one I know outside of Solution 13. The combination of that irresistible groove with great songwriting, arresting melodies, technical skill, and inventive arrangements makes The Masquerade a very strong debut.

written by Maud

Playing time: 47.31