. Mediabook CD with bonus DVD + Posterflag limited 100 copies. Mediabook CD with bonus DVD, limited first edition.
Regular CD. 2x LP (black, 180 gram, with bonus 7' vinyl, limited to 200 copies). 2xLP (gold-black bicolor, 180 gram, with bonus 7' vinyl limited to 300 copies).
2xLP (gold-black marbled, 180 gram, limited to 300 copies). 2xLP (black, 180 gram, limited to 500 copies).
2xLP (green, 180 gram, limited to 250 copies). 2xLP (silver, 180 gram, limited to 150 copies, exclusive for Sweden only). 2xLP (yellow, 180gram, limited to 200 copies, exclusive for EMP mailorder).
The pioneers of doom metal released this a while back and it is supposed to be their last studio album. After this they will officially split up taking a well deserved retirement after 30 years on the road. But as we all know it is very hard to get a fix on “last albums” as far great musicians are concerned. Somehow they have the tendency to pop up again in the near future.
Poems For The Deceased
Anyway, that’s another matter. Psalms of the dead continues Candlemass’ traditional formula of doom metal. Anyone familiar with their old discography would notice that straightaway. Why fix something if it ain’t broke? But having said that, the album sometimes feels a little drawn out. Starting out with the opener; ‘Prophet’, probably the best song on the album races off to a fast start. The band continuously slows down things to a doomy crawl in the ‘Sound of Dying Demons’ and ‘Water Witch’.
But then again they inject some speed accompanied by their trademark epic doom style in songs like ‘Dancing in the Temple’, ‘Siren Song’, ‘The Lights of the Thebe’ and ‘Psalms for the Dead’. Another feature that doesn’t go unnoticed are similarities to Black Sabbath’s ‘Iron Man’ in the intro drum part of ‘The Sound of Dying Demons’ and, the riffs in ‘The Killing of the Sun’.
It must be a tribute to Sabbath, right? Another two traits in the album are in the form of tasty wah wah solos in ‘Psalms for the Dead’ and ‘Black as Time’ and a heavy organ usage in almost all the songs (looks like some Deep Purple has crept in!!). Summarizing, the only gripe that I have is that the slow songs seem a little stretched.
Other than that, it’s the same old offering from Candlemass. Note that it took me quite a few listens to get a hold of the pattern. For Candlemass fans you know what to expect.
Not great, but a very good doom metal album. Listening to Candlemass really makes me recover some of the perhaps naive hope I’ve still got on the vast world of metal music. Too few are those who can, or even dared to try, remain vital and valid playing the most vintage form of metal itself. Candlemass excel in that department, I can tell you that. As it happens with great albums, is not a single element, but the conjunctive planning and use of all the elements in them what makes “Psalms fo the dead” so memorable. Meaning neither is songwriting pretentious or fancy, but effective and thorough.
Both catchy rocker songs and profound dark doom metal hymns are to be found in this one. In general this is the kind of record one can listen to once and again, and it rather becomes more fun, attractive and interesting each time.
Also, and this is HUGE, the way these fucks managed climax and calm, choruses and stanzas and soloing and riffing when composing each song themselves is sharp as hell. Guitars and bass do exactly what pops Tommi and uncle Geezer taught the whole world how to do. They follow, support and challenge one another in a simply elegant way. Whereas almost all bands go for pointless speed, Lasse and Mappe rather intend to crush your ears with a slow to mid-paced bludgeon of dark rock. Drums do nothing but greatly support and hold the sensation of heaviness provoked by these guardians of six stringed ladies. Now, if ‘twas Buttler and Iommi the ones who inspired most of the instrumental part of this record, it’s Mr. Dio himself who works as a model for vocals.
Yes, good ol’Ronnie is a legend and more than one feels insulted by the comparison now, but truly, Robert Lowe did a hell of a work here. Too bad this was his last album with Candlemass, apparently, due to poor live performance. Personally, I consider track 7, “The killing of the sun”, an homage for one underrated but great cut in “Mob rules” (Black Sabbath, 1980), and that feeling endures along all songs.
Robert’s vocals are clear, powerful and deep, just as they’re supposed to be. This, my dear readers is one fancy fare well for such a singer. In the sounding like Dio era Sabbies department, keyboards are an unavoidable must when re-creating that modest epic sound, and they rock precisely because of their discretion. That discretion by the by, is not only neglected but spitted on in “Siren song” whereof keyboards line and especially the solo are delightful in the most 70’s-like way.
