THE OLD DEAD TREE

Veterans of the hazy midpoint between melodic finesse and outright morbidity, THE OLD DEAD TREE have been little more than a spectral presence over the last 17 years. The Parisians effectively split for good back in 2009, and have only reemerged as a momentary force, most notably for their 2019 "The End" EP. Now fully reconvened, these icons of the crestfallen have returned with an album full of the same charismatic but black-hearted gothic metal anthems that made early albums like "The Perpetual Motion" (2005) stand out from the miserable crowd. Wryly titled "Second Thoughts", this is a purposefully straightforward return to active service, but one with plenty of progressive touches and quiet surprises hidden in its melancholy depths.

Although unchanged in terms of mood, THE OLD DEAD TREE certainly exert more power on their fourth full-length. These songs are far too melodic and sophisticated to be drowned out by maxed-out heaviness, but there is enough grit and grotesquery bubbling beneath the surface to ensure that "Second Thoughts" crushes in its own understated way. Bombastic opener "Unpredictable" and the turbocharged and SENTENCED-saluting "I Wish I Could" occupy the gnarlier end of the musical spectrum, and the Frenchmen are in their element when frontman Manuel Munoz's pained poetry demands a nastier soundtrack. But it is the more ornate and elegant likes of "The Lightest Straw", "Luke" and "Solastalgia" that provide the most evidence of this band's gentle evolution. Majestic yet forlorn, these are fervently accessible songs enshrouded with the claustrophobic aura of depression and disgust. Co-opted doom and death riffs weave in and out of the band's thunderous, mid-paced bedrock, all in service of Munoz's melodies and world-weary growls, and sweeping, simmering synths and vintage keys plug gaps in the slow-motion barrage of guitars.

In particular, "Solastalgia" marks a shift in focus, as THE OLD DEAD TREE stray casually into modern prog territory, the expected heavy riffs underscoring another fraught and theatrical Munoz vocal. Likewise, "The Trap" is a winningly morose prog rock descent into hell, with cinematic atmosphere galore. Every one of these subtle detours is designed to honor and illuminate the songs themselves, and this is by far the strongest collection of material the quartet have made. Switching seamlessly from the punishing, angular grooves of "OK" to the sardonic, emotional avalanche of "The Worst Is Yet To Come", THE OLD DEAD TREE make despair seem like a pretty smart idea. Tearful endorsements are optional, but when it comes to the goths, somewhat inevitable.