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EDGE OF SANITY

Tech/Extreme Prog Metal • Sweden


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Edge of Sanity picture
Edge of Sanity biography
Originally started as a fairly straightforward Swedish death metal band, Edge of Sanity's first few albums gained them a following in metal circles. They gradually began to encorporate progressive influences into their music, thanks primarily to frontman Dan Swano (a veteran of neo-proggers Unicorn, and eventual founder of the more straightforward prog-metal outfit Nightingale), hitting their peak with 1996's Crimson.

The epic concept album consisted of one 40 minute song, and is widely regarded as the band's greatest accomplishment. They started to fall apart shortly after though, with internal conflict arising over the band's new direction. Swano wanted to move further into prog while the other band members wanted a return to the group's death metal roots.

The album resulting from this conflict was Infernal, which consisted half of more melodic, proggy songs by Swano, and half of straightforward melodic death metal songs by the rest of the band. Swano left shortly after, and was replaced by Robert Karlsson for 1997's Cryptic. Shortly after, the band broke up.

In 2003, Swano revived the Edge of Sanity name for Crimson II, a solo album of his (featuring a handful of guests, including Clive Nolan).

See also:

- Another Life
- Dan Swäno
- Godsend
- Karaboudjan
- Nightingale
- Odyssey
- Pan.Thy.Monium
- Route Nine
- Unicorn



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CrimsonCrimson
Plastic Head Distribution 2015
Audio CD$10.58
$13.50 (used)
Purgatory AfterglowPurgatory Afterglow
Caroline 2010
Audio CD$10.97
$9.57 (used)
The Spectral SorrowThe Spectral Sorrow
Caroline 2010
Audio CD$10.76
$8.59 (used)
Unorthodox [Vinyl]Unorthodox [Vinyl]
Import
Black Mark Germany 2011
Vinyl$15.07
$24.42 (used)
InfernalInfernal
Import
Black Mark Germany 2006
Audio CD$10.85
$7.99 (used)
Nothing But Death RemainsNothing But Death Remains
Caroline 2010
Audio CD$10.61
$12.97 (used)
Crimson IICrimson II
Caroline 2010
Audio CD$15.80
Kur-Nu-Gi-AKur-Nu-Gi-A
Import
Black Mark Germany 2012
Audio CD$13.92
EvolutionEvolution
Black Mark Germany 2003
Audio CD$11.93
$14.99 (used)
Until Eternity EndsUntil Eternity Ends
EP
Caroline 2010
Audio CD$10.36
$9.55 (used)
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EDGE OF SANITY discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

EDGE OF SANITY top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.07 | 30 ratings
Nothing But Death Remains
1991
3.56 | 40 ratings
Unorthodox
1992
3.54 | 41 ratings
The Spectral Sorrows
1993
3.84 | 76 ratings
Purgatory Afterglow
1994
4.26 | 426 ratings
Crimson
1996
2.74 | 30 ratings
Infernal
1997
2.01 | 31 ratings
Cryptic
1997
3.65 | 100 ratings
Crimson II
2003

EDGE OF SANITY Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

EDGE OF SANITY Videos (DVD, Blu-ray, VHS etc)

EDGE OF SANITY Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.17 | 5 ratings
Evolution
1999
4.13 | 5 ratings
When All is Said
2006
3.00 | 2 ratings
Kur-Nu-Gi-A
2012

EDGE OF SANITY Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Euthanasia
1989
0.00 | 0 ratings
Kur-Nu-Gi-A
1990
0.00 | 0 ratings
The Dead
1990
0.00 | 0 ratings
The Immortal Rehearsals
1990
0.00 | 0 ratings
Dead But Dreaming
1992
3.23 | 7 ratings
Until Eternity Ends
1994

EDGE OF SANITY Reviews


Showing last 10 reviews only
 Crimson II by EDGE OF SANITY album cover Studio Album, 2003
3.65 | 100 ratings

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Crimson II
Edge of Sanity Tech/Extreme Prog Metal

Review by Insin

3 stars As people run out of original ideas in our current day and age, a sequel is frequently a gimmick for money or attention. The most obvious examples that come to mind exist in the cinematic world, but music contains some as well, such as Queensr˙che's Operation Mindcrime II, or Metallica's three Unforgivens. Fortunately, Edge of Sanity's followup to their esteemed 1996 album Crimson (which I have already reviewed and given an 80%) is a sequel that upholds the legacy of its predecessor. I shall break this down into two sections, one that addresses the sound and the songwriting, and then, of course one that addresses this song as one flowing composition. Naturally, this review will be rife with comparison to the original Crimson.

