|Release Date||25 October 2019|
Sweden’s up-and-coming female fronted melodic metal troupe Metalite have returned (and with a new vocalist) with their sophomore album, Biomechanicals. As the title alludes to, you can expect a melodic metal sound that’s drenched in electronic elements, layered vocals, and digital synths all over the place. And usually, that shit gets me pumped. Unfortunately, that’s not quite the case here, because I have a bit of a bone to pick with this album.
But, to conserve a bit of my sanity, we’ll hit the positives first. The most obvious plus about Biomechanicals is that it outdoes Heroes in Time in every aspect. The production quality, songwriting, diversity, and musicianship is all better. Metalite have also proven once again that they know how to lay down an album full of catchy melodies, and the electronic arrangements are excellent. Additionally, there are some pretty good tracks on the album, namely ‘World on Fire’ and ‘Eye of the Storm’ (which has a sick solo), as well as a handful of other cool sections.
However, despite the good parts, Biomechanicals is outweighed by its negatives. The biggest contributor to these is the fact that Metalite, as they did in their debut, are trying way too hard to become Amaranthe. Seriously, I fully expect to hear three vocalists in their next album. Despite such a strong effort to hijack their sound, Biomechanicals is missing nearly every thing that makes Amaranthe so likable; the vocals are one-dimensional, the rhythms are basic, and there’s none of that metal punch that’s necessary to take the music from being just a pop metal album to a kickass metal album with a pop sound (because there is a huge difference, and it’s a very important difference).
I know you’re probably thinking, “Hey, man, you can’t just knock Metalite for not being as good as Amaranthe; they’re two different bands,” and that’s absolutely right. I usually don’t make that the point of my comparisons. However, this comparison becomes necessary once you hear a track like ‘Breakaway’, which is literally a blatant ripoff of Amaranthe’s ‘Infinity’ from The Nexus (see: the chorus and solo (and everything else)). Metalite have crossed the line from influence into straight-up copy-and-pasting and I think that warrants a bit of collation. So, yeah, maybe I’m being unfair, but are you fucking kidding me?
While it occasionally shines, Metalite’s Biomechanicals is all flash and no flare. Behind the album’s sparkly exterior is a dull foundation that can barely stand under the force of scrutiny. If they focused more on embracing their own path and strengths, Metalite could probably make an album that I’d be all over. But, until then, I’ll just be left with a persistent, metallic taste in my mouth.
If you want to be notified every time PowerThorn publishes a review or article, you can subscribe to the blog or go like the >>Facebook Page<<!
For all the same (but mostly memes), >>@PowerThorn<< on Instagram is exactly what you need.