Devils, did I enjoy this one. One could say this work’s almost flawless. Had I had the chance of making any change to it before it was put out, I would have extended this album a little bit. Even though it goes on and on for about 50 minutes or so, a deep necessity for more remains even after listening to it around ten times. OK, OK, I’ve listened to it a few more than that. It’s interesting how it’s exactly the metalheads that claim metal should stick to its roots and not to evolve into a more sophisticated kind of music, the same farts that disregard albums such as “Psalms for the dead”.
No wonder “old school” is an expression that lost its meaning, yet if you ask me these are THE basics every band should be well aware of and never forget. Originally written for www.globaldomination.se. For all intents and purposes, this is the last Candlemass album. Thus, it’s a sad day for metal, as it bids goodbye to the prospect of fresh material from one of its most important formative entities. The band has not broken up, mind, but they’ve stated with relative finality that they do not wish to grow stagnant, and thus are ending their full-length legacy here at number 11 with Psalms for the Dead.
While I would not qualify this as one of their very best records, it nevertheless draws upon all of the things that make Candlemass truly great, and proves a very solid goodbye. Personally, I think Leif Edling and co.
Have the potential for another masterpiece in them, and hope for a follow up down the road, but as far as legacies go, this is a more than satisfactory requiem. Psalms for the Dead exists very much in the same realm as the last few records, and continues to be fronted by Solitude Aeternus front-man Robert Lowe, whom I’ve always felt has fit the band perfectly, particularly in the astonishing King of the Grey Islands. His dynamic range continues to serve the vast, epic compositional nature, with charismatic yet melancholy bellowing rising above the dark, ornate slabs of riffing. He may not be quite as impressively maniacal or varied as Messiah Marcolin, but I’ve had no issues with any of his performances here. As for the record itself, you can expect a healthy 50 minutes of thick, lumbering, Sabbath-influenced doom, drawing from the well of fantasy in both lyrical and atmospheric strati.
As always, the tones here are just crushing, a dense low-end crunch that proves full and resonant. Edling’s bass is particularly satisfying, like rhythmic shifting of tectonic plates beneath the fiery oceans of riffing. Speaking of riffing, the quality here is incredibly consistent, with a strong breadth of songs that nicely encapsulate what exactly Candlemass is. Overall, I felt the compositional tendency was a bit on the safe side, with relatively predictable structures for verse, chorus, and refrain, but the tone of the individual tracks shifts enough to be engrossing, and as always, there are a good number of addictive choruses present and accounted for. I’d be remiss, however, if I didn’t mention that I feel an opportunity may have been wasted here to delve into some more progressive variations, paying tribute to the adventurous nature of their earlier material.
Black as Time is the exception to this, with more unconventional tactics, and is incredibly satisfying as it morphs through varying incarnations. Regardless, any real fan of the band is going to find a lot to like here, as it’s all unmistakably Candlemass, in all their ornate mythological grandeur.
It’s noticeably less oppressive than fans of their earlier material might want, as the songs don’t always have that weighty, menacing quality many look for, but it’s highly functional and memorable nevertheless. There’s some organ-like keyboard additions scattered throughout as well, adding some unique flavor in a creepy, vaguely Castlevania-esque style. It’s easy to feel like one is trapped in a haunted cathedral, beset by looming fantastical creatures, and other such imagery. In essence, its doom metal, conjuring the level of atmosphere one would expect from the guys who virtually wrote the fucking playbook.
Heavy, unique, dark, and addictive, there is a lot to like here. Psalms for the Dead is divided pretty well into subsections that all resonate with spiritual trappings of classic heavy and doom, but with appreciably distinct variables innate to each.
As is often the case with bands whose legacies were unquestionably formed many years ago and today have no hope of ever topping I have a hard time working out what to make of their latest release. The teenage fan in me wishes for them to not change the template that many them so strong but the realist accepts this doesn't happen, and for the best. Which brings me to Candlemass, the kings of doom.
