THE CROWN

For over 30 years now, THE CROWN have made their mark with their unique form of melodic death thrash. Their most recent album, 2021's "Royal Destroyer", was good but far from great — built upon the unit's tried and true approach. Now, with a release named after its initial moniker, THE CROWN has upped the ante with a more rugged collection of songs that are meticulously crafted, boasting their penchant for melody and blend of proficiency, controlled chaos and rabid freneticism.

With clear intent, the album is self-referential to the band's earliest days while also reaching forward. They don't color outside of the lines too distantly, though. Their more adventurous forays are logical. With "Crown of Thorns", they've done everything a seasoned extreme metal collective should be doing, remaining consistent with its format and striving beyond, within reason, as well.

The Swedes have reinvigorated themselves with the creative challenge of building the music upon Giannis Nakos's excellent, black and white cover art that depicts a bridge, Strömkarlsbron, and its water spirit in their hometown of Trollhättan. The tunes that branched off from the imagery are in line with THE CROWN's inclination for doling out fast, rabid, melodic death metal that's epic in the vein of traditional heavy metal. But the music also entails a jagged, almost punk-like quality. "The Night Is Now" starts off with a pseudo tribal drum beat that trades off with a fluid, melodious drive that grows progressively, even including a burly, almost tough-guy riff along the way.

The old-school artwork isn't the only significant nod and wink to the era during which THE CROWN began. Longtime guitarist Marcus Sunesson returns to the fold, rejoining the original core of guitarist Marko Tervonen and vocalist Johan Lindstrand. (The quintet is rounded out by the new rhythm section of Mikael Norén and Mattias Rasmussen on drums and bass, respectively.) This transfusion of original and new blood has seemingly sparked the greater memorability of the songs and their overall more exploratory nature. Dramatic shifts at key points make all the difference, as with "Where Nightmares Belong", a number that winds down with subdued guitars that allow for Johan Lindstrand's scathing vocals to take the full spotlight. And that's prior to a brief moment of calm, soul-soothing female crooning.

While "Crown of Thorns" is a very nuanced effort, its bursts of full-tilt, blast beat frenzy stand out as the most compelling parts that will continue to bounce around one's grey matter. There is an inconsistency with the melodic surges that are so integral to THE CROWN's identity. "No Fuel for God", for instance, is built upon a simple, repetitive thrash riff that's incredibly infectious. Unfortunately, though, the song's melodic chorus is forgettable and generic.

Expectations should be high: we are talking about none other than THE CROWN. To be fair, there are fantastic songs left and right. The onset of "Gone to Hell" is eerie and dank in the spirit of old SLAYER. "Howling At The Warfield", on the other hand, shines bright because of its impressive intricacies and blood-boiling up-tempo thrust. "The Agitator" looks back to the darker side of eighties thrash, hitting hard with a relentless assault and replete with charming gang shouts. THE CROWN remain kings in the world of melodic death thrash, and "Crown of Thorns" is an excellent bridge between the best of the old school and modernity.