In fact, it’s difficult to decide whether it’s the hooky lead, the infectious riffing and drumming or the post-metal-esque chorus that seals the deal. The introductory riff and verse combination is potent, energetic, and illustrates just how patiently they honed their vision as their career blossomed. Opener “Black Storm” is a perfect example of this. In Mourning developed their songwriting a bit further here compared to the last two records, utilizing their brand of melody and drama to great effect. Listeners will appreciate the wide range of vocals provided-Tobias Netzell injecting emotive cleans and a decidedly Åkerfeldt-ian death growl, Björn Pettersson supplying his own potent hardcore screams-and the impeccable sense of flow afforded by the tight performances of everyone involved. A looming gloom of doom and a fresh sprig of post-metal rounds out In Mourning’s melodic mixture. For those who haven’t heard In Mourning before, expect a blend of melodic death metal reminiscent of Insomnium and Be’lakor with the prog-metal kinks often found on Voyager’s and Great Leap Skyward’s work. Does their latest offering, titled Garden of Storms, continue this trend? While the band’s output since Monolith wasn’t always as well received, The Weight of Oceans and Aftergloware still solid records, proving that the band is at least capable of delivering consistent quality. Sure, superficially the Swedish prog-melo-death-doom quintet share something in common with Blackwater Park-era Opeth, but it was clear to me from the first minute of the indelible Monoliththat In Mourning were an entirely different collective, a point that each subsequent release reinforced. 1 I don’t happen to agree with that statement. I’ve heard it said many a time that In Mourning carry the torch that Opeth “abandoned” with the release of Heritage.
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