| Sunless Days Reviews
This page will be updated continuesly as the
reviews for Sunless Days arrive.
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DigitalMetal
Though I really only regard this album as a
competent and solid entry into the female fronted Goth rock album
category that I will rarely listen too, I will concede that it
is one of the sexiest albums I’ve heard in a while.
Beseech has undergone a considerable lineup overhaul since I
last heard them on their doom/death tainted …From a Bleeding
Heart with many of the founding members no longer in the fold
and Erik Molarin and Lotta Höglin being the new vocal duo
to deliver there more somber Goth rock tones. And pretty good
they are too, especially Ms. Höglin, who has the vocal equivalent
of ‘take me to bed eyes’. As with most Goth rock,
Molarin simply provides a somber male accompaniment to her sultry
hues. Also, in the production department, Beseech are arguably
the beefiest Goth rock band I have heard with a super down tuned
crunchy guitar tone undulating under the expected ivory tinkling.
Of course the main focus of the themes are the usual lovelorn,
tragic ballads of loss and sadness (“A Bittersweet Tragedy”,
“Everytime I Die”, “Emotional Decay”),
and the overall sound reminded me of Mandylion era the Gathering
(especially “Every Time I Die” and “Restless
Dreams” where Höglin sounds a lot like Anneke Van Giersbergen)
with a bit more emphasis on the guitars. The vocal interplay between
the two leads is, while contrived, effective, with Molarin’s
deep croon taking a rightly deserved back seat except for the
well done cover of Danzig’s “Devils Plaything”
where he does a pretty good Glenn Danzig impression. Their version
of the song also fits in with the sensual nature of the rest of
the tracks’ atmospheres to the point where in my Danzig-less
musical existence I was unaware it was a cover song until researching
the album on the internet. The tracks run the usual balance between
pounding catchy rock riffs (“The Outpost”, “Last
Obsession”, “Emotional Decay”) and tear jerking
ballads (“Lost”, “Restless Dreams”). Only
the needless outro “Reversed Mind” seemed out of place.
With the stout guitar tone and expected stellar female vocal
presence, Sunless Days is a slightly above par, sultry Goth Rock
effort with a little more of a sweaty, gasping, rolling in the
sheets ambience that, in a pinch would make it my Goth Rock album
of choice for luring the ladies into my Gothic love pit.
By Erik Thomas
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Reflections
of Darkness
Introduction
Beseech is not a new name in the gothic scene. Their debut ‘From
A Bleeding Hart’ (1998) was a breath of fresh air in the
scene and the result was tours with Theatre Of Tradegy and Lacuna
Coil in 2001. After that Jorgen (vocals) left the band and the
band was still searching for their sound and discovering new ways.
With ‘Drama’(2004) the band exceeded themselves. They
did some summer festivals like ‘Wave Gothic Treffen’
this year. Now their fifth record it out and with their new sound
there is more than enough reason to be curious.
Songreview
01. Innerlane – 4:07
The desperate voice of Lotta and dramatic arrangements set the
tone for the song. There is also the low and emotional voice of
Erik which makes the song complete. Besides that there are some
heavy guitar lines mixed with a catchy beat. A good start: powerful
and this shows the new sound of Beseech. It is also the first
video from the band. You can download it on their official website.
02. The Outpost – 5:18
A guitar intro grows into a heavy part with uptempo drums. Suddenly
the arrangements come in together with the dark voice of Erik.
He creates a deeper dimension. The voice of Lotta reminds me of
Evanescene, but her voice is more clear and fascinating. Together
they build up the song with a dark and groovy sound. A midtempo
song which fits very well with their voices and still it is the
typical Beseech sound. The piana parts also make the song interesting.
There is more in the song than you think on the first listen.
03. A Bittersweet Tradegy – 4:07
Catchy, heavy riffs, melodic piano parts and a dramatic atmosphere.
The production is very good and all the instruments are well balanced
and too much in the front of the mix. A very full song that stays
in your head. Sometimes a bit theatrical with the dramatic duets
between both singers. Lotta shows here an other side of her: high
tones which makes me think of Within Temptation and she proves
that she is a strong vocalist.
04. Evertime I Die – 4:03
There is the piano again, but more central this time. Together
with the low riffs, the more down to earth voice of Erik and Lotta
it is a very suprising song. Not complicated, but not the classical
Beseech sound. Sometimes there is a melancholic feeling. All the
parts are well balanced and the simple guitar parts every now
and then make the song more dynamic. A more rock orientated song.
05. Devil’s Plaything – 4:49
Some clean guitar riffs together with the doomy voice of Erik.
His clean voice carries the whole song. Peaceful and now and then
a bit heavy due to the dry drums. His voices changes suddenly
and Lotta comes in: a lot lower than before. Powerful and heavy.
It is for sure a more experimental song. Then there is a bridge
with some surreal arrangements and a light piano in a very oriental
way. That makes the second part even heavier. The guitars are
so well mixed with Eriks dark voice: there is no doubt that it
will grow more to the end.
