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A supergroup team-up worthy of a standalone Avengers movie, The Halo Effect finally delivered their hugely anticipated debut record Days of the Lost and the multiverse of melodeath is fully open again. Considering the state of the contemporary metal scene, at first this album might seem relatively insignificant, but on a deeper level, it serves as a rather peculiar case study onto the nature of supergroups, the enormous legacy of the Swedish melodic death scene, and the conflicting psyche of the average metal fan who is capable of poluting even the greatest of records with a spiteful and insignificant narrative.
In case you somehow missed this, The Halo Effect are Mikael Stanne (vocals), Niclas Engelin (lead guitar), Jesper Strömblad (rhythm guitar), Peter Iwers (bass) and Daniel Svensson (drums), five guys that need no introduction, validation or review of their musical mastery. Collectively, these people have contributed so incredibly much to the European metal scene, that the announcement of their new project naturally got people excited. They followed with the debut single 'Shadowminds' in late 2021 and the metal community rightfuly got obsessed with its brilliance, whether you judge it by old or new standards.
There is nothing more to say about Days of the Lost aside that it is a textbook melodic death metal record, created by the guys who actually did write the textbook. In other words, it is really, really good, ticking all the boxes and exceeding the expectations, but it can also be a confusing experience. You know who the people are and that it is a side-project building up to become a fully functioning band; you also hear Dark Tranquillity in the vocals and In Flames in the music, then you start thinking it's 2002 again, and yet you are 20 years older and lost in the multiverse.
The Halo Effect is basically an original In Flames from a parallel universe in which Stanne stays in the band after 1993. However, as much as I love everything I am hearing here now, I would not wish for this to be our reality, as I also adore everything both In Flames and Dark Tranquillity have done since, and I do mean everything. Both these bands, alongside other local legends have been shaping that iconic Göteborg sound for decades, and continue to do so to this day. In its very core, that original melodeath spirit is an ever-changing beast getting bigger and stronger with each release, and that includes Days of the Lost.
Just consider some recent releases to see exactly how powerful the genre really is, extending well beyond its symbolic birthplace of Göteborg. Amorphis, Arch Enemy, Amon Amarth, Soilwork all dropped new material, In Flames are preparing a new stellar album, Dark Tranquillity's Moment was a killer in 2020, and At The Gates have been fully back and restless for a decade now. Think about Imminence's roots, about Orbit Culture, Once Awake, even cosider Lorna Shore's ...And I Return To Notingness's real influence beyond its deathcore extremes. In other words, the genre not only never disappeared but has been a constant force, with yet another reminder being The Halo Effect jumping right into #1 in the Swedish chart in their opening weekend, with more to follow across Europe.
The reason I go that deep into the genre, and why I also waited a week since this records' release, is to question to dominant fan and media narrative that The Halo Effect are either bringing back the melodic death sound and resurrecting the true Goteborg spirit, or how much better they are than IF or DT. The reality is that the genre never went away, the spirit has been alive, kicking and evolving every year, and any comparison with other bands is redundant and insignificant. The Halo Effect is just a great project with a great album on their own right, and you can easily enjoy them in full without hating on anyone else.
I have been replaying Days of the Lost for a week now and loving every second of it, from its thunderous opening 'Shadowminds' and all familiar singles, through hidden gems like 'A Truth Worth Lying For' and that surprise Matt Heafy cameo in 'Last Of Our Kind'. I have also been wandering what is the point of it, considering everything said above, and then it hit me. There was no point aside from being the product of a group of friends jamming together with no restrictions, pressure or expectations, and this is the real beauty of it.
This is also why The Halo Effect suceed so well as a supergroup, because they actually aren't one in the conventional sense of the term. It is not just a team-up of legendary musicians and charismatic personalities, but old friends with deep respect for each other and shared love for playing kickass music. Read their recent review for Blabbermouth and pay attention to the language used, and you will see exactly what I mean. Then listen to the record again, enjoy the music and stop being an entitled metal nerd.
This is pretty much everything I wanted to say about The Halo Effect, and while I realise this is far from a classic album review, it is important to consider its context. This won't prevent angry wannabe critics and anonymous metal fanboys from hating, comparing and poluting the music we all love, but take it as a much needed reality check. And while you waste your time with yet another twisted narrative, I intend to continue enjoying Days of the Lost without a care in the world, and waiting for where The Halo Effect take us next.
The Halo Effect - Days of the Lost
Country: Sweden
Released: 12 August 2022
Label: Nuclear Blast
Tracklisting:
1. 'Shadowminds'
2. 'Days Of The Lost'
3. 'The Needless End'
4. 'Conditional'
5. 'In Broken Trust'
6. 'Gateways'
7. 'A Truth Worth Lying For'
8. 'Feel What I Believe'
9. 'Last Of Our Kind'
10. 'The Most Alone'
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