SilentScream213 On their third album, My Dying Bride pretty much perfected the Gothic Doom style, leaving all of their Death Doom roots behind for a melodic and mournful masterpiece. Seeing as how the growls are gone, vocalist Aaron had to really find his cleans here, and they are pleasantly somber and melodramatic throughout.

The opening track is an easy highlight, with a roaring wall of guitar lead by marching piano scales that add a great urgency to the song, while Aaron’s vocals on the other hand sound entirely devoid of life. The album remains quality throughout, with more standard Gothic Doom songs making up the meat of the album. It ends on another fantastic note, “Your Shameful Heaven,” easily the most energetic and aggressive song here. The band goes from depressive to disturbing as both riffs and lyricism take on a more evil atmosphere, finishing the album off in triumphant darkness.

This thing became the standard against which Gothic Doom was measured, and for good reason. Every track here is of great quality, but there’s still decent variation running throughout. A fantastic run through negative emotion in a mature and poetic package.

lukretion My Dying Bride’s third LP, The Angel and the Dark River, is the album that introduced me to the music of the British doomsters, back in 1995 when I was still a teenager attending middle school. I remember its dark, morbid, yet irresistibly epic atmosphere had a huge impression on me. As a relatively junior metal fan, I had never heard anything like it and I thought that the combination of super heavy and super slow metal with romantic violins and cold crooning vocals was very cool.

Fast forward 26 years and I still think this album is extraordinary and one of My Dying Bride’s crowning achievements. The conceptual seeds of The Angel and the Dark River were actually sown two years prior, with the band’s sophomore album Turn Loose the Swans, which The Angel… is a more refined version of. The music revolves around the hyper-distorted and sludgy guitar riffs of Andrew Craighan and Calvin Robertshaw. The two guitarists play a huge role in defining the sonic identity of the album, relentlessly crawling across the speakers with their slow-pace and obsessive riffs, and painting beautiful, if slightly unyielding melodies – like the repeated six-note lead that is played throughout “The Cry of Mankind” or the delicate guitar tapestry of “Two Winters Only”. Another key ingredient to My Dying Bride’s music are Martin Powell’s violin and keyboards. Although the violin is perhaps slightly less prominent in the mix than on Turn Loose the Swans, it makes a huge contribution to the band’s sound, adding a unique romantic flair that is almost genre-defining. Martin’s organ also adds tons of atmosphere, especially on “From Darkest Skies”.

Rhythmically, The Angel and the Dark River is perhaps slightly less adventurous than the preceding record, with drummer Rick Miah playing more straightforwardly to the beat without too many fills and flourishes, and Adrian "Ade" Jackson’s bass raising to prominence only sporadically. This is not necessarily a bad thing: the album sounds more relaxed and spacious than Turn Loose the Swans, which was instead more hectic and dramatic. This also leave more space for Aaron Stainthorpe’s desperate croons, which are the other defining sonic characteristic of the album. By 1995 Aaron had completely abandoned the extreme growls he used on the band’s debut album and that were still present in a couple of songs of Turn Loose the Swans. On this album, Aaron only uses his clean baritone voice with his unique style and phrasing, halfway between singing and recitation. His vocals are no doubt a sort of acquired taste, but they fit perfectly with the morose nature of My Dying Bride’s music. Aaron’s melodies are rarely catchy and attention-grabbing, as they rather ebb and flow on top of the musical background. Yet, occasionally he injects a memorable line here and there, achieving a very stark and dramatic effect, like a ray of sunshine tearing through dark clouds.

The Angel and the Dark River is a treasure-trove of great melodic gothic/doom metal. Opener “The Cry of Mankind” is an iconic song, which could almost be used to teach the young what doom metal is. I love the repeated 6-note guitar figure that continues through the whole song, while Aaron sings some of the most enticing melodies of the whole record. Some people dislike the fact that, although the track clocks in at just over 12 minutes, the last 5 minutes are a collage of background noise. I actually do not mind, it adds an interesting atmosphere to the song and, when I am not in the mood for it, I just skip the song’s coda and proceed straight to the next track. “Black Voyage” is another great song, with lots of different facets. It starts as one of the slowest and most forlorn compositions of the album before a melodic violin injects life into it, tearing through the bleak atmosphere. The most interesting parts, however, are in the second half of the song, where Aaron’s vocals almost take a ritualistic turn while the guitar howls and Ade’s bass has a rare moment of visibility. “A Sea to Suffer In” is a gothic number that brings to mind Anathema, while “Two Winters Only” is the other highlight of the record, after opener “The Cry of Mankind”. The dramatic shift between the initial acoustic guitar and the electric mayhem of the second half is breath-taking, while Aaron offers again a great performance behind the mic.

The Angel and the Dark River is one of those iconic records that every metal fan should listen to at least once in their life. Not everyone will love it: its slow tempos, unyielding melodies, and bleak, morose atmosphere may put off more than one person. Personally, I like the way the record envelops me into a thick cloak of oppressive darkness, lulling me into a trance-like state that is weirdly comforting. It’s not an album that I would play every day. But when the right mood strikes me, perhaps in a dark day of rain when everything feels so pointless and ephemerous, there are few other albums that can be such a balm to the soul like this one.

