An interesting thing to observe on the metal scene is the second album a band releases after a lineup change in the vocal department. That is because it’s not uncommon for metal bands to have a “safe period” when a new vocalist joins, where they give fans what they expect from the band, then on the next release, dig deeper into the new member’s potential to create something bolder and more innovative. Such is the case with “Haven,” KAMELOT’s second release with Swedish vocalist Tommy Karevik (ex-SEVENTH WONDER), which came out on May 5th, 2015, on Napalm Records.
As one of the most distinct albums in the band’s discography, “Haven” presents KAMELOT in a rather interesting light since it deviates slightly from their highly established soundscape as a futuristic and aggressive vibe courses through the songs. Alongside these changes in both atmosphere and mood, Tommy Karevik’s vocal performance on the album sounds less like an imitation of Roy Khan’s style (as was the case with 2012’s “Silverthorn”) and much more grounded in his own style. I truly feel Tommy came into his own with this record, and he has proven his worth time and again on the band’s subsequent albums – “The Shadow Theory” (2018) and “The Awakening” (2023) – as well as during his live performances with KAMELOT (but also with SEVENTH WONDER, AYREON, and nowadays AVANTASIA).
Spearheaded by the keys-laden, futuristic, and melodic “Insomnia” as its lead single, “Haven” showcases a decidedly darker side of KAMELOT that up until that point we have only glanced at through the likes of “The Great Pandemonium,” “March of Mephisto,” or “Necropolis.” Granted, the beautiful melodies, grandiosity, and core sound that leans toward prog-power territory are still front and centered here, but there’s a thick layer of bleakness and, at times, even gloominess enveloping everything and making for a stark juxtaposition between the idea of a safe place expressed by the title and the dystopian world presented in many of the songs. The opening notes and vocals of “Fallen Star” may be soothing and serene, but once the drums and guitars kick in, the song takes on various shades of gray, which are only enhanced by the swelling orchestrations. In a similar fashion, “Veil of Elysium” is a melodic power metal affair but with an undercurrent of gloom and melancholy running through it, even if the rousing chorus talks about a possible future encounter.
However, the utter brilliance of “Haven” lies in the way it is put together, like a thematic record with songs linked together by a red thread. While much darker and ominous tracks like “Citizen Zero,” “Liar Liar (Wasteland Monarchy),” or “Revolution” vividly present a very nightmarish world boasted by aggressive guitars, harsher-sounding vocals (including some vicious growls from ARCH ENEMY’s Alissa White-Gluz), and an overall disquieting vibe, there’s always a silver lining shining even in the worst of situations, balancing everything out in a yin and yang type of fashion. As such, the likes of “End of Innocence,” “Under Grey Skies,” or “Beautiful Apocalypse” act as a light in this darkness with lyrics that are more hopeful and that give the listeners a sense of community, even if everything feels desolate and hopeless (“Always know that you are not alone / Take my hand /…/ Now close your eyes, don’t be afraid / You’re not alone” as per the chorus of “Beautiful Apocalypse”).
In between all these harsher sonic textures and futuristic soundscapes, there’s still room for more ethereal and atmospheric moments as the two ballads – “Under Grey Skies” (which features Charlotte Wessls)and the meditation on death and the afterlife that is “Here’s to the Fall”– contrast and complement the album’s darker tones wonderfully. These two songs benefit massively from his emotional deliveries that are nothing short of goosebumps-inducing (I still get shivers every time I hear any live version of “Here’s to the Fall”). But then again all the songs on this album are elevated further by Tommy’s theatrical delivery, as he goes from melodic, soft, and gentle (see “End of Innocence”) to powerful and commanding (see “Revolution”) with ease, thus matching Roy Khan’s vocal prowess while showcasing more of his own vocal potential and undeniable skill. There is little to no doubt that Tommy’s voice, especially his rich mid and lower register, fits this kind of music incredibly well.
To conclude, the main merit of “Haven” is that it heralded not just a reinvention but a new beginning for the band, presenting an updated sound centered around Tommy Karevik’s vocals. It laid a solid foundation on which the band could distance itself from their past glory and seek new thrills with this refreshed outlook and revitalized line-up. However, this new musical identity didn’t last long as “The Shadow Theory” was split between continuing the legacy of “Haven” and the legacy of “Karma” in almost equal degree, and then with “The Awakening,” they stepped back fully into their mid-2000s soundscape. As it stands today, “Haven” presents an exciting snapshot of what could have been had KAMELOT continued marching on this path and forging a new sonic identity.
Written by Andrea Crow
Tracklist
01. Fallen Star
02. Insomnia
03. Citizen Zero
04. Veil Of Elysium
05. Under Grey Skies
06. My Therapy
07. Ecclesia
08. End Of Innocence
09. Beautiful Apocalypse
10. Liar Liar (Wasteland Monarchy)
11. Here’s To The Fall
12. Revolution
13. Haven
Lineup
- Tommy Karevik – vocals
- Thomas Youngblood – guitars
- Oliver Palotai – keyboards
- Sean Tibbetts – bass
- Casey Grillo – drums
Label
Napalm Records