Their recent releases have indeed been good, as seen by 2009's 'Death Magic Doom' and now 'Psalms for the Dead' but the majesty of the earlier material feels a long way from the modern, heavy sound we have here on album no. Recorded with erstwhile Solitude Aeturnus vocalist Rob Lowe who has since left since release, 'Psalms' sees Candlemass looking to solidify their position as the doom headliner of 2012, even if newer, younger bands have released better, more essential albums in recent years. The pace of their tomes these days hovers at more of a slow-medium rather than the dead slow of old, with time spent split between the lurching of 'The Sound of Dying Demons', the psychedelic 'Waterwitch', a more upbeat 'Prophet' and the epic title-track.
The use of keyboards, tuned to sound as an organist does in an old church, add an extra dimension to the periods where their usage accompanies the lead guitar and main riff (as in 'Psalms for the Dead') or as a song-leading element like in 'The Killing of the Sun'. As someone not usually too taken by the sounds of keyboard I can vouch for their justified and elegant usage here, the difference being the experience of bassist and songwriter Leif Edling in knowing how to nail the true feeling of doom at a whim. Added to all, the bands knack of writing a great vocal harmony; done previously in recent years with 'Of Stars and Smoke' on 'King of the Grey Islands', the leading one found in this here title track (yes that track again) with Lowe's recognisable crooning will knock the socks off you. Not all moments are quite so solid - notably closer 'Black As Time' which is a total waste of 7 minutes, and much of 'Siren Song' which plods along despite the best hammond efforts of Opeth's Per Wiberg - but for a band so steeped in doom (and metal) heritage there is much to admire and like on 'Psalms for the Dead'. Best post-Y2K album from the Swedes?
A hard one to call given the consistency of all four, but a worthy addition to a catalogue already bursting with doom greatness. Originally written for www.Rockfreaks.net. With the start of yet another month of pure Metal taking us on a roller coaster ride, it is time we bid farewell to one of the greats, who steered this ride and touched our hearts with their music. Candlemass, the Black Sabbath of Doom Metal, have now released their final studio album Psalms for the Dead, waving their fans a final goodbye in style! This album is a perfect example of how a band should end their career in the studio.
From sheer evil and diabolic riffs too some face melting solos, the album has it all! But sadly, just when Robert Lowe began to hit the right note to fit in the band through this album, he was announced no longer a part of the band quite recently. The opening track, “Prophet” was a great start to the album with the typical elements of doom embedded in it.
This makes you crave for some more and as you move to the next track, you will be greeted with a tweak of a surprise with “Dancing in the Temple”. This song seemed to deviate slightly from their heavy, slow and haunting sound to more of a slow power metal inclination. This song sets you right into the mood for more of Candlemass, with 3 blistering solos. Noticeably, almost every song treats you with some diverse solos by Lars Johansson. Per Wiberg (ex-Opeth) has added his own spices to this well cooked piece of art with a beautiful solo in the “Siren Song” on the keys. Every song in the album has a different feel to it.
Like, “Killing of the Sun” gives you a total Black Sabbath feel to your ears. Not to forget, Leif Edling has done a fabulous job on the bass with some hot and heavy portions in “Black as Time”.
I certainly expected some intricate acoustic guitar magic like that of the most well-known song of the band, “Solitude”, from their first album Epicus Doomicus Metallicus. But setting that apart, this album seems flawless, and yet another masterpiece! To choose the 3 best tracks from the album, I’d say my number one choice would be “The Lights of Thebe”, because in this one, although the band maintains their reputation of sounding evil, it takes a different turn with some lovely symphony and a sweet solo with an oriental feel to it.
At second place would be, “Dancing in the Temple” because of the downpour of three solos and the slight deviation from the typical sound they usually play. Lastly, I’d choose the track “Psalms for the Dead” that matches its title to that of the album, because of the very impressive strong structure!
The dual solo song is well fitted with some commendable transitions and an outro that will surely leave you in a trance, at the end. I always felt as long as Candlemass will exist, the standard of doom metal will remain high.
Without much ado, I’ll conclude by saying that this album was sick enough to be called legendary and is a perfect full stop as they fade away from the limelight, leaving their legacy behind. For me, Epicus Doomicus Metallicus, Nightfall and now Psalms for the Dead stand at the top of my list of best doom metal albums ever made and Candlemass will remain one of the biggest influences for this genre. Even though the sub-division of this doom metal style does not have many bands that would make it proud, Candlemass is enough, and this album shows why. Now, solely a touring band, they have replaced Robert Lowe with Mats Leven on the vocals. Buy the album, irrespective of what sub-genre of metal you prefer because this album is the pinnacle of sheer mastery. Original review by me on: http://www.metalwani.com/2012/06/review-candlemass-psalms-for-dead.html. So this is to be Candlemass’s final recorded album.