06. Lost – 5:38
A classical piano: a fragile start. That reminds me again of Evenescene
in a positive way. Lotta gets the space to show her emotions and
to build up a song on her own. It doesn’t get boring: her
emotions and voice are interesting enough. You get curious as
to where she wants to lead you to. Modest but giving everything
she can. Maybe there could be some more variation in the piano
melody to bring it to a higher level.
07. Last Obsession – 3:40
A distorted sound created by chaotic guitars, a different piano
melody and the dark voice of Erik. A more electronically orientated
song. The raw riffs and high guitars are suprising and the uptempo
changes make it all the more alive and dynamic. The parts switch
quickly and Lotta is more in the background. Finally the guitar
lines are more in the front. There is a spoken part, almost progressive.
They dare to be not so beautiful and catchy.
08. Emotional Decay – 3:54
The doom feeling returns with a danceable beat, and the Beseech
sound: a crossover between the goth metal and the more electronic
parts. The voice of Erik reminds me of Tiamat in their Prey period.
Dark, unpredictable, raw and down to earth. There is a lot to
discover in this song and it is for sure that Beseech rebut their
own borders.
09. Restless Dreams – 5:44
Psychodelic guitars and keys are dark and slow. The voice of Lotta
is low and makes the atmosphere even more sad. The power is gone
and there is no heavy feeling from the other song anymore. Crystal
clear and fragile is the voice of Lotta and when Erik comes in,
he is modest. The classical arrangements and the guitars in the
end reinforce the melancholic feeling. The outro is unexpected,
heavy and dark.
10. Reversed Mind (outro) – 2:03
The feeling from the last song stays in your head. Light guitars,
dark arrangements which are not catchy or beautiful. When the
last tones are gone, the silence is there. Empty, but impressed
by the sound of this band there is finally some rest to think
about this record.
Techinal Summary
Total playing time: 43.28
Total songs: 10
Conclusion
It is for sure that Beseech is back and stronger than before.
After some line-up changes, they finally found their rest. The
sound nowadays is more catchy, more complicated and experimental.
Enough reason to be positive about 'Sunless Days.' The band has
grown a lot and they don't seem to care about the traditional
sound in the gothic scene. The band is more catchy, which makes
them more suitable for the Evenescene fans, the more rock orientated
people. The production of the record is very good and well balanced:
the arrangements are not overdone.
There are enough experimental songs and the voices of Erik and
Lotta are strong enough to keep it interesting. Still there is
something bad: besides all those new things the songs are a bit
predictable. Mainly in the beginning the duets are a bit too much.
Of course that is personal. When you just are looking for a strong
and dynamic record Beseech won't disappoint you. They dare to
be more unic and when that means a more mainstream sound then
it is only better. Surely a suprise to hear this album.
Rating
Music 78
Sound 75
Extra’s -
Total 8/10
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Metal
Temple
Beseech are one of those bands I discovered
during one of my late night band searches. With a little help
from my old friend, the search engine, a cool name caught my eye,
Beseech. That little word brought melancholy and desperation to
my mind and seeing as Beseech was advertised as Goth Metal, this
sounded just my cup of tea. It didn't take long for their music
to prove me right. With a superior grasp on melody, an eye-catching
keyboardist and a good level of crunch, Beseech soon had me well
on my way to headbanging land. Time has passed since then and
there have been some lineup changes but almost all of these have
been for the best.
In most aspects I felt that 1992 was a wash up but it had one
thing going for it, Beseech formed that year in Boras, Sweden.
1995 brought their first record deal with We Bite/Corrosion Records,
a relationship which
continued until 1998, during which time they released their first
album, "From A Bleeding Heart". In 1999 Beseech signed
a deal with Pavement Records. They began writing their 2nd record,
"Black Emotions". It was during this time that Lotta
Hoglin (vocalist) joined the band. She added a new dimension to
their music, combining beautifully with Jergan's gruffer voice.
After the tour supporting "Black Emotions", Jergan left
the band and was replaced by Erik Molarin. In 2001 they were signed
to Napalm Records and a year later released their next album,
"Souls Highway". Their next record is "Drama"
and came out in 2004, which brings us to 2005 and the record this
review is most concerned with, "Sunless Days"
My how they have grown! The little Goth band's grasp of melody
is getting impressive without becoming to much and choking the
core of the song. The guitar and keyboards are the best part of
Beseech's melancholia but everyone does a good job, lending a
nice full sound to "Sunless Days". Lotta's voice is
a little better and Erik's is noticably stronger - though still
not as unique as Jergan's was. Erik has a deep, brooding sound
to his singing, reminiscent of Peter Steele (Type O Negative),
though the resemblance lessens with every release. On previous
albums Lotta was the better vocalist but on "Sunless Days"
Erik has caught up with her. As always Beseech are atmospheric,
although perhaps less frightening and more
mournful than they use to be (on most tracks). The production
is spotless and the guitar-work has a pretty good crunch factor
as well.
