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The Jester Race ist das zweite Album der schwedischen Metal-Band In Flames. Das Album wurde am Februar von Nuclear Blast veröffentlicht. The Jester Race ist das erste In Flames-Album mit Leadsänger Anders Fridén. The Jester Race ist das zweite Album der schwedischen Metal-Band In Flames. Das Album wurde am Februar von Nuclear Blast veröffentlicht. War schon die Mini-CD in meinen Augen ein Meilenstein, ist „The Jester Race“ ein Werk des Melodic Death Metal, das keiner bis heute toppen konnte. "The Jester Race" bietet puren Melodic Death Metal der Göteborg-Schule und hat nicht viel mit dem zu tun, was In Flames heute so abliefern. Nicht nur ich. The Jesters Dance. 3. Artifacts Of The Black Rain. 4. Graveland. 5. Lord Hypnos. 6. Dead Eternity. 7. The Jester Race. 8. December Flower. 9. Wayfaerer.
"The Jester Race" bietet puren Melodic Death Metal der Göteborg-Schule und hat nicht viel mit dem zu tun, was In Flames heute so abliefern. Nicht nur ich. War schon die Mini-CD in meinen Augen ein Meilenstein, ist „The Jester Race“ ein Werk des Melodic Death Metal, das keiner bis heute toppen konnte. The Jester Race ist das zweite Album der schwedischen Metal-Band In Flames. Das Album wurde am Februar von Nuclear Blast veröffentlicht. The Jester Race ist das erste In Flames-Album mit Leadsänger Anders Fridén. IN FLAMES The jester race. 12,99 EUR 7,99 EUR. %. Nur für begrenzte Zeit. inkl. 16% MwSt., zzgl. Versand. Für diesen Artikel gibt es 32 Blasts! IN FLAMES. In Flames' Jester Race is a perfect example, the very poster for what melodic death metal is. The album kicks off with a Medieval-sounding acoustic jangle. In Flames-Sänger Anders Fridén sagt: "Ich werde niemals zurück gehen und ein weiteres THE JESTER RACE oder WHORACLE machen. Moonshield, The Jester's Dance, Artifacts Of The Black Rain, Graveland, Lord Hypnos, Dead Eternity, The Jester Race, Die CD In Flames: The Jester Race (Re-Issue ) (Special Edition) jetzt probehören und für 8,99 Euro kaufen. Mehr von In Flames gibt es im Shop.
Jester Race - InhaltsverzeichnisDas wars dann aber auch schon mit dem Höhepunkt der Scheibe. Master-Release bearbeiten. Wie funktioniert der metal. Doch ein Hit ist das nicht; das nächste Instrumental bleibt im Ohr hängen, hört sich schön an, aber einen Hit sucht man wieder vergebens. Mehr Reviews. Ihr bestes Album defentiv. Dieser Wechsel der Gitarrenarten zieht sich durch das ganze Stück und fasziniert mich jedes Mal aufs neue. The Jester's Plus500 Tipps. Sprich auf diesem Album, auf Subterreanian und auf Lunar Strain. CD-Ständer ist Tom Horn unentschuldbar! Das würde diesem Album nicht gerecht werden. Morbid Noizz Productions. Partner von. Wizard 4. Cdu Kamp Lintfort würde diesem Album nicht gerecht werden. Ich liebe diese Alben, versteht mich nicht falsch. Moon Records 2Moon Records 2. Mehr Specials Interviews News. Mehr Bilder. Auch wenn dieses Album die untelantierte guttorale Verstimmung in Form von Anders Friden auflaufen lässt, trübt dieser nur wenig das Bild. Artifacts Of The Black Rain. Auch die Melodie erscheint passend, das macht den Track zu den besten des Albums. Barock Music. Die Fans von In Flames lassen sich bekanntlich in zwei Lager aufteilen.
Opeth and arguably Slayer notwithstanding, this is ground zero for me. And you know what? It holds up brilliantly.
Certainly better than 2 other releases of a similar time and style from the same town. It may seem an unnecessary point to raise given the nature of Gothenburg metal, but this is primarily on the strength of the guitar-play.
