When it was announced that Candlemass would perform a one-off show with Messiah Marcolin at the Rock Hard Festival in Athens, Greece, on 13th September, it instantly rang a bell in many doomsters’ minds. It’s certainly an occasion not to be missed, since Candlemass parted ways with Messiah almost twenty years ago. Such reunions are rare, typically occurring only at large festivals in other European countries (Wacken, Graspop, Hellfest, etc.). Now, this astonishing line-up from Candlemass’ most prolific era will perform only once, for the Athenian audience. According to rumors, several people will travel from Sweden to Greece to have this unique experience -that’s a success worth mentioning for the local promoter (please remind me -when was our country last a concert destination?)!
by Alex Nikolaidis
This show will probably be one of those cases that’s both good and “bad” for fans’ psychological condition. On one hand, it’ll be an experience that we’ll never forget -especially “old dogs” like me. On the other, we’re likely to suffer from post-concert depression: a psychological state marked by the lingering sadness that follows a long-awaited concert, especially one that fulfills every expectation. You’re left so emotionally full that you wish it had lasted longer. You need to see it still unfolding in front of your eyes -but it’s over, and an intolerable longing takes over. Well, I hope it’ll indeed be the case!
Now, let me focus on what instantly comes to mind when I think of Messiah: Candlemass’ most astonishing album, “Nightfall” -an unsurpassed masterpiece of epic doom that overwhelms even the most indifferent listener. It’s one of the defining albums of doom metal, alongside early works by Saint Vitus, Solitude Aeturnus, Pentagram, Cathedral, and Trouble. Yet in terms of overall aesthetics and lyricism, I’d say it aligns more closely with Solitude Aeturnus’ “Into the Depths of Sorrow” and “Beyond the Crimson Horizon”.
One year after “Epicus Doomicus Metallicus”, Candlemass entered a period of significant changes and challenges. The band signed with a new label (Axis Records), while Edling assembled a new lineup, recruiting Messiah Marcolin on vocals, Lars Johansson on lead guitar, and Jan Lindh on drums. “Nightfall” was recorded at Thunderload Studios in Stockholm and mixed by Mats Lindfors, who’s responsible for the clear, solid, and deep sound we hear (a masterclass in how a doom album should be handled in the studio).
It seems that these conditions were a rare convergence, as if the threads of destiny had intertwined in some weird, inconceivable way, leading to a unique outcome destined to shine forever. Edling’s inspiration and creative force found the perfect collaborator in Messiah’s powerful, operatic vibrato, which fit perfectly into the band’s epic doom, making their music more theatrical, dramatic, and even ecclesiastical. “Nightfall”, respectfully rooted in Sabbathic riffs and classic doom acts, takes it a step further, enriching Birmingham’s trademark heaviness with dramaturgy and melodies no one had conceived before. In this respect, both guitarists’ work is top-notch: Björkman’s rhythmic patterns remain iconic, while Johansson’s elaborate solos are embroideries that expand the magnificence of the songs.
No matter how heavy and massive the musical patterns may be, Messiah’s angelic voice and passionate vocal lines, combined with the spine-chilling lyrical themes, imbue “Nightfall” with a somber, mournful tone. The epic splendor of the symphonic instrumental opener, “Gothic Stone”, sets the stage. And when Messiah speaks the first lines (“I bind unto myself, today the strong name of the trinity…”), followed by Björkman’s distinctive riff in “The Well of Souls”, you feel as though you’ve lost contact with the space-time continuum. Messiah’s vocals are absolutely out-of-this-world, enhancing the already mysterious essence of this classic song. “Break the circle and all hell comes loose, the well of souls must stay sealed”, he sings in the chorus, and the guitar pattern and drum hits sound as deep as the well itself.
However, the sequence of “At the Gallows End” and “Samarithan” transcends conventional perception. In my humble opinion, these are the most breathtaking songs Candlemass ever wrote. In the first track, Edling captures the final thoughts of a sinister man about to be executed by hanging:
“Sunrise I greet you, the beauty of your light
so warm and tender was never the night
In tears I see you, the last time it will be
so give me your blessing, I’ll meet my destiny”
When you read these lines, hearing Messiah transform this story into emotion, and the guitar weeping with sorrow, how is it possible that your psyche remains unaffected? The entire album – and especially “At the Gallows End”- is pure poetry. I’m talking about a composition that reaches divinity, masterfully combining Candlemass’ sadness with heavy, rhythmic explosions. You don’t know how to react: Should you cry? Should you bang your head? The melodies and themes are so strong that you feel the doomed man’s desperation during the hair-raising refrain.