The best song on the album is "Innerlane". It is extremely
catchy, desperate sounding and very fast. The next best song is
"Devil's Plaything" which is an evil little "love"
song with the best guitar-work on the album and some pretty unique
sounding synthesizers. My third favorite is "Bittersweet
Tragedy" which is a laid back tune with the best keyboard-work
on "Sunless Days".
Considering how much Beseech's lineup has changed over the years,
it's amazing that they are still around and a miracle that they
keep improving. It looks as if this latest combination of musicians
may be the one that
gets them noticed. Beseech certainly caught my eye, I mean ear
(rueful grin). I am pleased with their gradual evolution and happy
to give them a thumb up!
4/5
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Sea
of Tranquility
Sunless Days, the latest release form Beseech,
is a dark mix of gothic tinged progressive metal anthems, sure
to be a hit with fans of Type O Negative, The Gathering, Tiamat,
Lacuna Coil, and Evenescence. Filled with melody after sumptuous
melody, Sunless Days plays it safe for the most part, as each
track kind of stays along the same path and never really veers
off the road too much, not that this is a bad thing. There are
plenty of catchy and riff-laden rockers here, like the irresistable"Everytime
I Die", and the symphonic "The Outpost". The band
does a good job marrying progressive rock styled keyboard soundscapes
and orchestrations with metal guitars, and the soaring female
vocals of Lotta Höglin work well against the darker gothic
stylings of male singer Erik Molarin. Lotta sounds purely angelic
on the sweet piano driven ballad "Lost", and the vocal
duo harmonize together on the futuristic rocker "Emotional
Decay". Perhaps the strongest cut on the CD is "Restless
Dreams", a real symphonic piece with great vocals by both
Lotta and Erik, as well as layers of varied guitar work and plenty
of keyboards.
Beseech have put together a pleasant release here with Sunless
Days, probably not a CD that will set the world on fire, but there
are enough solid and enjoyable songs here that I can definitely
recommend it to fans of the band as well as those into the groups
mentioned above.
3,5/5
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MetalReview
The goth rock style is fraught with mediocrity
and repetition, so when tasked with reviewing an album of the
genre, it’s always a pleasure when the album in hand is
from Beseech, perhaps the most consistently solid band that the
genre has to offer. They feature all the goth rock ingredients
that fans and detractors have come to expect – male vocals,
female vocals, piano, industrial overtones, etc., but Beseech
are masters of balancing everything tastefully.
Beseech continue down the path embarked upon with 2004’s
Drama release, which saw an industrial influence emerge that wasn’t
nearly as prevalent on their prior works. Both singers turn in
a fine performance, Erik has a well-suited droning voice, kind
of like Peter Steele, but not as deep. Lotta sounds well-trained
with a sweet high voice that will remind newcomers to the scene
of Cristina from Lacuna Coil and Amy from Evanescence. Oddly,
no one in the band pulls double-duty on instruments, so there
are actually seven full-time members, including the two singers,
two guitarists, keys, bass, and a drummer, which seems excessive
for the amount of music that is produced. Perhaps it is necessary
to have that many creative inputs when making music that is at
once both solemn and uplifting.
They do a commendable job in varying the tempo from song-to-song.
Album opener “Innerlane” is a dark affair with chords
heavier than most anything they’ve done in awhile. Then
the following song, “The Outpost” is a standard entry
for the genre, with melodious piano over stock chords, like something
Entwine would write, although the female vocals add another dimension.
“Bittersweet Tragedy” introduces artificial electronic
melodies to an already dreary song, and the results are great.
Then we have “Lost” which is a pure piano ballad in
the vein of Sarah McLachlan. Well I’ll pass on that, but
some of you girls out there may dig it? The last song of note
is “Last Obsession” which is just a nice all-around
song. A little dark, a little hopeful, a little heavy…a
good radio song if American rock stations would pull their heads
out of the rears.
Overall, Sunless Days is another solid effort, about up there
with Drama, even if it doesn’t quite have standouts like
“Higher Level” and “Addicted”. Fans of
the goth rock/metal genre have probably come to expect this kind
of performance from Beseech by now, but if you’re new to
them, this is a fine album to start with. Surprise, surprise…more
good metal from Sweden.
| Production |
Songwriting |
Musicianship |
5/6 |
4,5/6 |
4/6 |
/Tim Pigeon
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Norweigan Review
Sunless Days continues were Drama left us a
year and a half ago, no great changes, but it's the little things
that make all the difference here. The female vocals are more
distinctive, the male vocal is not so forced,
the songs are a thought more uptempo and so on. As I was saying
there isn't much that differ this release from its predecessor,
but enough to make this a more whole and level record. For those
not familiar with Beseech, this is a Swedish act that has been
cooking since1992, now releasing their fifth album. Beseech categorize
under the genre Goth Rock and may be compared with bands like
Tiamat and The Gathering, mixed with some influence of Type O'Negative
and early Paradise Lost. Among the tracks you will find Danzig's
'Devils Plaything', which Beseech do a heavier and more depressing
version of. Drama's 'Friend Emptiness' has also been given an
equivalent song on Sunless Days with the song 'Lost', both consequently
tracks where Lotta Höglin is given space to unfold alone.