The last ever musical statement from the doom icons, innovators and one of metal’s overall greatest bands. Wouldn’t it be terrible if it was a disappointment – a flimsy and shallow offering from a fading shadow of a band? Well luckily it’s not. This album is great, and that’s in the truest sense of the term.
In fact the only disappointing thing about this album is the knowledge that Robert Lowe is no longer in the band and will subsequently never perform any of these great songs live. Oh well, that fact doesn’t change the quality of ‘Psalms For The Dead’; it’s a beast of an album and a truly appropriate sound with which to bow out from an amazing recording career. Song-wise there is a fair amount of variety here; in fact the band display a slightly lighter and more upbeat approach on much of the material that actually makes a nice change from the previous album. Note the word slightly, because it is not to say that band have turned away from doom or made a power metal album or something.
This album is an absolute doom album in every way. But notable is the increased use of organ and keyboard sounds on a lot of the songs that adds an additional dimension and certain mood: maybe slightly more psychedelic and 70s sounding, but it’s not a total sound shift, just a different one. A good example of this sound is the single ‘Dancing in the Temple (Of the Mad Queen Bee)’, but there are multiple others. I don’t do song-by-song reviews because it doesn’t seem necessary, but it is enough to say that every song has something different about it, a unique draw, and this means that the album does not turn into one great big similar-sounding dirge. There’s a lot of individual character to be heard.
For example ‘The Lights of Thebe’ has an eastern/Arabic flavour to it that Candlemass haven’t really played with before, while the most doom-ridden and ominous song has to be ‘Waterwitch’ which reminds me somewhat of ‘Hammer of Doom’ from the last album. The song ‘The Killing of the Sun’ has a Black Sabbath riff reminiscent of ‘Iron Man’ which creates the impression of a more playful and fanciful band; it’s as if they’re saying ‘ this is our last album, let’s have some fun and go out with a bang. We love Sabbath so let’s do a Sabbath song’ (Despite this the lyrics are still dark as hell, as they are across the album – no lightening up there thankfully). Essentially you get the feeling that the band have really tried hard to get all aspects of their sound over the years on to one album, and to my mind they have succeeded in this admirably. One slightly strange thing about this album is the final song ‘Black As Time.’ The song and riffs themselves are classic, but there is an English guy speaking over some of it, voicing philosophical musings on the nature of time and its destructive nature.
Now this is probably Candlemass promoting their more whimsical and weird side, but personally I’m not quite convinced by this song. This is probably because the guy speaking reminds me slightly of Eric Idle, and subsequently it is a little hard to take seriously. I couldn’t help but think that this is the last song on the last ever album; why do the band want to bow out with that guy’s voice ringing in the listener’s ears? But still, they’re trying something new and in its own bizarre way it works; it’s just never going to be my favourite Candlemass song. Speaking more technically the production is excellent: extremely crisp and loud making the band sound heavy and powerful. The playing is great from all, from the drums and Leif’s thick bass lines to the riff guitars and the truly memorable and impressive lead playing. As noted above, the organ and keyboard sounds add a lot to the songs and are extremely well played and fitting.
And of course, anyone who’s listened to any significant amount of doom will know the vocals of Robert Lowe. I won’t labour the point too much here: he’s always been an excellent, epic and unique singer and he still is on this album. He’s the star of the show for sure, along with Leif’s brilliant, as always, song-writing. When most people consider ‘classic’ Candlemass they’re thinking of the first three or four albums, but the truth is they have never released a bad album. ‘Psalms For The Dead’ is no different.
Hopefully it will be remembered as more than just their last album because the songs truly add to their legacy; they’re potent and powerful, full of character and interest, and are essentially classic Candlemass. I’m sad to see them go, but I’m happy to report that they have truly gone out on a high. Originally written for: http://hauntingtheobscure.blogspot.co.uk/. Doom giants Candlemass return to deliver their eleventh and possibly final full length album of a long and illustrious career. Psalms for the Dead is an elegant work of massive, riff-endowed heavy metal from start to finish.