The dual attack facilitates heroic harmonies and passages which contrast blasty rhythms with exemplary melodies. Great solos litter the record too.
The early solo is elite and the leads are unbelievably catchy. I rank it in my top 10 metal songs of all time and never fail to be exhilarated by the introduction which gradually layers instrumentation and accelerates in pace.
Friden's vocals are pretty low in the mix, and on occasion sort of dissolve into the rhythm guitar. It would be nice to hear his voice a little more distinctly.
And of all songs to be the dud on here, the title track isn't too memorable. But these minor quibbles aside, this is a great album, and it's worth the listen for anyone into melodeath.
The Gothenburg sound. Swedish melodeath. First and foremost: there are great hooks in every song. And I mean every. Effective breaks and tempo changes help to elevate the energy level when things get too repetitive, and the insertion of acoustic and clean guitars, so common to the genre, add a notch to the dynamic spectrum.
The production is a fine testament of the Studio Fredman sound — everything is crisp and clear, with a reasonable punch and just a little hint of sharpness to the edges to avoid fluffy mushiness.
The real selling point of this album is of course the guitar work. Why does all this overtly sweet stuff work so well in a metal context?
The bass supports the guitars and nothing more. Nothing wrong with that, but nothing spectacular either. The drums on "The Jester Race" are well-played, well-arranged, well-sounding…and safe.
Very safe. The penis. Good dog. Here, have a boner. Released in , this album was, and still is, an essential within the Gothenburg melodic death metal scene.
There is that group of people who blame these releases for the eventual birth of metalcore and while these releases may have influenced that style of music, they are definitely pieces of revolutionary art.
In Flames was the first melodic death metal band I heard, although I got into them through "Come Clarity". After that, I began listening to their entire discography in order.
So in actuality, "The Jester Race" was the third album I heard from these dudes. I was probably 14 years old at this time and to me, this was some of the most extreme music I had heard, at that point in time of course.
Looking back, this is definitely not my favorite In Flames album, as that title goes to "Colony". However, it is still a great album and I have always found myself coming back to it over and over again.
Beginning with the acoustic introduction to "Moonshield", this album gives the listener a foreshadowing of what's to come.
This is definitely a metal album, no doubt about that. Musically speaking, it is similar in melody and structure to bands such as Iron Maiden or Judas Priest.
However, the death metal influence lies within the vocals. There is a lot of controversy with this band due to their melodic take on death metal and a lot of death metal purists are quick to show discontent with In Flames, and any of the other "melodeath" bands for that matter.
However, they inject a vast amount of melody and acoustic beauty into this extreme style of metal, and it works quite well.
I'm sure if In Flames didn't go down the alternative "modern" metal style that they began with "Reroute to Remain" six years later, they wouldn't be shunned nearly as much.
I'm not going to write a review berating anything In Flames has done in the past 14 years or so, but this is definitely different from anything post Harsher tracks such as "Artifacts of the Black Rain" and "Lord Hypnos" still contain tons of melody and are instantly recognizable classics.
This album clocks in at 40 minutes long and none of the songs go over the 5-minute mark, with "Dead Eternity" being the longest clocking in at just slightly over 5 minutes.
In Flames have never been a band to write long, progressive pieces, and they've always been effective with average song lengths. This band gets their message across in a swift manner, but I'm almost always left underwhelmed in this aspect.
Simply because they easily could have added a few more minutes to some of these songs and the album would have been much better at 45 or 50 minutes, in my opinion.
There is no clean singing anywhere on here, just angry, pissed off death metal growls and grunts. The album's title-track is probably my favorite vocally on the album.
You can really feel his energy all over the place. On later albums, he began using clean vocals, which eventually improved in skill.
However, it's nice to just hear solid, extreme vocals without being interrupted by clean singing. In Flames was certainly not trying to land any radio airplay here.
So, while this is not my favorite album from In Flames, it is certainly in my top three. I don't resent these guys for changing their sound, as bands evolve.