The material is as mentioned above coherent, whole and good and
doesn't bid on any noticeable trip downs. Yet another good record
from Beseech wich I think will give satisfaction to the fans as
well as other new and curious goth rockers.
8/10 points
11.09.05 Tekst av: Vegar
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Metal
Covenant
The genre of gothic metal has seen something
of a boom lately, with constellations from all over the world
(and especially those with female vocalists) climbing the charts.
Sweden's contribution comes in the form of Beseech, a 7-person
strong ensemble who is striving for something of a breakthrough
with Sunless Days, their fifth album. The chances of succeeding
are definitely looking optimistic. The release of the slightly
lacklustre Drama last year was a step back from the excellent
Soul's Highway (2002), but now the band seems to have found the
right path again.
The biggest change since earlier is the production, which is
nothing short of excellent. Since Drama, a second guitarist (Manne
Engström) has been recruited, which gives Sunless Days a
richer sound than the earlier releases. Furthermore, the dual
vocalists Erik Molarin and Lotta Höglin contrast each other
as good as ever, with Molarin's gloomy voice against Höglin's
ethereal ditto. Most important of all, though: the compositions
offer a new depth than before and are a lot more dynamic.
For example; the first single "Innerlane" might sound
a bit flat at first listen, but grows tremendously after a few
spins. It's a brave choice of a single, since it shows a new and
more complex side of the band. Songs like "The Outpost"
and "A Bittersweet Tragedy" thread on familiar Beseech-ground,
with haunting keyboard melodies that would make Paradise Lost
jealous, and melancholic guitars which reminisce of Swedish stadium
rockers Kent.
My biggest problem with the previous release Drama was that Lotta
Höglin became sidelined all too often in favour of Erik Molarin;
an almost criminal act. Not that Molarin is bad in any way; it's
just that the lovely Höglin easily ranks among vocalists
like Tarja Turunen (Nightwish), Sharon Den Adel (Within Temptation)
and Amy Lee (Evanescence) when it comes to having the most powerful
voice in the genre at the moment. On Sunless Days she gets more
space than earlier. Just listen to the ballad "Lost"
(which has nothing to do with the popular TV-series) where Beseech
strips down to nothing but a piano and Höglin's singing.
The result might be the best song the band has ever crafted.
Sunless Days also includes a cover; "Devil's Plaything"
originally made by Danzig. It won't make people raise their eyebrows
like when Beseech interpreted the ABBA-hit "Gimme Gimme Gimme"
on Soul's Highway, but it's definitely functional. The cover is
clearly overshadowed by the band's own material, though. Beseech
has surpassed themselves with Sunless Days, and if they keep this
up there is no telling where this will end.
As a final note; be sure to purchase the limited digipack-edition,
as it contains a revamped version of the five year old track "Manmade
Dreams", as well as an emotional version of "Lost".
| Production |
Vocals |
Compositions |
8 |
8 |
9 |
Total: 8,5/10
/Niklas
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Utter
Trash
This band is so good that it really pisses me
off. I mean, how many times can a band turn out a fantastic album
that gets ignored in the US? I thought ‘Souls Highway’
was a great album, and then last year's ‘Drama’ totally
blew me away, making it to #2 on my top ten of last year. Well,
the Swedish goth fusion masters are back with ‘Sunless Days’,
and it's so damn good that I will go crazy if this is ignored
by American listeners. In a year filled with great music, this
album stands out above the rest. This is the ultimate blend of
gothic atmosphere, progressive metal instrumentation, and sheer
melodic brilliance. The arrangement of crunching guitars, atmospheric
keyboards, and baritone and soprano vocals is absolutely entrancing,
and the melodies are absolutely infectious. These songs will stick
in your head and haunt your waking and sleeping hours, echoing
through your dreams. I expected something great out of this band,
but they surpassed even my wildest dreams with ‘Sunless
Days’. Even the album's sole cover, a version of Danzig's
"Devil's Plaything", fits perfectly into the overall
feel and vibe of the rest of the album, and doesn't come off as
being gimmicky or trite al all like some covers do. Instead, it's
just one more great song amongst many. Each song on this album
is better than the last, making ‘Sunless Days’ a stunning
achievement. Ok America...this is your last chance to show you've
got any taste. Pick up a copy of Sunless Days today! The Heathen
Hippy gives this 5 platinum stars.
