Leaving its early years behind - A review of Myrath's Live in Carthage

Despite playing charismatic Middle Eastern folk metal, Tunisian quintet Myrath has been going through quite a few changes throughout its career. The band's first two albums could easily be classified as progressive metal that needed some spins to open up but offered much replay value with epic tracks reaching lengths of about seven minutes on average. The third album still included progressive elements but with much shorter tracks and more concise song writing. The band then opted for a catchy, melodic and simple approach on the last two albums to date. All these three phases of the band were intriguing as the group always continued to progress. This needs to be pointed out since this live album might give newcomers a very wrong impression.

The set list is limited to songs from the last three albums only. According to my information, one song from the second album was actually played in concert but didn't make it onto the final release for unfathomable reasons. Even among the last three albums, the band decided to play the most uplifting tunes in concert instead of including the few more progressive tracks or slightly darker tunes that fans of old date found quite appealing. These are the reasons why this sounds like the concert of a power metal band with folk elements rather than a progressive metal group with folk elements. The original songs worked well in the context of their more diversified regular full length efforts but sound somewhat predictable, repetitive and even tiresome in the context of this concert.

The set list isn't the only issue here. The idea to play a concert in Carthage on the African continent is actually excellent. However, the interactions between the singer and the crowd are at times confusing as they vary from Arabic to English and French conversations and monologues. Even though the record was recoded during one single concert, those interactions make it sound as if it had been recorded at different spots and slows down its potential fluidity.

Other than that, the quintet performs its songs with infectious enthusiasm. The numerous guest musicians on keyboards, darbuka and bendir enhance the quintet's folk stylistics. The stage production looks lush, the lightning techniques are very good and the sound is organic as well.

This live record is most recommended to those who have discovered Myrath very recently and appreciate the band's contemporary power folk metal soundscapes focused on short, catchy and accessible song writing. Fans of old date will however miss the lack of old songs and the group's more daring, extensive and progressive soundscapes. In a certain way, Myrath definitely leaves its early years behind with this output and certainly seems to be aiming for more accessible and commercially appealing song writing that could easily fit on an Assassin's Creed or Prince of Persia video game soundtrack.

Final rating: 67%