However, one cannot deny the impact, legacy, and overall importance of "The Jester Race". Before they tarnished their reputation with relatively bland alternative metal, In Flames were a mighty force in realm of melodic death metal, being the most popular of the famous Gothenburg trio that innovated the style in the early s.
In Flames combined the aggression and atmosphere of extreme metal with the accessibility of melodic metal more seamlessly than any band before them.
Some scorned the band for "polluting" death metal with their damned melodic sensibility and sugary hooks, but what they started on this album could not be stopped.
The Jester Race, along with Slaughter of the Soul, inspired legions of imitators over the next decade and still today, but THIS album was the original - and remains a work of unique inspiration and quality.
The songwriting here is absolutely top-notch. Even In Flames' most ardent detractors cannot deny that the band had a knack for beautiful melodies.
During In Flames' five-year heyday Subterranean through Whoracle , literally every melody they crafted was solid gold. And even though Anders Friden probably isn't as talented as Subterranean vocalist Henke Forss, he sounds better on this album than he ever has since.
He actually has a low register with some legitimately powerful death growls on this one! Now that my metalhead ears are more seasoned, I admit that Friden is not the best melodeath vocalist out there.
Tomas Lindberg and Mikael Stanne are both better. But in no way does Friden detract from the music at all, and as I said, he's at his best here.
Jesper Stromblad is one of my favorite guitarists and he is consistently great on this disc as well. The band is going at full force and you can just tell they were really enjoying writing and playing this music together.
The production isn't as pristine and polished as on its successors, which I actually count as a plus. It lends the music a sort of mystique they would lose later, though I love the next few albums as well.
Moonshield is one of the best album starters ever with its folky acoustic intro and how it transitions into the sorrowful melodic riffing.
The lyrics and vocal performance are heartfelt. And when the acoustic and electric guitars come together at the end, it's pure beauty. Other highlights include December Flower with its heavy tremolo riffing and blast beats, the winding guitar instrumental Wayfaerer, the haunting Dead Eternity with its spoken word intro, the twin guitar melodies of Artifacts of the Black Rain, and Dead God In Me with its unorthodox structure and epic climax.
In truth, every song here is catchy as hell and could be listed as a highlight, which is why this album is a true must-listen.
It may not have the progressive ambition of The Gallery, but it's unrelentingly FUN - an enticing listen at any time, place or mood.
The Jester Race was pivotal in the development of death metal for better or worse , but it's also a true classic of the entire Metal genre.
I probably should have discovered In Flames earlier than I did, what with being a fan of Arch Enemy and all.
For whatever reason I didn't though, and here I am only reviewing the album 'The Jester Race' now, a long, long time after it was first recommended to me.
They do have a very likable quality about the sound that comes with this album, from the strange melodies on the opener 'Moonshield' that sound almost medieval to the heavier riffs on 'Lord Hypnos' and 'Dead Eternity' although all the tracks are a nice mix of heavy and melodic.
You can quite clearly tell that a lot of bands have taken heavy influence from this album, and it's no wonder that this band are considered one of the pioneers of melodic death metal.
I liked the track 'Artifacts of the Black Rain' more than the others, possibly because it was more in my comfort zone than the other tracks which basically means it sounded more like Arch Enemy's style.
The hooks come fast, but not thick to the extent that nothing else can be heard. The drumming isn't sensational, but it does provide a solid beat in the background.
Most of the emphasis seems to be on the two guitars, the rhythm guitar making the general sound while the lead provides some melody to the song.
Vocals are okay, nothing special but they're far from poor. For the most part the melodies are gone, but when they return they're nice even if they sound a little reminiscent of pirate metal at parts, which is a bit out of place.
I don't really get the fade out near the end for twenty or so seconds before the music returns to play the album out, which just adds to the confusion of the track.
I really feel like I sit on the fence with this track. The title track takes a more death metal type approach to it, but the melody is still there.
The vocals on this track are better than the others, sounding deeper and more like Johan Hegg from Amon Amarth which is always a good thing. The song as a whole is a great example of what this band can do, as they quite clearly demonstrate between this song, 'Dead God in Me' and 'Artifacts of the Black Rain' that they can come up with a variety of different ways to play melodeath.