(Taliesin Govannon)
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Tartarean
Desire
From the humble and trembling beginning in the
small city of Borås, Sweden, in 1992 it was not until 1998
that gothic metallers Beseech released their debut "...From
A Bleeding Heart". At that time few had heard about the newcomer
band but today they have become one of the more widely respected
bands within the genre. The gothic metal boom may be fading by
now but I believe that there is still room for a band like Beseech
who have worked hard to develop a personal and unique sound, a
target which was reached with their Napalm debut "Souls Highway"
in 2002, a quite melodic and dance friendly effort which was nonetheless
drenched in a thick melancholic and gloomy atmosphere to fit the
gothic imagery. The 2004 release "Drama" and now this
one follow as natural successors to one another as the band continues
to strive for renewal without abandoning their personality. To
refer to "Sunless Days" as experimental or visionary
would be a serious blunder but it is obvious that Beseech is not
a band who wish to stand still at one point which is almost impossible
in today's music if you want to stay on top. There are two things
that makes a difference this time. First off they have added second
guitarist Manne Engström (Fatal Embrace, Sundown) for a heavier
sound which becomes most evident in the opening track "Innerlane"
which is one of their heaviest compositions as of today. At the
same time, working more or less as a contrast to the heavier sound,
they have continued to write vocal lines with a strong mainstream
pop vibe which should make their songs more easily accessible
to a larger crowd. Not quite as impressive as their peak "Souls
Highway" but still highly enjoyable. It's a little bit alarming
though that the most impressive song is the cover of Danzig's
immortal classic "Devil's Plaything".
7,5/10
/Vincent Eldefors
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Enslain
Magazine
Beseech has changed drastically since "From
a Bleeding Heart", written almost a decade ago. Beginning
mostly as a doomy project, and later turning towards goth, "Sunless
Days" sees them taking a further step away from their gloomy
roots. This is a very energetic album full of pop/goth metal tunes,
forming a sort of mixture between Entwine and Type O Negative.
"Sunless Days" is an absolute mosaic of influences.
Part of "Innerlane" forms a strange gothed-out version
of Tool, and "A Bittersweet Tragedy" sounds remarkably
similar to Lacuna Coil. Then there are the vocals. At times Lotta
Höglin sings in a similar way to Anneke van Giersbergen of
The Gathering, but on "Every Time I Die" I was absolutely
convinced that Anneke made a guest appearance. Not only does she
have the same range, sing in the same style, and hold out her
notes in the same manner, but the soft whispering vocals in the
background sound exactly like what you'd expect from The Gathering.
Then Erik Molarin, who contributes the male vocals, has a voice
that's a marriage of Johan Edlund (Tiamat) and Peter Steele from
Type O.
Granted, their sound isn't completely original, but that doesn't
mean it isn't a good album. Quite the opposite, actually; I love
where they've taken their sound. This seven-piece has ripened
considerably over the years, and the songs are much more memorable.
The solid dual-guitarwork holds them most closely to their past
works, though learning new tricks over the years. They typify
the goth metal sound perfectly, and have the added benefit of
two vocalists, who usually trade-off songs or passages, but occasionally
harmonize or duet. Lotta has exceptional range, and can mimic
many styles brilliantly. There's an assortment of different moods
captured here, and each one is well-developed and enjoyable. The
result is an album that will appeal to fans of goth and melodic
metal alike
/Lady Enslain
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Martz
Mailorder
Where the predecessor „Drama“ already
inspired, new album “Sunless Days” continues: melodies
full of emotion, inartificial and without kitsch, catchy and harmonical.
All single tracks manage to live up the expectations of the album
title without the necessity of excessive orchestral background
- even a piano can mediate mood. Beseech avoid bombast but focus
on their modern, powerfull production with felicitous effects.
Lotta and Erik evade both opera as well as growling, skipping
the “beauty and the beast” image without taking damage.
On the contrary: Beseech is best proof that said scheme is not
necessary to awaken deep emotions. Two clear voices, in perfect
harmony, amending, not fighting each others. An interplay of fast,
catchy tracks and ballads mediates both hope and hopelessness,
sort of “sweet pain”. Beautifull gothic rock for those
grey days that doesn´t need to fit in one of the usual genre
niches.
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BLISTERING
MAG
Proverbial Goth metal underdogs Beseech
have had a varied, albeit unremarkable career. After bouncing
from label to label during the latter part of the 90’s and
into the new millennium, the band has finally found a home at
the breeding ground for Goth metal’s top bands, Napalm Records.
With Sunless Days, Beseech strikes while the iron is hot during
the early portions of the album, leaving an indelible mark thanks
to a handful of shimmering, haunting Goth metal numbers.
The songs in question-‘The Outpost,’ ‘Everytime
I Die’ and ‘Lost’ are simply some of the finest
compositions heard in this realm all year. Employing a Draconian
Times-era Paradise Lost tone, melded with swooning, graceful female
vox (courtesy of Lotta Hoglin), Beseech firmly plants its feet
in tumultuous, desperate soil with driving power chords and harmonious
keyboard work.
