Of men and masks - A review of In Flames' I, the Mask

In Flames has always progressively changed and shifted its sound to become one of the most versatile and exciting bands in the melodic death metal genre. I, the Mask is the first album where the band sounds somewhat directionless and rehashes numerous past ideas which makes this release the quintet's worst studio release to date.

The album features mellower tracks like ''Follow Me'' with its acoustic guitars, heavily processed clean vocals, epic riffs and unspectacular rhythm section that might be explained due to the fact that the two American musicians on bass guitar and drums might not have had a major impact on the song writing process since they only joined the Swedish band last year. The record also includes rawer tunes like the chugging, down-tuned and sinister ''I Am Above'' that focuses on gritty guttural vocals. Most tracks are however somewhere in between like opener ''Voices'' that adds some modern sound experiments to the combination of aggressive verses and a melodic chorus. The record's calmer moments recall soft predecessor Battles while the harsher sounds are inspired by Come Clarity. In a certain way, the band itself wears masks it had already put on three years earlier and ten years before that. What the record is missing however is a proper identity.

A few select songs manage to stick out positively. ''(This Is Our) House'' is a courageous and innovative song that opens with refreshing gang shouts, combines almost robotic low vocals, repressed screams and slightly high-pitched clean vocals in a most dynamic way and has an overall floating, melodic and otherworldly vibe that creates a unique atmosphere which makes this track the most interesting one on the record. Bonus track ''Not Alone'' has a similar approach that could have served as the record's guideline as it once again features almost robotic low vocals that are contrasted by slightly processed high-pitched vocals in the chorus. Another solid tune that walks off the beaten path is ''Deep Inside'' that mixes decently employed electronic elements with Middle Eastern guitar sounds without getting away from the band's signature melodic death metal style.

In Flames' thirteenth studio album isn't a failure but could rather be described as a compilation mixing the mellow soundscapes of Battles with the harsher passages of Come Clarity. Two tracks stick out with diversified vocal performances mixing robotic low vocals, repressed screams and slightly processed high-pitched vocals over otherworldly vibes. If the band had used these two great tracks as guideline for a more coherent release, the final result could have sounded quite groundbreaking. As it is now, I, the Mask is certainly entertaining for fans of contemporary In Flames but ultimately only offers more of the same without a clear concept. The versatile vocals and excellent guitar play need to be pointed out while the unspectacular rhythm section and synthetic sound are slightly frustrating. The song material might actually sound much more dynamic in concert with a more energetic rhythm section and the absence of an artificial mastering, mixing and production.

If you are a fan of In Flames' recent records, you can't go wrong with I, the Mask. While not being a failure, this record might though be the band's weakest effort to date. At the end of the day, this record is still slightly above average and recommendable for genre fans but far from being mandatory. If you are looking for creative contemporary melodic death metal or metalcore with a coherent concept, listen to Erra's Neon and Soilwork's Verkligheten.

Final rating: 62%