Now, something that I don't like is that there are almost no signs of warning before some of the songs end. Besides the fact that they've been going on a while, some tracks just leave you to guess whether they're almost done or not.
It's not the worst thing imaginable, but it does get a little bit annoying. To conclude, I did like the album a lot, but it's not perfect. Of course no album is, but this one feels a lot further away than some others.
Ultimately some of the tracks do drag it down a bit, perhaps stopping me from giving it a score in the nineties rather than mid-eighties.
Still, they practically came up with the genre along with Dark Tranquility and At the Gates and this is very much a prototype for the rest of the genre to take on board, something that later bands would do with the best possible outcomes.
Few artists could ever claim to have left such a lasting stamp on a genre as In Flames have on the melodic death metal genre since their inception in , and not without good reason.
The band was initially formed as the side project of then-Ceremonial Oath bassist Jesper Stromblad as an outlet for his more melodically-oriented writing style that did not fit his primary band of the time.
Come , the situation had changed and Stromblad had quit that particular band and recruited a line-up to write and record a debut album under the In Flames band.
Following this the band grew tired of using session musicians for vocals and Jesper playing drums on the album, and so they recruited the final members of their line-up and set about recording and then releasing The Jester Race in This is an album that has no intention of taking its foot off of the listeners throat despite its melodic nature.
The guitar tones are exceedingly heavy and the vocals are aggressive; the riffs bludgeoning and the drumming cool and calculated but still carrying a lot of rage behind it throughout.
As far as complete band performances go The Jester Race ranks right up there among the best albums, with every member of the band consistently contributing something good that adds to the overall mood of the album.
The guitars create a dark atmosphere that the demonic vocals from new recruit Anders Friden perfectly compliment with a lot of aggression behind them.
Jesper also contributes acoustic guitars on this release which add a lot of diversity to it and draw up a gloomy picture, particularly on the opening song Moonshield.
This five minute masterpiece was the perfect way to open up the album, with the acoustic guitar being used more than once to great effect including as the introduction to the song.
The way the band transition from accompanying acoustic guitar work to electric guitar work is also something to marvel at; with the acoustic sections feeling suitably relaxed whilst the heavy parts are barbaric and yet somewhat restrained, keeping to a slow pace.
Each and every song on The Jester Race is one that leaps out with its own characteristics and yet still contributing to the overall flow of the album.
The instrumental number The Jester's Dance shows off just how well the band can nail the soft to heavy dynamic, whilst Graveland shows off a much faster side to the band at times.
The guitar work varies from the slow and sludgy to the lightning fast and the vocals aggressive whilst the drums constantly adapt to the meandering pace.
This album makes great use of slightly more progressive song structures than what some death metal fans may be unaccustomed to with some frequently altering tempos and it is clear that In Flames really strived to make their mark on metal music with this release.
This is arguably their most ambitious and complete-sounding release, although some might give that title to any of their first five releases.
The pacing and flow of The Jester Race is completely unmatched, with every song feeling complete no matter what the length whilst the longer tracks of which non stretches far past the five minute mark never feel over-stretched, such is the genius behind the song writing.
The Jester Race is the perfect example of flawlessly executed melodic death metal with some angry vocal work, thought-provoking lyrics and great riffing and the cool use of acoustic guitars mixed perfectly among the heaviness.
The production job is crisp and the drumming and bass work merely completes the rout. If you have not heard this then I highly recommend it as In Flames proved on here that they are more than a cut above the average Gothenburg band.
Nonetheless, amongst the crop of early Gothenburg offerings, this is a decent release that can be enjoyed by anyone who seeks a middle ground between the consonant character of early NWOBHM and the viler tendencies of death metal.
When following the various incarnations that Death went through in the early 90s, the death metal roots of In Flames and others in the Gothenburg become immediately apparent, though anyone who was raised on the more dissonant and morose bands drawn out of the Cannibal Corpse and Deicide camp will probably dismiss the scene as being power metal with harsh vocals which is about as big of a stretch as comparing it with Cannibal Corpse , or try to label it a distant cousin of black metal which is a little less tenuous.