Of the aforementioned tracks, ‘Everytime I Die’ emerges
as the victor, almost bettering the Children Of Bodom song bearing
the same name. With a simple, obvious chord progression, Hoglin
is able to chant, hum, and flutter across a lavish Goth landscape
that is simply irresistible once an eerie, troubling clean guitar
tone enters the fray at the halfway point.
Do not dismiss the value of the remaining 7 tracks, for they
offer something of worth, yet it is the aforementioned three songs
that are in constant rotation in these parts and have earned their
place in the annals of ‘Summer Song’ territory. As
for Sunless Days and the future of Beseech, the long pilgrimage
the band has been on since the early 90’s will hopefully
amount to something far greater than what the restraining Goth
metal scene can offer.
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Black
Angel Promotions
Beseech will release their fifth album, "Sunless
Days", next month. The band has always been known for their
darker more Gothic influenced work but there are very few moments
of it on this disc. For the most part, it's very melodic and graceful
with a hint of darkness looming far off in the horizons. This
can be heard in the tracks "Innerlane" and "A Bittersweet
Tragedy". These songs are packed with intriguing piano and
guitar melodies, reminding me of the Finnish band HIM and at times
Evanescence. Hoglin's pristine voice gives both tunes a radio
friendly vibe, while male vocalist, Erik Molarin contributes the
darker themed vocals. No, he doesn't growl, thank God! I don't
think the band could have picked better songs to start the album
off.
Another impressive aspect of this disc is the music. The musicians
in this band are phenomenal! This further adds power to Molarin
and Hoglin's vocals and this is very evident in "Everytime
I Die". The background of the song is comprised of atmospheric
orchestrations, delicate guitar progressions and thundering drums.
All of these things combined together make for a lovely dreamscape.
I am also quite intrigued by the band's rendition of Danzig's
"Devil's Plaything". The song was never that fast anyway,
but Beseech has dropped the tempo a step or two resulting in a
brooding lovesong. Molarin does an excellent job on vocals, his
light-hearted Peter Steele vocal style blends in perfectly. Hoglin's
additional vocals in the bridge and chorus also adds more depth
to the track. "Lost" is Hoglin's Excalibur off of "Sunless
Days". It features her best performance yet. I've always
enjoyed her voice, but this track really takes the cake. Accompanied
by mindnumbing piano chords, she shines brighter than the stars
in the sky. Toward the end of the album, the darker themed tunes
take a stronghold on the album. "Emotional Decay" and
Restless Dreams" are flooded with misery, but not enough
to make me wanna jump off of a bridge.
Beseech's "Sunless Days" should be celebrated as one
of the most illustrious albums of the band's career. "Sunlees
Days" is a well written piece of art. Years from now, music
listeners will still be enchanted and mesmerized with its elegance.
/Black Angel
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The ”gothic” dubbed metal presented by Beseech isn’t
something, that a person living and breathing out the pop culture
could easily grasp. All the melodies on the album sound like lo-fi
classical music, just like typically with most other bands of
the genre. That’s not a downside by all means, as Beseech
do their thing quite skillfully. The music is carefully patched
together and includes effective dynamics, for example listen to
the second track “The Outpost”, they just make you
crave for the piano melody to come, don’t they? Nowadays
Beseech’s sound is lighter, maybe the metal years are slowly
fading out, while the increasing amount of rock mentality is slowly
fading in. That’s a mere good thing, what use there is to
play around with heavy guitars just for the sake of it.
Beseech’s package is pretty tight and flawless. Keyboards
and well illuminated vocals dominate the album, while the lingering
guitars follow in the background, keeping the agonizingly straining
atmosphere constantly up. The double vocals work well; the female
ones are beautiful yet a bit artificial, while the personal male
vocals hang on to the old Fields Of The Nephilim tradition. At
times the vocals are over-dramatized to a point, when it almost
gets irritating. And it doesn’t help, that some of the melodies
sound almost as if taken out of context, since there is huge void
between metal and summer theatre opera.
Well, in the end that is a matter of taste really. I don’t
enjoy Bachistic traditional melody patterns, but someone else
might not think of highly of my Depeche Mode obsession. I must
conclude, that Beseech's material is above average, but something
is still missing.
7/10
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Absolute
Zero Media
Beseech is one of those band you love or hate.
There epic in that goth metal style but they go toward more of
a Symphonic Prog Metal vibe at time. They remind me of what Lacuna
Coil and Gathering are doing but with there own flair!!!. The
female vocals are dead ringer for Anneke of Gathering I will say
that. I rather prefer the mellower more melodic side of the band
they write very catchy hard rock / metal tracks that get into
your head and don't leave. The Piano is the real star of this
release for me. It give the music a very avant and distant feeling
of love and loss. Ok so I'm a sucker for the electro elements
to I'll be honest. The best way I can explain this band is mix
equal parts Newer releases of Ulver, Gathering and Samael and
you have something close to what they do. As the male vocalist
sounds a lot like Kris/ Garm of Ulver. I dont know what else to
say other then Beseech get better with each release and a bit
more complex so I look to more releases by this very well done
band.