The songwriting, since Edge of Sanity's last forty-minute adventure, has become less blunt, straightforward, and assaulting, and is now perhaps more, dare I say it, commercial. It's not a huge difference, but it's one worth mentioning. I don't recall keyboards being so integral to the Edge of Sanity sound, and while I am in fact a sucker for keyboards, these don't do very much for me. Swano's clean singing sounds fantastic. Though his growls have also improved they sound disconnected from the rest of the music, which can perhaps be attributed to production. As usual, although it's a concept album, the lyrics are hard to understand both due to the vocal style and their actual phrasing. The riffs, however, are the real point of decline here. While the original Crimson had magnificent riffs of all types abound, this is quite disappointing, chock full of standard melodeath fare, and a few breakdowns. Crimson II lacks the power and memorable riffing of the original, but in other areas, it redeems itself to a degree.

There is still not enough variety to sustain Crimson II as a singular track. Yes, there are soft parts here and there, but mostly Crimson II trudges along at the same speed, volume, and level of heaviness for lengthy periods of time, static. The transitions are often abrupt, but Swano seems to have learned the art of the dramatic ending. The last 45 seconds of the album are quality; if only they went on for longer. A song of length ought to have some payoff or go somewhere, and it's still not quite enough, beginning only sometime during the sequence of Aftermaths, but it is a definite improvement.

Crimson II upholds the legacy of the original; in some places better, in some worse. The sound has declined ? while the original Crimson could have been a classic melodeath album even if it had not been a singular song, the followup is fairly unmemorable when split into parts. As one long song, the second Crimson is better, though the improvements are basic and marginal. I can't really recommend this given it comes out as about average in both sections of the review, though I still liked it and I'm glad Edge of Sanity didn't have to end their career on a sour note.

3.5 stars/75%

 Crimson by EDGE OF SANITY album cover Studio Album, 1996
4.26 | 426 ratings

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Crimson
Edge of Sanity Tech/Extreme Prog Metal

Review by Insin

4 stars Crimson is considered Edge of Sanity's crowning achievement, masterpiece, finest work, etc. And even if you don't think that it's amazing, you have to admit that it's an ambitious move: one forty-minute conceptual song, with a push towards a more progressive style. While it's a good song and it's always at least interesting to see a band move outside of their comfort zone, Crimson doesn't quite reach the heights that have been ascribed to it.

There is not enough variety to sustain Crimson ' this is the main flaw, and it seems like Swano & Co pieced together about ten or so separate but similar songs in order to achieve the length that they did. Unfortunately the detriments of having full-blast death metal for one continuous forty minute song is that it can become a bit stagnant after a while, not really exploring much new territory even in the depths of the song. They do change it up, throwing in some upbeat and doomy riffs, as well as the occasional soft part, but for most of the track they stick to their principal sound, and in this regard, take no risks. There is nothing wrong with the actual music and the death metal is some of the band's strongest, with riffs-aplenty and quite a few energetically aggressive moments, while still showing off that melodic side. I've never been a huge fan of Swano's vocals but Mikael Akerfeldt from Opeth has a guest spot and does a fantastic job, his growls furious and his clean singing pleasant.

The other issue with Crimson is that there isn't really any payoff. The song stops just as Edge of Sanity begins to build up to a big finish, and the grand finale that we do get seems very hastily thrown together after a disjointed previous few minutes. And the very end ' the last few seconds ' are painfully anticlimactic as it just screeches to a halt all of the sudden. I had to listen to this from multiple sources just to make sure the song wasn't getting cut off and I was missing something, but it seems as if they couldn't think of a real ending. The concept of this album isn't very important in comparison to the music although I'd like to address it, and I applaud EoS for this extra effort on top of the fact that they managed to write an album-length song. The storyline combines science fiction and mysticism, but the details are unknown to me because Edge of Sanity doesn't make their lyrics particularly clear and unambiguous, and I don't care enough to look it up. The nature of the growled vocals that are used a majority of the time makes the plot harder yet to follow and I'd like to petition a ban on primarily using harsh vocals for concept albums.