Robert Lowe handles vocal duties again, albeit for the last time, as the band announced on their official web site June 2nd that he has been dismissed due to “quality of live performances.” A Swedish dude named Mats Leven will be taking over for the ensuing tour dates. “Prophet” opens the album with doom-dance domination, making plain the confidence of the musicians and mastery of their craft. The first riff you will hear is pure, bone crushing doom, then they up the tempo with beefy double kicks and the mighty voice of Robert Lowe. The instrumentalists here consist of the classic line-up, with main man and bassist Leif Edling, the Johansson/Bjorkman guitar duo, and drummer Jan Lindh. Keyboardist Per Wiberg of Opeth fame plays the Hammond organ on one track of Psalms for the Dead, and will be joining Candlemass for the upcoming tour. Second track “The Sound of Dying Demons” is plodding and slow, opening with a heavy floor tom beat and the subtle sound of a storm in the background. Jan Lindh has been referred to as a “boring” drummer, but in my opinion he is an ideal doom metal drummer, doing his job with good taste and tact.
Besides, if you’re listening to metal for drum kit wankery, doom might be the wrong genre for you. “Waterwitch” is just fuckin awesome, with a bit of wah-pedal employed on the beginning riff a-la Mr. Iommi’s “Electric Funeral.” Edling’s creeping bass line beneath Lowe’s mournful voice in the verse juxtaposed to mammoth riffing make this a standout track of the album, and there’s also some tremendous lead guitar shredding to make it a complete masterpiece of a heavy metal song. I think Candlemass could probably write quality albums until they croak; their well of riffs seems to be bottomless. Interestingly enough, lead axe man Lars Johansson is a lefty, as is the godfather himself, so maybe that has something to do with it. Psalms for the Dead comes with special packaging with some excellent band photos, printed lyrics, and a bonus DVD featuring some cool behind the scenes footage. If you happen to have a copy of Nightfall lying around, it’s interesting to compare the physical appearance of Candlemass twenty-five years ago to that of the same band today.
Leif Edling seems to be ageless. The liner notes also feature a black and white illustration of the band that calls to mind the back cover of Heaven and Hell. The onslaught of manly riffing continues into the title track, with the keyboards adding an eerie dimension to the overall tone of lamentation. “Psalms for the Dead / Songs for the Living” is the profound and triumphant cry of Robert Lowe on this crusher.
It is indeed disheartening to see the departure of this amazing singer from Candlemass, especially after the success of Death Magic Doom and King of the Grey Islands. I do enjoy the classic albums featuring Messiah Marcolin (though his vibrato was a bit much at times) but I don’t think Lowe or Marcolin could match the powerful pipes of Johan Langquist, the session vocalist featured on Epicus Doomicus Metallicus. That dude ruled. One of the most alluring aspects of Candlemass has always been their operatic singers, so new guy Mats Leven must be presumably awesome. Per Wiberg’s signature Hammond organ styling is featured on “Siren Song,” where he even plays the lead beginning at 2:25. Closer “Black as Time” starts with the sound of a ticking clock and a cynical spoken word piece on the cold and unforgiving nature of time.
“Time is the sword of destruction, a faceless conqueror, the master of DOOM.” Only Candlemass could so eloquently capture the fatalism of time. This may be the swansong of these doom legends, and if so, they are finishing with grace and power, offering an album chock full of fist-pumping riffs and profound lyrical dissertations. We can only hope that they’ve got another one left in `em.
Might have a sticker: 'The farewell album of the doom legend! Limited edition incl. Recorded in Stockholm in December 2011. The making of 'Psalms For The Dead' and the 70.000 Tons Of Metal footage are meshed in one video. The DVD also includes three humorous 'trailers' by Candlemass Pictures: 'The Man The Myth The Concept', 'Doom Bird And Doomband' and 'The Lost Brother'. The playing time of the DVD is 27:26 (29 min according to the back cover).
The DVD is region-free. Made in Germany.