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MusicTap
It’s hard to believe it’s been almost
a year since getting my first taste of Beseech ’s Drama,
an album that is still in my CD case in my car and still gets
routine spins. The album’s combination of groovy hooks,
thick
production and the pairing of male/female vocalists Erik Molarin
and Lotta Hoglin were enough to make this Swedish band stand out
from the rest of the gothic metal groups vying for a name for
themselves.
Given my high regard for their last album (indeed, were I to
rate it today, I’d probably throw on another half-a-star),
their latest, Sunless Days, came with perhaps more expectation
than it should have. Unfortunately, it hasn’t quite lived
up to them.
That said it’s still a solid album. Bandleader Robert Vintervind
still knows how to write a catchy, goth-tinged song, Molarin and
Hoglin are still above average vocalists and overall the whole
band is still a very solid unit.
So, what’s wrong? First of all, a lot of the groove evident
on Drama seems to be missing. With that album, each song had its
own unique identity, whether it be “Drama” and its
piano driven melancholy, “Higher Level” and Molarin’s
deep voice or “Bitch” and Hoglin’s come-hither
delivery. There’s nothing that particularly stands out as
being “that’s exactly what was in the last song,”
but some of the uniqueness that made their last album so refreshingly
different seems to have been lost.
All this is over a relatively short album. Sure, it’s a
few minutes longer than Drama, but when you take out a rather
unnecessary cover (“Devil’s Plaything”) and
half of a piano/vocal duet that’s about 3-minutes too long
(“Lost”), the disc is over before you’ve had
time to even notice Manne Engsttrom’s the new second guitarist.
I still can recommend this album because it is, after all my
nitpicking, a quality listen. It’s also, however, a prime
example of what can happen when one album sets the bar way too
high for successive releases to match it. It’s not that
Sunless Days is that bad, it’s that Drama was that good.
/John Dunphy
3,5/5
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Harm Magazine
Sunless Days contains
the most mature material I’ve heard so far from the Swedish
troop
I remember writing a review a few years ago
on their album called Souls Highway and even if I liked it, since
I bought it, a weakness I noticed was that the parts were repeated
too many times especially the vocals on the chorus lines. Three
years later, Sunless Days are here and it’s with a certain
relief that I see this point has been greatly corrected only reappearing
a couple times in shorter versions.
With Sunless Days Beseech delivers a good and solid album that
sounds like a heavy version of Depeche Mode without the dancing
mode, thanks devil! Beseech is a seven piece band with both male
and female vocals using two guitar players which creates a rich,
fat, roaring and kicking structure of melodic metal. Helping in
the same cause are the strong bass and drum parts of course but
I should not forget the more spaced out and electronics side of
the keyboards and programming. Just about all the compositions
are as good as the other with their punchy and somewhat catchy
feel, simple musical phrase and once again, fat guitar riffs.
“Lost” is a calmer piano and female vocals melodic
number while “The Reversed Mind (outro)” is a purely
experimental instrumental. The heaviest song is “Devil’s
Plaything” with its cool acoustic guitars in the intro and
a wicked mood. Even if it’s a cover, I must confess it is
my favorite piece. Sunless Days contains the most mature material
I’ve heard so far from the Swedish troop.
8.3 / 10
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Rock Hard Mag (Germany)
It´s
about time this band gets the appreciation it deserves!
Since years Beseech from Boras are a guarantee
for first class kitsch-free Goth-Metal; however they did not make
the big breakthrough until now. How´s that? It´s hard
to tell. On one hand they were on tour too seldom, maybe they
did not have the optimal support by their record companies. Perhaps
it was the fact that they do not set their trust on the kitsch-cliché
that is demanded in this scene. Or perhaps they lack this one
single song that towers above everything and becomes a real club
hit no DJ can ignore. However: the fifth longplayer by the Swedes
totally convinces with good songs, and Beseech present themselves
harder - above all harder than on "Drama". Of course
there is a good portion of melancholy in this record, simply structured
songs, but they are provided with a lot of small details; the
wonderful voice of Lotta Höglin which takes turns with the
deep, manly singing of Erik Molarin.
And Beseech demonstrate their fantasy again and bring a fresh
breeze into the genre which will be envied by other acts of this
musical orientation. It´s about time this band gets the
appreciation it deserves!
Frank Albrecht; 8,5 of 10 points
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Blabbermouth.net
"Sunless
Days" should allow BESEECH to further extend its reach
On BESEECH's fifth album, "Sunless Days",
melancholic moments resulting from the darkness that surrounds
are short-lived thanks to an emphasis on the tuneful. Sure, the
gothic presence is significant and a chill is always in the air,
but it's the melodies of songs like "Innerlane", "The
Outpost", and "A Bittersweet Tragedy" that one
remembers most, even amidst all the pouting and lament. "Sunless
Days" succeeds because it satisfies the curiosity that a
glimpse from the edge of the abyss brings and still manages to
send you away humming.
