MY DYING BRIDE — The Light at the End of the World (review)

MY DYING BRIDE — The Light at the End of the World album cover

Album · 1999 · Death-Doom Metal

3/5 · 2021-11-19
lukretion

After two disappointing albums (the mediocre Like Ghosts of the Sun and the failed experiment to modernize their sound which is 34.788%...Complete), My Dying Bride were quick to jump on the horse again and try to show their fans that they were still a relevant voice in the metal landscape at the turn of the millennium. Seen in this light, The Light at the End of the World is certainly a resounding success. Ditching the experimentalism of their previous record, My Dying Bride embraced again their sorrowful doomy identity (including their original logo!) and showed the fans they could still write memorable death/doom/gothic tunes like no other. At the same time, the album only contains a couple of tracks that can truly be numbered among the band’s best, while the rest of the songs are little more than respectable extras.

In terms of songwriting, on this album My Dying Bride return to their tried and true formula of combining snail-paced tempos, long-winding and tortuous guitar riffs, dramatic keyboards (played by Bal Sagoth’s Jonny Maudling who replaced as a guest the band’s former keyboard player Martin Powell), lots of drum fills (played by Shaun Taylor-Steels, who replaced Rick Miah), and Aaron Stainthorpe’s trademark lamented crooning vocals. Aaron also throws-in growled vocals on a couple of songs, as well a half-spoken recitation on the album’s splendid title track. Structurally, the songs are complex and go through several different sections throughout their duration, with plenty of tempo changes and accelerations/decelerations. As with all My Dying Bride’s albums, this is not music for the faint of heart and it requires some time investment to be properly appreciated.

Yet, many songs on The Light at the End of the World showcase instantly memorable melodies carried by either the vocals or the guitars, which greatly facilitate their assimilation compared to the band’s previous output. This trimming-down and streamlining of the sound is a process that the band had already inaugurated on their 1995 album The Angel and the Dark River, and marks the transition from their early death/doom style to the gothic/doom sound they will embrace at later stages in their career. On The Light at the End of the World My Dying Bride are still in transition, though the desire to write more accessible songs is evident on tracks like the chorus-driven “The Isis Script”, for example.

The album flows away pleasantly, with some peaks and some declines. Among the strongest songs there is certainly the title-track, a 10+ minute beast that is as dark and desperate as the night itself. A beautiful tale of lost love, the song ebbs and flows between Aaron’s sombre recitation and a beautifully decadent vocal melody that keep returning again and again throughout the duration of the song. I also like a lot the three “shorter” and more compact pieces that follow the title-track, “The Fever Sea”, “Into the Lake of Ghosts” and “The Isis Script”, which all contain some great, attention-grabbing melodic intuitions. While not as perfect as some of the tracks on the band’s subsequent album (The Dreadful Hours), these tracks showcase all the potential of the gothic/doom sound My Dying Bride were developing at the time. On the other hand, the record sags a bit when it hits the longer compositions, like “Edenbeast” and “Christliar”, which overstay their welcome with tortuous, unyielding melodies that verge on the boring.

Despite a few missteps and a mastodontic length of 71 minutes that discourages repeated listens, The Light at the End of the World is a fine album and a worthwhile descent into misery. It represents a clear return to form for the British band, which was needed after two albums that disappointed more than a few fans. That things were on the upswing for the Bride will become even clearer after a couple of years, when the band will release The Dreadful Hours, which stands still today as one of the best records in their whole discography.