Crimson doesn't work as a forty minute song, despite having very little problem with flow. There are few drastic changes and even fewer distinct movements ' it is based more upon random meandering than musical evolution and real progress. The music behind this is some quality melodeath, and if you don't think of Crimson as one cohesive song, then it's a solid piece of work.

 Crimson by EDGE OF SANITY album cover Studio Album, 1996
4.26 | 426 ratings

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Crimson
Edge of Sanity Tech/Extreme Prog Metal

Review by Luqueasaur

5 stars The Technical Death Lusíadas: 10/10

I had to do a seven-hours-trip, and to pass time, what better than listen to a bunch of brand new songs? However, as I did so, I kept asking to myself... am I enjoying this? Why am I listening to this song? Why don't I skip? Should I just leave it on the background? Should listening be an active action? Should enjoying be conscious? How do I get immersed?

That's when CRIMSON came in. The music arrived with such passion, quality and timing I listened to the whole forty minutes completely immersed and pleased. It revived on me the amazing feeling that is to enjoy an album thoroughly, to feel delighted, to feel withdrawal and to hear the song's riffs in my mind when I wasn't listening to it, and most importantly, what makes an album truly be worth of five-stars. An album that is just beyond an enjoyment, or a feature of many great songs - an, above everything else, delightful experience.

Now, ending our anecdotal story, let's go to the review.

OPETH receives worldwide acclaim for their successful infusion of progressive elements in the extreme metal genre. Perhaps less known, however not in any way less skillful, stands aside the underrepresented (but luckily not underestimated) Nordic prog death princes of EDGE OF SANITY.

CRIMSON, their fifth record, is the moment the band reached their progressive epitome. Featuring a wide array of diverse and unconventional stylistic, structural and instrumental arrangements, EDGE brings a highly eclectic death metal record.

Featuring Mikael Akerfeldt - a proof the Swedish pioneers are quite friendly among themselves - on the vocals and lead guitar, surprisingly, the guttural singing is not as flawless as one would expect in, say, an OPETH album. It's not bad, not even close, it is merely raw. This doesn't mean anything as there are countless vocal techniques employed here, both clean and not. Mikael and Dan Swano (band frontman) ranges from prophetic corals to deadly groaning, which fits the song's atmosphere nicely. Speaking of which, it has nothing to do with a violent bloodbath linked to the image of typical death metal (although prog death seldom resembles their plebby, needlessly vicious counterpart). Instead, the atmosphere is melodic, aggressive, vivid and rather epic.

Instrumental wise, one would praise the powerful guitar and its constant changes and variety of riffs and bridges and solos. There are acoustic parts, ecstatic thrashy pieces and crushing/melodic riffs. I mean it when I say there are A LOT of riffs, some of which are played a couple of times but the vast being one-timers. In fact, the album is constantly changing - but always keeping in its core a moderate death metal tonality.

There's a reason why the song is so varied, though. It is due to the story being told. The lyrics speak an epic story about a post-apocalyptic world where humans have lost the capability of breeding, yet miraculously the emperor's wife gave birth a girl, who is the chosen one - assuming humans can't breed, she HAS to be a godsend. The frail hopes of humanity's perpetuation, always on check, supposes it has own. But the question brought is... is she daughter of which god, the good or evil one? Will she bring humanity life or end its fragile existence?

Surprisingly, the plot and narrative are extremely accomplished and captivating. I would've never expected such a poetic, beautiful tale written by a death metal band, that would stereotypically focus on all that is brutal and coarse. It's absolutely spectacular how delicately crafted each verse is, with both internal and external rhymes that smoothly intersects different bars. Think of rap's lyrics king' creations and apply a deadly metallic sonority to understand CRIMSON's accomplishment. I am NOT a lyrics person, but I can't not attest that reading the lyrics while listening to the song enhances the experience infinitely.

In the end, CRIMSON is the type of album which you would have to listen several times to asborb each beautiful lyrical or instrumental detail, each nuance and peculiarity, each odd time signature and each uncommon structural feature. And most importantly, it's the type of album you would listen again and again, forever and ever, always wondering when will you find such a superb album again.

... and also what the hell did the last line infer. I mean, seriously...