Yet there’s more to come: “Samarithan”, with its biblical story and beautiful, captivating motifs, stands as a monument not only within Candlemass’ discography, but across the entire genre. Messiah’s performance is gripping, magical, and transcendent -his voice carrying the weight of sorrow and the promise of grace. The lyrics narrate the story of a kind man who helps a poor beggar and, in return, receives a divine reward as he prepares to leave this world. The tale unfolds through gentle, melancholic patterns that have become emblematic of both sadness and hope.
“Still I hear his last few words
“I can never return what you’ve done
but heaven will remember and repay”
Fifty years had gone since I saw him
I was dying and I’d soon be dead
Three angels stood in front of my bed”
…and when the angels speak, offering the man immortality, wings, and wisdom, a sentimental explosion erupts, resurfacing each time you hear this song.
“Nightfall” grows heavier with the funereal instrumental “Marche funèbre”, a Chopin cover that perfectly introduces “Dark Are the Veils of Death” -a composition that excels in delivering a more vivid, headbanging rhythm. Indeed, Candlemass prove they can be unyieldingly heavy in an album brimming with emotional strength. Yet Edling reserved a deeper descent into sorrow with “Mourners Lament”, a parent’s threnody for a deceased child that will leave your eyes wet. “I sleep by your shadow, remembering your light…” -these lyrics are not easy to confront in this raw personalization of human grief, and with Messiah’s heartbreaking performance, you feel as though he weeps too.
Towards the end, “Bewitched”, the album’s videoclip, stands tall as a cult classic -firmly rooted in its enduring legacy. It affirmed Candlemass’ brilliance as a band determined to overwhelm audiences with the full force of doom and heavy metal. Their masterful patterns reveal an enduring truth: “I will play for you, this wicked melody, its magic will reach for your soul…”.
And last but not least, how can one overlook the musical context of an album that features Thomas Cole’s astonishing painting (“The Voyage of Life: Old Age”) as its cover art? An angel leads an old man towards redemption and immortality, while another in the distance stands ready to greet him -a breathtaking scene that perfectly captures the lyrical themes in “Nightfall”. The band couldn’t have made a better choice, as Cole’s grounding in classical Romanticism resonated deeply with the album’s spirit.
Candlemass’ sophomore work is a daring accomplishment that confronts listeners with questions about life, mortality, and redemption, embodying beauty and poetry. It’s a beacon of light that guided countless bands -a masterpiece that defied time itself. The band continued to craft acclaimed albums with Messiah and collaborated with other distinguished vocalists as well. Yet Messiah, regardless of later conflicts, was the perfect singer for Candlemass, and Candlemass were the perfect band for him.
“Nightfall” is something truly exceptional to me -it has earned a special place in my heart, and every time I listen to it, the emotional intensity remains undiminished, as if I’m hearing it for the first time. I feel incredibly fortunate that Rock Hard Festival offers us the rare chance to witness a defining chapter in the history of doom metal.
Some facts:
• Messiah was already a Candlemass fan since their debut. One day, he called Edling and sang an a cappella version of “Solitude”, persuading him to recruit him.
• The closing instrumental, “Black Candles”, was written by Mike Wead (Memento Mori, King Diamond, and Mercyful Fate, etc.), who temporarily replaced Johansson after he broke his arm.
• Messiah played a decisive role in several artistic matters. He chose the cover art, proposed the recording of “March funèbre”, and suggested the title “Nightfall” (Edling originally preferred “Gothic Stone”).
• The music video of “Bewitched”, directed by Jonas Åkerlund (renowned for his collaborations with Metallica, U2, Roxette, and more), features a cameo by Mayhem’s Pelle Ohlin (“Dead”).
• Cole’s allegoric series “The Voyage of Life” includes four paintings representing the stages of human life. One of them, “Youth”, was later used as the cover art for “Ancient Dreams”.
• “Nightfall” earned critical acclaim, ranking #18 on Decibel’s “Top 100 Doom Metal Albums” and #8 on Loudwire’s “Top 25 Doom Metal Albums of All Time”.