UMUR "The Angel and the Dark River" is the 3rd full-length studio album by UK doom/death metal act My Dying Bride. The album was released through Peaceville Records in May 1995. It´s the successor to "Turn Loose the Swans" from 1993. "The Angel and the Dark River" went on to become one of the greatest commercial successes for My Dying Bride, which was probably also helped along by a personal invitation from Steve Harris, to join Iron Maiden as the opening band on their European tour.

"Turn Loose the Swans (1993)" (which features both clean and growling vocals) was a transition album from the early doom/death metal releases by the band to the dark, melancholic, and gothic tinged doom metal of "The Angel and the Dark River", and there have been great changes to the band´s sound since the predecessor. The most significant change is probably that lead vocalist Aaron Stainthorpe doesn´t perform growling vocals on the album (except on the bonus tracks. More on that below). He solely performs his paatos filled and dramatic gothic tinged clean vocals (and poetic lyrics). At times almost a little too dramatic in their theatrical melancholy, but they are arguably well performed and personal in style.

The use of violin is now a fully integrated part of the music and the violin is used extensively on the tracks. Violinist/keyboard player Martin Powell also adds tasteful layers of atmospheric keyboards to the music. The guitar, bass, and drum basis of the music is still in place, and while "The Angel and the Dark River" is overall a dynamic release featuring many subdued mellow sections, the music still features crushingly heavy doom metal sections. The heaviness of the music is supported by the clear, detailed, and well sounding production job.

The regular version of the album features 6 tracks and a total playing time of 52:18, but the limited edition digipack version features the bonus track "The Sexuality of Bereavement". A track which was originally recorded during the sessions for "Turn Loose the Swans (1993)" (which is obvious from the production values), but left off that album. It´s the only track on "The Angel and the Dark River" featuring growling vocals. The album has seen several reissues since, with different bonus material (the 1996 reissue even features a different cover artwork to the original version of the album).

While "The Angel and the Dark River" feels like the natural successor to "Turn Loose the Swans (1993)", My Dying Bride have not stopped experimenting with their sound and they thankfully still have an adventurous approach to composition and song structure. Any track from the album could be mentioned as a good example of that, but opener "The Cry of Mankind" is probably the best example of an unconventionally structured track. It´s basically built around a repeated lead guitar motif, and the band slowly adds layers of piano, guitars, bass, drums, and vocals to the theme, ending in an epic and counterpoint heavy track. I could have done without the last 5 minutes of the 12:13 minutes long track as as it´s just the band stripping down the layers of the song and ending it deconstructed. That part of the song is long drawn and rather tedious. Other than that it´s one of the most standout tracks in the band´s discography.

Another track which deserves a mention is "Two Winters Only". It´s a slow building 9:01 minutes long track, predominantly featuring clean guitar, bass, drums, violin, keyboards and vocals, and only during a few climax parts distorted guitars and heaviness. The remaining tracks are high quality doom metal too, and upon conclusion "The Angel and the Dark River" is a strong release by My Dying Bride. A 4 star (80%) rating is deserved.

siLLy puPPy MY DYING BRIDE came to the attention of the world by not only serving as an example of one of the very first death doom bands that took the plodding riffs of doom metal and married them with death growls and uptempo freneticism, but they singlehandedly went one step further and adopted Gothic rock elements as a canvas to paint their rueful metal art upon. After several EPs and a couple albums that forged a new branch in the metal universe, the band returned in 1995 with their their album THE ANGEL AND THE DARK RIVER and changed their formula around once again this time dropping the death metal attributes completely and focusing on the dirge driven melancholy of molasses-flow doom riffs and soul piercing violin riffs. Aaron Stainthorpe completely dropped any death metal pretenses and performs an entirely goth-tinged plaintive vocal run and except for a final show of extreme metal thunder on “Your Shameful Heaven,” THE ANGEL AND THE DARK RIVER pretty much drifts by like a lazy afternoon of darkened clouds in the sky.

The band had caught the attention of the metal underground right from the start but this is the moment when their unique metal craft was noticed by Steve Harris of Iron Maiden who loved the album and invited the band to open for their three month European tour which ultimately revealed their brand of doom goth metal to much larger audiences. While eschewing the death metal elements, MY DYING BRIDE also refined their sound which took all of the different aspects of the previous album “Turn Loose The Swans” and incorporated them all into a more cohesive whole. Where loose piano arpeggios ran free before, now were incorporated into the overall structure that found twin guitar counterpoints stretched to melancholic limits with violin sweeps and atmospheric overcast. While previous albums were composed by various members of the band, THE ANGEL AND THE DARK RIVER was constructed solely by guitarist Andrew Craighan which gives it a more uniform feel.

