Angry Metal Guy<p><a href="https://www.angrymetalguy.com/avatarium-between-you-god-the-devil-and-the-dead-review/" rel="nofollow noopener noreferrer" target="_blank">Avatarium – Between You, God, the Devil and the Dead Review</a></p><p><i>By Steel Druhm</i></p><p>As a hardcore <strong>Candlemass</strong> enthusiast,1 I was predestined to love Leif Edling’s spinoff project, <strong>Avatarium</strong>. Featuring Leif’s original doom alchemy and the truly awe-inspiring vocals of Jennie-Ann Smith, there was a lot to love about them. The debut had enough nods to <strong>Candlemass</strong> to satisfy, and <a href="https://www.angrymetalguy.com/avatarium-the-girl-with-the-raven-mask-review/" rel="nofollow noopener noreferrer" target="_blank"><em>The Girl With the Raven Mask</em></a> began to build a unique entity, fusing ’70s psychedelic rock, prog, and jazzy cabaret coolness into the doom foundation. Each subsequent album had its own thing going on with the doom element waxing and waning according. 2022’s <a href="https://www.angrymetalguy.com/avatarium-death-where-is-your-sting-review/" rel="nofollow noopener noreferrer" target="_blank"><em>Death, Where is Your Sting</em></a> was the first album without Leif Edling and it ended up their least “metal” outing, often feeling like an early ’70s rock release close to <strong>Jefferson Airplane</strong>. It was still an enjoyable spin, but the heaviness factor was minimal. This left me longing for the older, more forceful sound and hoping for more actual metal. Now we get <em>Between You, God, the Devil and the Dead</em>. Will the scales rebalance and put things right, or has the slide into retro rock intensified?</p><p><em>Between</em> is a <em>slightly</em> heavier album than <em>Death, Where is Your Sting</em>, with a few rougher edges to the ’70s rock-oriented sound, but it’s far from a return to the band’s early days. However, it’s still a tremendous showcase for the massive vocal talents of Jennie-Ann Smith, and the lady could sing me a Chinese take-out menu and still hold my rapt attention. The songs run the gamut of ’70s hard rock, delta blues. jazz cabaret fare and sometimes, actual doom, but I’d be hard-pressed to claim this is a metal album. Opener “Long Black Waves” is a cool blend of ’70s rock and classic doom with Jennie-Ann leading the way with her pristine, soulful vocals supported by oceans of retro organ work and restrained but toothsome lead work. It’s an instant winner and sticks like hot tar in long hair with a sullen but sultry hypnotic attraction. “Being With the Dead” is about as close to a call back to their debut as <strong>Avatarium</strong> gets these days, and the song is legitimately doom and fairly heavy too. There’s tons of <strong>Deep Purple</strong>-centric organ abuse coursing through the song and the riffs recall <strong>Sabbath</strong>’s “Buried Alive” a bit too closely at times.</p><p>The remainder of <em>Between</em> shows off the band’s “softer” side. “I See You Better in the Dark” is an upbeat, Delta blues-inflected mood rocker, with Jennie-Ann impressing as always though the song needs more oomph and punch. “My Hair is on Fire (But I’ll Take Your Hand)” approaches <strong>Messa</strong>’s cozy cabaret energy and it’s good but doesn’t fully stick with me. The closing title track is a schmaltzy emo-ballad that smacks of the excesses of Jim Steinman-era <strong>Meat Loaf</strong> and it’s a bit much. Toss in an instrumental with a greater doom-focus than the surrounding cuts and you have a slightly frustrating listen if you hoped for more metal tuneage. Keeping most songs in the 3-5 minute window with fairly tight writing aids the album’s flow, and Jennie-Ann can elevate pretty much anything to likable, but this isn’t the <strong>Avatarium</strong> I fell in love with originally. I find myself desperately wishing for more crunch and power and in the end, I’m a bit bored by the band’s output for the first time.</p><p></p><p>I’ve raved about Jennie-Ann on enough reviews to feel like I’m beating a dead horse, but the woman has a one-of-a-kind voice and can fit into almost any style and sound great. With Leif gone, she’s the center of gravity for the band, and rightly so. She’s got a love it or <em>really</em> love it voice and it’s hard to find fault in anything she does. Marcus Jindell (ex-<strong>Royal Hunt</strong>, ex-<strong>Evergrey, </strong>ex-<strong>Soen</strong>) is a gifted riff crafter capable of creating a wide spectrum of moods, often looking to 70s rock for inspiration. He’s on his game as usual here, though he dips into the metal pond too sparingly for my tastes with only a few big doom leads surfacing. Former <strong>Candlemass</strong> keyboardist Rickard Nilsson provides a lot of 70s-centric organ noodling to flesh out the various soundscapes the band dabbles in, and he hits the <strong>Deep Purple</strong> button early and often for some Moog rocking fun.</p><p>There’s a wealth of talent and interesting music here, I guess I just want them to trend heavier when that isn’t their predilection anymore. <em>Between</em> is a solid slab of ’70s rock worship with a few high points, but this isn’t something I see myself returning to much, just as I rarely spin their last album. I’ll keep checking in on future releases though, because <strong>Avatarium</strong> could do something special and I’d hate to miss it.