Dealing with the divergence between this album and its predecessor is actually a pretty large affair, despite both being almost identical in overall quality.
Instead of a bouncy set of folksy acoustic breaks and classical interludes, the quieter sections are much more droning and distant sounding, almost like the echoes of a massive cave.
The acoustic themes, in contrast to the bouncing ones before, have almost a crooning character to them, despite being layered on top of a driving bass and drum line.
In the midst of a very consistent album that balances out blasting tremolo sections with steady, down tempo grooves with layers of slow moving melodic lines is Anders, attempting to be the beast in agony in the midst of so much somber beauty.
Suffice to say, he does an adequate job, but largely drags down the rest of the album. His sound could be best described as a somewhat whinny and weak rendition on the Chuck Schuldiner and John Tandy approach to old school death growls, being largely in a flat baritone character with a lot of strain and throat thrown into every syllable.
It is still better than the ultra-whinny take on this style that most metalcore bands would bring to the table later, but it is pretty apparent that Anders is one of the sources of this well known and utterly annoying vocal style.
Nonetheless, in spite of a few glaring flaws, this is an album possessed of several early melodeath classics and largely avoids using filler to complement the killer.
The sad truth is that in many cases, the person doing the vocals tends to be the person who makes the biggest impression, even on an album loaded up with instrumental breaks like this one.
This is the sort of album that I can break out on occasion and really get into, but then have to shelf for a while both because of the somewhat annoying vocal performance, but also because of its utter simplicity.
The biggest reason why this band and this style became so popular is because apart from the earliest incarnations of both, there is not much experimentation going on except for the basic concept of consonant melodies alongside a harsh vocalist.
Basically speaking, if you want consistency then this is the album to get, but those who want an album with a few surprises will want to look to the debut.
Speaking for myself, I like them both about equally, but for very different reasons. Yes that's right people, the same band that today is releasing those terrible metalcore-influenced albums actually had a point in their career where they actually managed to release some pretty damn good albums.
This album was really the album that got me completely hooked with the early Gothenburg melodeath scene, and if you have a listen you will probably understand why.
One of the most outstanding elements of this album to me is the guitars. What really appealed to me with the guitar playing on this album was the amazing harmony sections that were created by Jesper Stromblad's and Glenn Ljungstrom's incredible lead-guitar work.
These harmonised melodies were what really brought out and supported the vocal line laid down by Anders Friden.
I also really enjoyed all the acoustic guitar passages that were included throughout the album, as it added a lot more character to the overall sound.
Even though I wouldn't say the same about his vocals today, Anders Friden's vocals on this album were some of the best raw melodic death metal vocals I have ever heard.
Although I have always preferred the likes of Mikael Stanne to him, he really does an amazing performance on this album, and his voice really blends in with the music quite well, which you definitely could not say the same for on the band's later and more horrible releases.
I can't really say much about the bass parts as most of the time I was blinded by the sheer might of the guitars , however it seems that it really plays its part in the album and does well to blend in with the other layers of sound.
The same could be said about the drums, as Bjorn Gelotte really is consistent behind the drum kit on this album. This album really is one of my favourite albums of all time, and the more I listen to it makes me just love it even more!
I recommend that anyone wanting to give In Flames a little taste should not sit and suffer through their later stuff, but rather indulge in their earlier musical masterpieces, such as The Jester Race.
Long has it been since I first heard this and was floored by its magnificence. Back when I first heard In Flames, I thought they destroyed all the radio rock bands I listened to at the time.
The Jester Race looked the most attractive, so I took a gander and I was never the same again. If it was between the lowest level of awesome and the highest level of great , then it's the highest level of great.
The band dropped a good number of tracks, juiced it with the sweet tone of melodic death antiquity, and achieved a sense of identity — kind of like the Subterranean EP, but with more songs.
The keeper though is the burly, thicker, artillery-precise tone complimenting the rhythm riffs — much clearer and thunderous than previous In Flames releases.
Backing up the guitar tone even more this time is the bass, doing the same rhythm backing as always and fluctuating between fairly clear and normally not.