 The Spectral Sorrows by EDGE OF SANITY album cover Studio Album, 1993
3.54 | 41 ratings

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The Spectral Sorrows
Edge of Sanity Tech/Extreme Prog Metal

Review by Warthur
Prog Reviewer

4 stars "The Spectral Sorrows" could have been subtitled "We Weren't Kidding With The Last Album's Title", because if the previous release from Edge of Sanity was Unorthodox, this album well and truly embodies that idea. Though it continues the band's development of their own style of technically-inclined melodic death metal, it also includes a number of songs where the band members indulge their appreciation of other musical styles. Andreas Axelsson gets to take lead vocals on the thrashy Feedin' the Charlatan, for instance, whilst Dan Swanö indulges his taste for gothic rock (which would see further flowering on his Nightingale side project) on Sacrificed, which may be the best Sisters of Mercy pastiche out there.

The poster boy for the band's willingness to defy metal orthodoxy, however, has to be their decision to cover Manowar's Blood of My Enemies. At a time when the consensus among extreme metal fans was that Manowar were a total embarrassment and the living exemplars of everything cheesy about more traditional metal styles, Edge of Sanity manage to turn out a version of the song which adeptly twists it so that it fits their death metal aesthetic.

Well-produced, diverse, and with the band making a virtue of their divergent musical and artistic ideas rather than allowing those to be a bone of contention, this might be the best Edge of Sanity album aside from Crimson.

 Crimson II by EDGE OF SANITY album cover Studio Album, 2003
3.65 | 100 ratings

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Crimson II
Edge of Sanity Tech/Extreme Prog Metal

Review by AndyJ

4 stars Edge Of Sanity's 'Crimson II' is the follow-up album to the 1996 prog-metal classic 'Crimson', and is a different take on the original 40-minute death metal epic. Released in 2003, the record was released under the banner of Edge Of Sanity, but in reality this is a Dan Swano solo album. Swano resurrected Edge Of Sanity for this album only, and then swiftly killed it off again, never to be seen again.

When reviewing 'Crimson II' you can't help but refer to the first album. There are a number of differences between the two 'Crimson' albums. In 'Crimson II' there is a much greater use of keyboard synths which tend to give the album a more upbeat feel to it. This is extenuated by the use of more melodic guitar riffs, making 'Crimson II' feel brighter and somehow happier or bouncier than the original. The drums are punchier, clearly having been triggered in the studio, which again makes the album sound brighter and detract from the atmosphere of the production. Musically 'Crimson II' is probably even more varied than the original. There are chunky death metal riffs, acoustic guitars, pianos, operatic clean vocals, guttural death metal screams.

Over the years I've often had the debate with a close friend of mine as to which is the better album, this one or the first one... It's often an interesting debate, even if we both know the outcome before we've started arguing! I've always come down on the side of the first album, where-as my friend has always sided with this one, and we both have our reasons. Don't get me wrong, 'Crimson II' is a worthy successor to the original classic and it is a very good album indeed, but in my opinion it just doesn't have the same muddy atmosphere as the first record - in some ways it comes across as a bit too polished and a bit too upbeat. When it comes to progressive death metal I like atmosphere - I'm not a big fan of highly polished triggered drums, for example.

But it isn't just the production standard, I also feel that 'Crimson II' is a little bit more disjointed than the original album. While 'Crimson II' is marketed as a single 43-minute song, the reality is that the music is segmented into 9 distinct sections which have less relation to each other. This is an album where it could be split up into its constituent sections easily enough. The only thing binding this album together is the concept and story, which is carried over from the first 'Crimson' album. Particularly interesting is to note is that none other than Clive Nolan is the author of the lyrics in this album. That's right, Clive Nolan of Arena and Pendragon fame wrote the lyrics to this album! This is something I only discovered as I was writing this review - all these years I always assumed Swano wrote the lyrics to this!...

...You learn something new every day!

Anyway, onto the rating. I'm torn between 3 and 4 stars with this. I do really love the work of Dan Swano, and this is a worthy successor to the original 'Crimson' album so I'm going to give this one 4-stars. Definitely recommended - you just might enjoy the first one more!

