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Pain Release New Full-Length

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Swedish industrial metal unit, Pain, featuring multi-instrumentalist and producer Peter Tägtgren (Hypocrisy, Lindemann), have officially unleashed their latest full-length, Coming Home, via Nuclear Blast.

When Peter Tägtgren is ascending from the depths of his legendary Abyss Studio to take the microphone, a little musical revolution is inevitable. Because what else would you expect from Hypocrisy's death metal veteran, who not only plays industrial metal with PAIN, but is considered to be one of the most influential producers in the metal scene (Dimmu Borgir, Children Of Bodom, Sabaton etc.), and recently launched his controversial project Lindemann in partnership with Rammstein's frontman Till Lindemann.

Since the beginning of his career in the early '90s, the Swedish allrounder has enjoyed diving into the extreme and has grown to be an untameable force. But this is exactly what makes him so fascinating. Taboos, creative stagnation, or genre boundaries have never existed in the world of the forty-six-year-old mastermind. And, of course, Peter Tägtgren wandered the same unexplored paths when the time came to forge Coming Home, the eighth studio release of the industrial institution Pain.

In an 8/10 review, Metal Kaoz observes, "Coming Home is the most experimental album PAIN have produced but ...it is also the most inspired one. There are lots of things to discover; sing-along, headbang, and have a couple of smiles/laughs listening to Peter's lyrics full of caustic humor." Rock 'N' Reel Reviews crowns Coming Home a, "cracking album" hailing its, "strong industrial beats, layered distorted sounds, and Peter's unique sharp vocals." Metal Hammer celebrates the band's "...quality industrial metal...," Metal Wani writes, "Coming Home is a great mix of an ambient atmospheric symphony peppered with electronic melodies, delivering a sound that is immensely powerful and catchy as hell..." while Bloody Good Music calls the record, "simply excellent," and one that, "deserves attention."

"Sometimes you pull your hair out and lay sleepless all night long, because you can't figure out this one chorus or don't know how to finish a certain song," admits Tägtgren of the writing process of Coming Home. "That's just me: When I dive into it, there's no ending in sight. It's a self-destructive mechanism. But I want perfection - or I don't want it at all."

It is of little wonder then that PAIN delivers a revolutionary mix of styles on this new release - bizarre alternative metal meets electronic melodies - and, in addition, the band weave some spectacular orchestral arrangements into the tracks on "Coming Home," without risking any cheesy moments or overloading the songs. The result is ten highly addictive hymns with massive depth and experimentation. With the orchestrated portions, PAIN entered a new era and seeked assistance from Carach Angren's Clemens "Ardek" Wijers, who added some magical final touches to Tägtgren 's bombastic songwriting. But the album also has time to breathe with beautiful acoustic guitar intros appearing hand in hand with stormy moments, showing the band at the zenith of their creativity.

Coming Home includes drummer Sebastian Tägtgren, Peter's seventeen-year-old son who delivers an impressive guest appearance on the title track as well as Sabaton's Joakim Brodén who joins the team for some typically raw warrior vocals on "Call Me."

But a Pain release wouldn't be a typical masterpiece without some thought-provoking topics and tales: On the callboy-singalong "Call Me" and "Final Crusade," the band crawls through the deepest corners of society and the human mind, while "Absinthe-Phoenix Rising" is based upon an incident in Leipzig during Pain's tour with Nightwish, where the band was attacked and beat up after leaving an Absinthe bar. And of course, lovers of mystery and conspiracy theories also get their money's worth with "Black Knight Satellite." "Nikola Tesla, who invented the lightbulb, electricity, and other stuff, thought that he heard beeping sounds from space," Tägtgren elaborates of the track's inspiration, "It was around the year 1899 and it seemed like a message to him, a hidden code. He was the first one to discover it, but in the 1950s, when humans started to go into space, they heard the same noises and found out: There is some signal from a satellite out there... but it isn't ours. And as they started their research, they found out, that people had been talking about this phenomenon for around thirteen-thousand years. The story of this so-called 'Black Knight Satellite' is very fascinating to me. Whether it's true or not, I don't know. But it definitely inspired me to write these lyrics."

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