THE ANGEL AND THE DARK RIVER consists of six lengthy tracks ranging from six and a half minute mark all the way to the longest which is the opener “The Cry Of Mankind” which finds piano arpeggios, guitar, bass and violin counterpoints providing the proper red carpet treatment for Stainthorpe’s magnificent goth tinged threnody of lyrical lamentation allegedly inspired by the incessant rainy weather in the north of England. Each track constructs completely unique and self-contained melodic developments that drift and seep into the consciousness before shifting gears and taking turns providing guitar-free moments as well as crunchy grooves that add some climactic heft to the bereaving banter of the sextet’s multi-pronged musical attack. This is not the kind of music that bombards the senses, it’s the kind that seduces the listener into willingly accepting the poison that extinguishes the light and quashes hope.

While i’ve strived to find a single flaw in THE ANGEL AND THE DARK RIVER, i can’t help but be floored by its sheer perfection of designing the most elegant form of goth doom metal that incorporates moments of English folk and electronic darkwave which unify to create one of doom metal’s most memorable moments matched only by the band’s previous album “Turn Loose The Swans.” I find it hard to choose between the two. The previous albums may have more dynamic variations that ranged from the gothic doom to bombastic death metal but this one has the most consistent overall disposition without sacrificing any of the idiosyncrasies which allowed the band to stand out from the pack. Packed with unique guitar riffs, darkened folky violin genius and a barrage of ever-changing percussive drive, MY DYING BRIDE created their second masterpiece in a row with THE ANGEL AND THE DARK RIVER.

Phonebook Eater 8/10

"The Angel And The Dark River" is another My Dying Bride milestone that would influence a great deal of the Doom Metal to come.

My Dying Bride’s career had a sudden twist, with the release of their sophomore LP, “Turn Loose The Swans”, for some people the masterpiece of the band. But the third album, “The Angel And The Dark River”, got just as much recognition: now, fans are sill debating which of these two early records is the magnum opus of the act. Anyway the debate goes, this 1995 release still keeps incredibly high levels from every point of view, and has risen up to be considered one of the key albums of Doom Metal.

Compared to the ethereally gloomy atmosphere of “Turn Loose The Swans”, “The Angel And The Dark River” is almost more bright in terms of sound: the levels of despair and hopelessness are not at all as extreme as they were with the band’s second album. The music in this third LP generally is much more fast-paced, more dynamic and lively. There seems to be a much stronger focus on the songwriting itself: the amount of effects used (that is, keyboards, guitar effects and what not) is minimal, although some peculiar elements that were present in the previous efforts, like the violin or the lamenting clean vocals, still persist and are a great part of the album. But another great, noticeable change is the almost complete absence of Death Metal growls (with the exception of the last track), a factor that made My Dying Bride such a unique band at it’s origins. However, “Turn Loose the Swans”, because of its slight change in direction, shows how the band had reached a sort of independence from the point of view of artistic freedom, even if it was really early in their career.

The themes present in “The Angel and The Dark River” are more or less the same we see in other Doom Metal bands and in other My Dying Bride releases, including loss of hope, desperation, but also more religious elements, like the strong presence of God in the lyrics. This sort of gloominess though on this album is much more human and rational than the more extreme tones of TLTS, and feel also more credible.

With seven tracks, My Dying Bride once again bring a solid album structure together: the twelve minute opener “The Cry Of Mankind” is already a track where the change in direction is pretty obvious, because of the lively guitar riff that Agalloch probably kept in mind eleven years later, while writing songs for “Ashes Against The Grain”. This riff is the heart of the piece, and is accompanied by the rest of the instruments, including a piano. The last few minutes of the track are somewhat Dark Ambient driven, another aspect that is new for MDB. “From Darkest Skies” is an even more emotional piece, where there are strong alterations between feelings: if one part sounds resigned and lost, the next one is angry and revengeful. “A Sea To Suffer In” is of a noticeably heavier nature, because of the overwhelming crunch the guitars have, enriched by the intense melodies and the extremely urgent feel. Then “Only Two Winters” is half clean, half electric: in the first part, a gorgeous, deep guitar melody that holds even a bit of nostalgia in it, in the second part, a sort of catch-up to the heaviness. “Your Shameful Heaven” is the most violent song yet, proof of how progressively strong the sounds get as the album flows. And then, the album finishes with “The Sexuality of Beaverment”, the only song where there is a return to the “Turn Loose The Swans” feel, especially thanks to the growls, and the slow rhythms. Overall, this last piece is a great closer and gives an epic end to the previously mentioned progression.

“The Angel And The Dark River” has now received a status as a Doom Metal classic: it has terrific songwriting, that overcomes the need of atmosphere and studio effects, and an intriguing, gloomy romanticism, that is unique only of this band.

Warthur The Angel and the Dark River is a refinement and purification of the Goth-doom approach My Dying Bride prototyped on Turn Loose the Swans. With the death metal influences leeched out, the band present a mixture of reasonably slow riffs (though not as slow or heavy as the sort of material stoner doom and traditional doom bands typically play) with lyrics intoned in a mournful voice. Whereas the preceding Turn Loose the Swans went in a very Dead Can Dance-influenced darkwave direction at points, this one seems to take the approach back in a more metal-focused direction, using the lessons from their stylistic explorations to good effect in enhancing their baseline sound and keeping it fresh.