It starts with the vocal interplay. There's something to be said
about a person's ability to carry a tune, rather than trample
it. When female singer Lotta Höglin's sweet voice bursts
through an arrangement, the song comes alive. Not that male vocalist
Erik Molarin is any slouch, mind you; his brooding style splendidly
complements Lotta's style. It's just that when Höglin begins
reaching for the stars, one's focus immediately shifts. Her moment
in the sun comes on "Lost", five-and-a-half minutes
of serenading the listener with only piano accompaniment. Rather
than acting as a cure for insomnia, the tune captivates. Molarin's
effectiveness derives from an ability to transform from a Pete
Steele impression — ensuring that any solar energy produced
by Lotta is kept to a minimum — to a marginally more cheery
mid-range vocal (check out "Last Obsession" for an example
of both styles).
There are moments toward the end of the disc that are a tad more
misery-ridden ("Emotional Decay" and especially "Restless
Dreams"), though still a ways from suicidal soundtrack material.
Most worthy of note is the cover of DANZIG's "Devil's Plaything".
As odd as it may seem, the song is a brilliant choice for a cover,
the chilling structure of the original is maintained and given
a big-time TYPE O NEGATIVE-by-way-of-BESEECH work-over.
An effective mix of keyboards/programming, strong riffs, thick
bass lines, and lockstep drumming keep things moving along at
a good pace, leaving no time for yawns. You may not fall to your
knees with arms raised to the heavens screaming, "Why couldn't
I have written that song!" but each tune is still quite memorable.
Just enough woe to satisfy the black-clad clan and enough pop-sensibility
to entice the perpetually giddy, "Sunless Days" should
allow BESEECH to further extend its reach.
- Scott Alisoglu
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Antithetik
As it might have been suggested by precedent
"Drama" last year, the departure
of one of its guitarist (principal person in the songwriting)
has not affected the creativity of the Swedish formation. Since
having reinforced with the addition of a second guitarist, Beseech
returns with maturity by the premium. It's Gothic metal was affirmed,
the duet Erik Molarin - Lotta Höglin finally functions with
wonder, the balance between the two vocalists has been found.
With the three songs that start the album; "Innerlane"
(for which an animated video has been produced), "The Outpost"
and "A Bittersweet Tragedy" (which has a scent of Evanescence),
Beseech start off with three hit potentials. And it doesn't stop
there! "Everytime I Die", in which Lotta's vocals once
again recalls that of Anneke from The Gathering, could also aim
for the charts. The other titles, except the splendid ballad "Lost",
interpreted with only piano (Lotta Höglin very touching there),
fit more in the register of gotm ultra-effective rock'n'roll.
Since the beginning in 1992 Beseech has done nothing else than
climbing the levels which inevitably will carry out into success
and finally the recognition is a certain thing and it comes with
"Sunless Days". And considering what lacks in this moment....well,
it is nothing.!
8,5/10
(We apologize for the rough translation into
english from french which isn't the best of laguages for us :)
)
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Fishcom
Collective.net
The goth rock driven melodic metal of Beseech is finely constructed
and terribly pretty in the textures it weaves together. Dark,
semi-Type O vocals share duties with gorgeous female vox. Guitars
crunch thick
riffage while industrialesque movement informs the music's drive.
AT the same time you'll hear piano adding just the perfect cherry
on top of the melodic construct. The music is full and thoughtful
and emotionally engaging. Wonderful metal.
/Upchuck Undergrind
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Metal
Invader
This is a bizarre neo-gothic kinda of emotional music that is
not too sad, as you might expect - obviously the themes are about
darkness, silence and the usual catatonic bollox, but still the
music is a bit more upbeat. Think of CREMATORY having a birthday
party, with Anneke singing and a male voice a bit TIAMAT like,
and that description will be pretty close. Somewhere between the
danceable songs of TIAMAT and the less heavy CREMATORY songs lies
the sound of BESEECH - I m pretty sure this aint a debut by any
means, I think I have heard the name before - and the arrangements
are too good to belong to a first comer band. Oh there's a DANZIG
cover - in the form of Devil's Plaything. Which is nice but nowhere
as haunting as the original. It's a pretty respectable offering
in the genre - and not as clichéd as everything else. Heck
I kinda enjoyed this one.
/Dimitrios Fatouros
4,5/6
6 : A Masterpiece ~ Live Albums
5 : Buy Or Die ~ Collections
4 : Well Done ~ Compilations
3 : Average ~ Best Of...
2 : Weak, We Expect Better ~ Singles
1 : Ignore It ~ EPs
0 : As Low As It Gets
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