As one of the earliest and greatest purveyors of the style, In Flames' 1990s output was an essential part of the early Swedish melodeath movement. Yet, starting with 2002's Reroute to Remain – and until 2023's superb return to form, Foregone – they prioritized an alternative metal sound. Consequently, many listeners were unhappy with the band's new direction and yearned for the days of 1996's The Jester Race and its immediate successors.
Enter The Halo Effect, a new group formed around 2021 and comprised of five ex-In Flames members: vocalist Mikael Stanne, bassist Peter Iwers, drummer Daniel Svensson, and guitarists Niclas Engelin and Jesper Strömblad. From the jump, they were driven by the desire to recapture the magic of the classic "Gothenburg sound," and with 2022's Days of the Lost, they largely did.
Fortunately, follow-up March of the Unheard doubles down on that ambition, delivering an even more nostalgic and authentic ride that – at times – arguably sounds too close to In Flames' golden era.
According to Stanne – who also fronts Dark Tranquility – they approached their debut with the mindset of just having "fun," but after all the accolades it received, they felt considerable pressure to live up to expectations with their sophomore outing. Engelin adds, "I felt more confident this time around," explaining that March of the Unheard is "more progressive, with more guitars, more riffage – it's more of everything, in a way."
Thematically, the record continues its predecessors' exploration of individuality and metal, too, making it even more of a fitting next installment in The Halo Effect's catalog.
Opener "Conspire to Deceive" immediately harkens back to the Gothenburg scene's penchant for highly melodic and moody aggression. Specifically, its build-up of atmospheric tones, interlocking guitar patterns, scratchy riffs, and roaring percussion are gripping enough, yet they also work wonderfully supporting Stanne's devilish outbursts. With the help of some brief but resourceful detours, "Conspire to Deceive" quickly becomes a perpetually enticing and symbolic statement of what March of the Unheard has up its sleeve.
Elsewhere – such as on "Detonate," "A Death that Becomes Us," and "What We Become" – The Halo Effect uphold that ferocity while also increasing accessibility a tad (via epic guitar lines, catchier hooks, and calmer passages). That said, the true greatness of the LP comes when the group deviates even more from that central recipe.
For example, "Our Channel to the Darkness" begins with a haunting acoustic prelude that's synonymous with vintage Swedish melodeath. Afterward, "Cruel Perception" throws in subtly affective guitar arpeggios to add simple but effect emotion and depth, just as grand instrumental "This Curse of Silence" incorporates piano, an angelic choir, and a real marching band for maxim drama and beauty. "Forever Astray" and "Between Directions" finds Stanne singing cleanly, too – which works very well – and unsurprisingly (given its name), the acoustic "Coda" is a gorgeous epilogue that reflects on prior motifs and gives the LP a greater sense of importance.
Although a greater balance between growls and clean vocals would likely make March of the Unheard stronger, that's a very small and wholly subjective criticism. Similarly, both the title track and "Coda" evoke – if not directly emulate – one of the key riffs from In Flames' "Dead Eternity" (later incorporated into "Acoustic Medley"). Of course, that could be totally coincidental (or a clever nod), and it's not exactly the same. Still, it's worth mentioning (for better or worse).
All in all, March of the Unheard is an excellent (and almost certainly superior) continuation of Days of the Lost's faithful vibe. The Halo Effect undoubtedly succeed at expanding their new identity while recalling the classic trademarks of their former band. Whether you're specifically an old school In Flames devotee or just a fan of the Gothenburg sound in a general sense, then, you'll surely love what the quintet have accomplished.
