The interest around The Halo Effect’s formation went far beyond the usual intrigue and anticipation afforded to such projects. After all, a melodeath supergroup put together by a bunch of ex-In Flames members (including early-doors singer Mikael Stanne, now with Dark Tranquillity) brought tantalising hope for those who hold the likes of The Jester Race and Clayman deep in their hearts.
While few would begrudge In Flames’ evolution over the past two decades, the longing for the halcyon days of mid-to-late-90s melodic death metal is felt as strongly by some as the NWOBHM, Bay Area and Florida death scenes that preceded them. Such is the quality of the albums that emerged from Gothenburg during that time that subsequent releases from Arch Enemy and Dark Tranquillity, a fabulous At The Gates second coming and even In Flames’ own ode to yesteryear on 2023’s Foregone couldn’t quite scratch the itch.
Despite being saddled with such weighty expectations, The Halo Effect’s debut album, 2022’s Days Of The Lost, did not disappoint, with its clear intention of harkening back to its members’ roots providing a thrilling shot of nostalgia for diehards. Yet while it was filled with the exhilarating twin leads that are the subgenre’s hallmark, there was enough variety in the adrenaline-infused metal and goth-tinged despondence to grant The Halo Effect an identity of their own.
This is even more apparent on March Of The Unheard. There is still an infectious enthusiasm to tap into the spirit of their earliest creations, albeit laced with a maturity and desire to avoid repetition. It’s easy to get carried away by the immediacy of guitarist Jesper Strömblad’s melodies that are wielded alongside fellow six-stringer Niclas Engelin; Openers Conspire To Deceive and Detonate instantly recall the thrill of In Flames classics Pinball Map and Coerced Coexistence without feeling like copy and paste jobs, while Daniel Svensson’s drumming propels the verses and adds swing to the choruses of Our Channel To The Darkness. What’s more, an impeccable mix ensures the riffs leap straight out of the speaker, with Peter Iwers’ bullish bass not far behind.
But it’s when things are dialled back that frontman Mikael Stanne shines. His atmospheric tone, honed over years in Dark Tranquillity, adds gravitas and emotional clout to the orchestra-backed drama of Between Directions. Lyrically, the album shines a light in the darkness, with simple but effective positivity breaching the walls on the triumphant title track and A Death That Becomes Us, before the galloping guitars and building atmosphere of The Burning Point kick in, standing tall as the band’s most affecting tune to date.
Despite being another elite-tier melodeath album, expecting March Of The Unheard to set the world alight is missing the point. The Halo Effect feels like a passion project for its members to celebrate a lifetime of friendship, like veterans recounting old war stories. It’s a sentiment that characterises every one of the album’s 12 tracks, until the final, swashbuckling notes of acoustic finale of Coda fade away, with a palpable sense of five musicians having a blast honouring their roots while eagerly eyeing the future.
March Of The Unheard is out this Friday, January 10, via Nuclear Blast