</p><p><strong>Rating:</strong> 3.0/5.0<br><strong>DR:</strong> 6 | <strong>Format Reviewed:</strong> 320 kbps mp3<br><strong>Label:</strong> <a href="https://www.afm-records.de/en/" rel="nofollow noopener noreferrer" target="_blank">AFM</a><br><strong>Websites:</strong> <a href="https://www.instagram.com/avatariumofficial/" rel="nofollow noopener noreferrer" target="_blank">instagram.com/avatariumofficial</a> | <a href="https://www.facebook.com/avatariumofficial" rel="nofollow noopener noreferrer" target="_blank">facebook.com/avatariumofficial</a><br><strong>Releases Worldwide</strong>: January 24th, 2025</p> <p><strong><span><strong>Dolphin Whisperer</strong></span></strong></p><p>Every now and then a band rolls around featuring a one-of-a-kind performer that near regardless of their choices will keep them in good graces. In the case of Swedish doom-rockers <strong>Avatarium</strong>, this kind of star rests in none other than premier vocalist Jennie-Ann Smith. Her penchant for powerful, highly enunciated, and frightfully fragile deliveries mirrors no one else in the active metal world today, allowing <strong>Avatarium</strong> to live as morphing and thoughtful riff-based support for her wiles. Mostly anyway, as <strong>Avatarium</strong>’s <strong>Candlemass</strong>ive roots with doom maestro Leif Edling had raised them in a lumbering, <strong>Sabbath</strong>ian tradition. But starting with Edling’s complete step away from songwriting for 2022’s <em>Death, Where Is Your Sting</em> and into this newest <em>Between You, God, the Devil and the Dead</em>, <strong>Avatarium</strong> has forged a path steeped in their own emotional rock rather than just fat, evil riffage. An omission of true metal, though, does not necessary spell out a bad time.2</p><p>Fortunately for <strong>Avatarium</strong>, the husband wife duo of guitarist (and cellist and pianist) Marcus Jidell (ex-<strong>Royal Hunt</strong>, ex-<a href="https://www.angrymetalguy.com/angry-metal-guys-top-10ish-records-o-2017/" rel="nofollow noopener noreferrer" target="_blank"><strong>Soen</strong></a>) and Ms. Smith continues to provide a beyond steady songwriting flair, even if it isn’t quite of the epic and crushing variety. Choice intros like jagged crunch of “Long Black Waves” or the rolling tom thunder of “Until Forever and Again” bellow in a familiar, foreboding manner the ambience of all things smoke-filled and brooding. But rather than lean on amplified fuzz for dramatic impact, a comfortable and punchy master highlights stadium weight kicks and growling organ underpinnings to frame a grooving sway and occult atmosphere around Jidell’s bluesy licks and Smith’s <strong>Heart</strong>felt croons. No matter the influence, <strong>Avatarium</strong> sounds huge.</p><p>Though retro has always been the flavor of <strong>Avatarium</strong>’s grand plans, <em>Between</em> wears more proudly than past outings a Coverdale/Hughes-era <strong>Deep Purple </strong>aura in its bones. From the bass-led swagger of “I See You Better in the Dark,” complete Smith’s blue-eyed soul, stomping verses, to the psychedelic instrumental “Notes from the Underground,” a constant burn of attitude-toned string bends and snaking neoclassical charms color <strong>Avatarium</strong>’s unique personality. And though <strong>Heart</strong> comes as an easy comparison for the power balladry of cuts like “My Hair Is on Fire” and “Lovers Give a Kingdom to Each Other,” there’s a panache to the guitar-forward nature and careful vocal escalations that reminds of 70s <strong>Scorpions</strong> before the arena took over their more psych-leaning sound. Returning keyboardist Rickard Nilsson (of <a href="https://www.angrymetalguy.com/avatarium-hurricanes-and-halos-review/" rel="nofollow noopener noreferrer" target="_blank"><em>Hurricanes</em></a> and <a href="https://www.angrymetalguy.com/avatarium-the-fire-i-long-for-review/" rel="nofollow noopener noreferrer" target="_blank"><em>The Fire I Long For</em></a>) provides that extra cherry on top with hissing Hammond and blipping Nord flurries that provide the low end with an oscillating swell that sizzles under Smith’s sultry lines.</p><p></p><p>The path that <strong>Avatarium</strong> follows is well-worn, right down to the conflicting mood that arises from the monstrously squishy but nonetheless sticky serenade that closes <em>Between</em>. Similar to the gentler mood of preceding album <em>Death</em>, nuance in the recording of Smith’s vocalizations tether an interest just as much as the inherent fortitude of her proudest offered crescendos. Forceful “p” pushes, slithering and tooth-whistling sibilant crackles, and tickling fricative “f” squishes (especially on titles that feature the “f” like “Until Forever and Again”) pepper the texture of every passing lyric. Smith tonally is already a joy to the ears, and the attention to detail that twists letters into moments elevates the experience of lesser passages. While it’s true that I don’t necessarily want to listen to sappy credits roll title track, I can’t help but pay attention when Smith rests so elegantly over its cloying construction.</p><p>It’s a rare talent that a band like <strong>Avatarium</strong>, who actively makes musical choices that are at odds with my listening desires, continues to make compelling collections of songs that I want to hear again and again. In this case, though, the closer might be a little too sweet in the tooth still—and signaled in an odd manner after the vibey instrumental piece. Yet as part of a greater whole, <em>Between You, God, the Devil and the Dead</em> possesses a classic trajectory and classy ensemble of killer tunes. The power of doom may no longer much reside in the foot-tapping thump of <strong>Avatarium</strong>’s catchy shuffle, but volume and repetition assists its enjoyment all the same.</p><p><strong>Rating</strong>: 3.5/5.0</p> <p></p> <p>Show 2 footnotes</p><ol><li> Of their first four albums, mostly. <span class="">↩</span></li><li> Ok guys, but what’s with the no ? in the title followed by no Oxford comma. 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