 Crimson by EDGE OF SANITY album cover Studio Album, 1996
4.26 | 426 ratings

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Crimson
Edge of Sanity Tech/Extreme Prog Metal

Review by AndyJ

5 stars Edge Of Sanity's 'Crimson' is an album which gets a lot of love from the metal community, and I'm pleased to see it gets plenty of love on prog archives as well! Well, this review isn't going to change that in the slightest. I still remember the day I first heard 'Crimson', I was totally blown away by what I heard. At the time I had just discovered Opeth and their album 'Morningrise', and I can remember searching for other bands with a similar style to that record. It was by chance I came across this album and this band. A death metal record with a single 40-minute song just seemed to good to be true!

But let me tell you something - this album deserves all of the hype it receives. Before I talk in detail about the music I feel its important to put this album into its chronological context. This was released in 1996 - there were very few experimental death metal bands around in the mid-90's, and certainly none with the audacity to write a single 40-minute extreme metal opera! If 'Crimson' were released today it would go down as a good, but not a particularly inspired album. But twenty years ago this was utterly ground-breaking - and its all down to one man, probably the most underrated and unappreciated musician in heavy metal, Mr Dan Swano.

So what makes 'Crimson' so good? I think there are four ingredients which combine to make this a classic record;

The riffs - there is no getting away from it, there are some brilliant metal riffs on this album - they are crunchy, at times melodic and most importantly varied.

The structure - this single 40-minute song is very progressive, there are lots of dynamic breaks, varied sections, soft and heavy parts and it feels unified and consistent throughout.

The story - this is a concept album, and a fun one at that! I'll leave you to read the lyrics, but when Dan Swano opens up the start of the album with the guttural shouting "Another sky is young... Another frozen future has passed" you get excited at the prospect of the rest of the music to come!

The atmosphere - this is one of those albums where I love the production and the slight muddiness of the recording; it feels dirty and full of grime, and in that way it fits the story wonderfully!

Something which might interest readers who aren't familiar with Edge Of Sanity is the contribution a certain Mikael Akerfeldt had on this album, who plays guitar solos and adds some of the clean vocals found in this record. In many ways Opeth's 'Morningrise' and Edge Of Sanity's 'Crimson' are peas in a pod. Both released in 1996. Both Swedish origin. And most obviously both lead musicians in each band were friends with each other. There are a lot of similarities between 'Crimson' and 'Morningrise', but I would say that 'Crimson' is harder-edged and a bit more savage than 'Morningrise'.

Before I give this album a rating I just want to mention Dan Swano again. I've always felt that this guy doesn't get the half the respect or appreciation he should be due. He has contributed so much to the progressive metal scene, and not just as a musician or composer, but also as a producer. The poor guy still works in his brothers record store. Okay, he probably likes working in his brothers record store, but so few people in the "metal community" have heard of Swano. I've always considered it somewhat of an injustice.

Anyway, I'll get off my fan-boy pedestal before I fall off and give this album a very obvious and predictable rating... 5 stars - can't go wrong with this and like a fine wine its aged very well indeed over time!

 Cryptic by EDGE OF SANITY album cover Studio Album, 1997
2.01 | 31 ratings

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Cryptic
Edge of Sanity Tech/Extreme Prog Metal

Review by Insin

3 stars In 1996, Swedish progressive death metal band Edge of Sanity released Crimson, a concept album consisting of only one forty-minute song. Crimson was an ambitious project, and later that year, EoS followed it up with Infernal, often considered a disappointment due to the internal struggle over the band's direction showing through into the music. Cryptic is the following album, and the only EoS album without Dan Swano. It's decent music and stylistically average melodic death metal/"melodeath," with most of the progressive elements absent. The band's sound has been un-complicated and sounds generic, each song speeding along at an unchanging pace, with a few exceptions. Hell Written is the only real prog song on here, switching from frantic metal to a softer, calmer part, like how Opeth writes (only not ten minutes long). The strangely upbeat riffs scattered throughout the album also stand out as different -- but other than these examples, there isn't much variation, and the band's innovative side is no longer present.

As mentioned earlier, Dan Swano does not contribute on this album. Instead, Karlsson takes over vocal duties. It's a slight improvement, but still mediocre. His vocals are little messy, as if he's slobbering while he growls, and he lets out the occasional "Yeah!" and "Let's go!" therefore succeeding in sounding somewhat stupid. Clean vocals are completely gone. On the contrary, Cryptic has some good riffs on it, and solos are common, but tend to get buried under the rest of the music instead of standing out in the forefront. The riffs suffer due to uninteresting songwriting, and the bass is audible but could be higher in the mix. Song structures are plainer and uninventive.