USD $13.54 2 days USD $12.27 2 days USD $23.64 3 days USD $15.95 3 days USD $12.99 3 days USD $19.98 4 days USD $27.99 4 days USD $16.92 6 days USD $12.64 7 days USD $15.87 9 days USD $61.86 9 days USD $18.14 10 days USD $13.40 10 days USD $13.54 12 days USD $12.99 13 days USD $14.33 13 days USD $9.99 14 days USD $10.73 15 days USD $14.34 16 days USD $9.76 18 days USD $18.95 19 days USD $11.16 20 days USD $12.40 20 days USD $13.53 20 days USD $9.78 21 days USD $18.48 21 days USD $10.57 23 days USD $17.60 26 days USD $12.74 26 days USD $11.53 26 days USD $8.51 28 days USD $9.99 29 days. 'Psalms for the Dead' is the 11th full-length studio album by Swedish doom metal act Candlemass. The album was released through Napalm Records in June 2012. In several interviews leading up to the release of the album, members of the band have stated that 'Psalms for the Dead' will be the last Candlemass release but that they won´t split up. I guess that means that they will occasionally tour with the material they have already recorded. The album features the same lineup who recorded the last two albums, but lead vocalist Robert Lowe was fired from the band just around the time of the album´s release.
A decision to stop recording new material while you are still on top of your game, is always a hard decision to make. But it´s sometimes the most wise one if you count integrity and how you are gonna be remembered in the future as important career goals. Considering the generally high quality of the material on 'Psalms for the Dead', it might just be a little too soon to stop for Candlemass though.
The music on 'Psalms for the Dead' is traditional doom metal with an epic edge and it´s not surprisingly the unmistakable sound of Candlemass. The riffs and the rhythms are brick heavy yet feature enough groove to drive the music forward in an energetic fashion, the guitar leads are melodic, and the vocals by Robert Lowe are powerful and skillfully executed. There are excursions into faster (well.relatively) paced traditional heavy metal territory too like it´s the case on 'Dancing in the Temple (Of the Mad Queen Bee)' but the music is generally doomy, slow, or mid paced. The band have opted to include quite a bit of organ in their music this time around and that might prove to be an aquired taste for some.
It´s adds an organic 70s atmosphere to the album, and it also makes the album stand out a bit from the rest of the band´s discography. The sound production is clear and powerful and suits the music well. Paired with the high standard musicianship and the strong songwriting, that makes for one hell of a great doom metal release and 'Psalms for the Dead' fully deserves a 4 star (80%) rating. Apparently, this is and isn't Candlemass' swansong: whilst they've not ruled out further live activity, apparently they're not going to make any more studio albums after this.
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This isn't a unique situation in metal: Bolt Thrower made a very respectable choice to refrain from producing new studio albums unless and until they felt they had a set of new material of comparable quality to their best work. The difference is that Bolt Thrower ended on a high, producing Those Once Loyal - an album which, despite feeling a little formulaic at points, was at least true to the Bolt Thrower spirit and was a decent epilogue to their studio career. The same cannot be said for Psalms For the Dead. The thing about the best Candlemass albums was that, despite playing in (and arguably helping to define) the traditional doom metal subgenre, their material never felt generic. There was never the impression that the band were following someone else's formula - Epicus Doomicus Metallicus or Nightfall might have owed a lot to Black Sabbath, but there was never the sense that Sabbath - or Saint Vitus, or Sleep, or anyone else for that matter - could have made those albums. They had their own unique Candlemass-y personality which set them apart. Sadly, this isn't the case here.
To be blunt, the songwriting and performances here are outright generic. Rob Lowe certainly throws his weight into the vocals but he doesn't seem to believe in them; compare to the perfect note of despair he hits on the opening track to King of the Grey Islands, for instance. Musically, this could really be any latter-day Sabbath revival band chugging away. The unique atmosphere and personality in evidence both in the classic early Candlemass albums and in their recent efforts has entirely departed, and what is left is competent but repetitive generic supermarket brand doom metal. In short, not the way legends like Candlemass should have taken their final bow.
Available editions: -Limited deluxe LP with two bonus tracks (on a 7 inch) and 5 exclusive postcards with a gold/black color (limited to 300 copies) and plain black (200 copies). Bonus tracks: 1. Sadness Runs Deep 2. Beneath the Fire. Limited mediabook CD/DVD with a Candlemass flag and free poster.Strictly limited double gatefold 180 gram LP with a Gold/Black marbled color (300 copies) first orders will receive a free exclusive A2 Candlemass poster. This version is only available via Napalm Records mailorder and online store.
According to the members of Candlemass, this will be the last album they ever make. Recording information: Recorded at B.A.M. Studios, Stockholm, during December 2011. Mixed at LaneyLand, Stockholm, Sweden. Mastering at Cosmos.
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