Between the depth of the guitar tone and the lower end of the drum kit, the bass does get firmly crushed. Nonetheless, thickness in this regard still forms a solid base, since the drums are taken on by Gelotte who, while not kickass, sure does a better job than Jesper.
His growling is like the growls you do after you get fired from your job — strong exhales with a bit of upper throat power that scrape the growl into a barked scream.
Now the one problem I do have with these vocals is that they get fairly redundant — I hear them enough and they just become passive noise attached to the song, eventually tugging on it before dragging it down and making the whole album a bit boring.
Every song but that one rules. Putting it on In Flames terms, this is a classic, but zooming out once more lets me see that there are better fish out there in the sea….
The In Flames you probably know today is absolutely nothing like the In Flames about a decade and a half ago. Back in , no In Flames fan in their right minds could have predicted that the same band would later release Soundtrack To Your Escape.
So please, don't run away when you hear the words 'In Flames. This album may be power metal influenced, but make no mistake it is indeed dark while still being very atmospheric and beautiful.
Amazing, catchy riffs, kickass solo, drumming that doesn't blow, and pretty cool vocals. This never lets up throughout the remainder of the album.
Yes, some people may not be a fan of the power metal twist, and that is understandable. What this does though, is it differentiates themselves from the rest of the scene.
There are no shitty clean emo sections like in Reroute to Remain or A Sense of Purpose, so once again, don't even worry about that. Basically, avoid new In Flames and for that matter, Soilwork and Arch Enemy, as well and sink your teeth into some classic melodic death metal.
Enjoy your time travel back into the 90s Gothenburg scene! In Flames get talked about a lot. From their early underground Melodic Death Metal days to their later days as a cocky, goofy, streamlined Alt.
Rock band, they are a very popular band - for better or for worse. They were at the forefront of the Melodic Death scene and pretty much set the blueprint for the style, along with Dark Tranquillity and At the Gates.
This was their celebrated sophomore effort The Jester Race , and while I don't worship it like some people do, I can still testify to its quality.
Let's just get one thing straight: this is not a Death Metal album. Melodic Death Metal is pretty poorly named, I think, because there isn't much Death-y about it, aside from the fact that the vocals vaguely remind of the old school bands like Entombed or Death.
The only reason that this genre of music is called Melodic Death Metal seems to be because there isn't anything else to call it.
So, a bit of a misnomer, but whatever. Now, with that out of the way, let's move onto the music itself gasp. The music on The Jester Race is not that heavy or extreme, rather focusing on simple riffs and ear-pleasing melodies wrapped up in a tight package of mystical intricacy, not complex or involving at all, but still perhaps needing a few listens to really sink in.
While I admire the band's ability to create simple and solid melodies, a lot of the time this just isn't too exciting, with most of the songs just sort of blending together into one solid mass of riffs and growling and solos.
The guitar tone is a bit weak, but most of the time the band sounds tight and sober here. It's just that they never get you headbanging or staring in awe at your speakers.
The music is competent and well played, but not stirring, emotional or even any fun. My problem with this album, and this band as a whole is that a they have no longevity and b they are too plain.
When I first heard The Jester Race , I thought it was a great album, but ever since then, it has just been getting more and more bland to these ears.
This is due to its simplicity. As is the case with many things that are so simple, its pleasures may not last forever, becoming stale or tepid after hours of listening.
Hours of familiarity and intimacy with the material. The Jester Race is a pretty good album, but it lacks any sort of oomph to make it memorable or worth playing more than a few times.
This is very plain music, lacking any real sort of ambition, and while bands like Omen or Grim Reaper could make "plain" music work well by adding some fiery pep and kicking energy to the mix, In Flames are trying at a more moody and esoteric style, and they need a little bit more flair to their music for that.
Perhaps more weight on the atmospheric side with their acoustic guitar melodies would make this album more interesting. Listening to this is oftentimes like looking at a blank white wall.
It might be well flourished and smooth and inoffensive, but it won't provide you with much excitement in the end. I haven't heard all of In Flames' albums, but that analogy seems to sum the band as a whole up pretty well.