Cryptic may be nothing special, and overall sounds passable, but that's not to say it doesn't have its moments. Dead I Walk has an excellent opening riff, and Hell Written's brief soft section throws you in for a loop, but the song might have been more effective had it been placed later in the album, instead of as the first track. It could have broken up the monotony of the unchangingly paced, standard metal, and it sets a misleading example for something that does not exist on the rest of the album.

The album is a good length; much longer than its thirty-five minutes, and it would drag. Without Swano, it deviates from Edge of Sanity's already-established sound: the addition of progressive elements to death metal. Now the emphasis on progressive is gone, leaving only a decent melodeath album with a few untraditional aspects. Still, I'd recommend picking it up, but only after you've familiarized yourself with the band's other works.

 Crimson II by EDGE OF SANITY album cover Studio Album, 2003
3.65 | 100 ratings

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Crimson II
Edge of Sanity Tech/Extreme Prog Metal

Review by Progrussia

4 stars I was greatly surprised to read that Clive Nolan of neo-prog band Arena (and other projects) wrote the lyrics. I have no independent confirmation of this, but the lyrics actually have rhythm and rhyme, in as far, of course, as a song about a demon queen from the future goes.

Anyway, the 40-minute single track Crimson II is a sequel to the first 40-minute Crimson single track, which was influential in metal circles by alternating death metal and variously styled clean breaks. Its good that Dan Swano didn't choose to simply repeat himself. The second Crimson is a richer composition, fully integrating sounds of synths. In fact it often sounds less like death metal and more bombastic power prog metal, only faster, more aggressive and sung in death growls. Because of that dichotomy I am not sure which demographic it aims for, since purists of both genres will likely scoff at this odd combination. I guess that's why Crimson 2 is less beloved by fans, although I think both records are of equal quality.

 Crimson by EDGE OF SANITY album cover Studio Album, 1996
4.26 | 426 ratings

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Crimson
Edge of Sanity Tech/Extreme Prog Metal

Review by Progrussia

4 stars Crimson - a single 40-minute song - is acclaimed as the proggiest that death metal goes, certainly by the time it was released in 1996. It sounds surprisingly coherent, but I like to think of it not as a composition - there is little of advanced compositional technique to speak of - but rather as a story set to continuous stream of music. Opeth's Mikael Akerfeldt was involved, and it shows - it's the familiar for fans of Opeth's mid-period formula of death metal interspersed with calm breaks and more traditional thrash and power metal moments. It's actually fairly accessible and melodic by death metal standards. But I still think it's overrated. It's no Opeth. Calmer breaks are mostly just what they are - breaks, not countermelodies. Production and clean singing is weak - and I'm sick of the excuse that's its weak because it's supposed to convey a theme that is bleak. Opeth's Ghost Reveries production - now that kicks some serious behind.
 Purgatory Afterglow by EDGE OF SANITY album cover Studio Album, 1994
3.84 | 76 ratings

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Purgatory Afterglow
Edge of Sanity Tech/Extreme Prog Metal

Review by LSDisease

4 stars I used to like Swedish death metal of the early 90's but still prefered American or even British (Carcass) metal brutality. And then Edge Of Sanity released this album. They did it when I wasn't into such music anymore or should I say I was more into classical metal and prog rock. This is a bit of surprise as it starts like some kind of AOR stuff with clean vocals and keyboards in the background. After that intro Twilight turns into typical death metal tune but the most important thing is, it's still melodic death metal. That pattern with clean and growling vocals is also used in Blood-Colored as it's heavy metal + death metal song. Black Tears is sung with clean vocals in its entirety however it's very short tune. Velvet Dreams is my fav on the album, it's melodic death metal with great guitar harmonies. To sum it up, Purgatory Afterglow is a major step toward more sophisticated metal than the one band presented before. It's still brutal but at some points it turns into another direction, more classical metal filled with passion and nostalgia. Unleashed or Dismember didn't want to explore these territories leaving them to Edge Of Sanity. And they absolutely made it.
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