MISTER MISERY – Mister Misery (Album Review)

Theatricality begets another Swedish offspring.

Not all nightmares are born solely of ugliness, nor are all things modern necessarily averse to occasionally treading in more traditional waters. These are among the many observations that could be made of a band after the mold of Mister Misery, a self-described purveyor of horror metal that dabbles in just about every modern metallic motif under the sun, yet manages to blend it all into an easily digestible mode of anthem-based songwriting that lends itself quite easily to the arena.

At first glance, this Swedish quartet might be mistaken for a less carnival-like answer to fellow countrymen Avatar with a dash of Black Veil Brides-like fashion sensibilities, but lead vocalist/guitarist Harley Vendetta and his flock of fellow glam meets Goth cohorts have something a tad different going on if their latest and eponymous 3^rd studio album has anything to say on the matter.

For the uninitiated, this is a band that has all of the visual trimmings of a collective tied stylistically to the NWOAHM. Still, their auditory assault brings in a highly charged element of Scandinavian metal accouterments that taps into both the 90s Gothenburg and 2000s melodic groove metal well of ideas. One can’t help but take note of the impressive technical chops of lead guitarist Alex Nine, who brings a concise yet flashy array of lead riffs and soaring guitar solos that could trade blows with what the Amott brothers took to Arch Enemy during their middle era.

Likewise, the heavy level of electronic and symphonic elements brought into the equation blurs the lines between where In Flames’ post “Clayman” era ends and the dark melodrama of Cradle Of Filth begins. Bolstered by a rock-solid foundation provided by bassist Alex Alister and drummer Rizzy Misery, the end result is an array of songs that resides quite comfortably between all the aforementioned influences and a modern alternative/metalcore template, with Vendetta at the fore embodying the voice of every noted style.

Though an album that definitely possesses an inner sense of stylistic harmony and synchronicity, there are times when it feels as though one has reached into a sonic grab-bag of songs more along the lines of a Various Artists compilation. The most dominant flavor amid all the variation is a decidedly metalcore one, spearheaded by driving riff machines like the opening foray “Root Of All Evil”, “Hand Of Death” and “Sinner Of Saint” that trade rapid-fire thrash or thudding grooves with ultra-melodic chorus segments that amount to a slightly more electronic take on Trivium.

Then again, the old-school Gothenburg vibes run a fairly close second with rapid-fire melodeath-tinged fairs like “Eye Of The Storm”, “Survival Of The Sickest” and “Haters” that channel old school In Flames and Children Of Bodom to a near fault while Harley trades up harsh shouts and primal shrieks for an ultra-clean chorus wail that’s a near dead-ringer for Chester Bennington.

Alongside the raging metallic cruisers that dance between the late 90s melodic death and 2000s metalcore paradigms are some equally impressive, albeit more nuanced entries that land closer to the present equivalent of rock radio. The mid-paced “Erzsbet (The Countess)” and the diabolical carnival vibes of “Crooked Man” land a bit closer to nu-metal territory, albeit the far more riff-happy and technically charged vibe put forth by Avatar and blended in with some Dani Filth-like vocal high-jinks.

The band’s lyrical nod to the Resident Evil franchise “Until The End” mixes the same whimsical yet sick nu-metal vibes with a power metal-like sense of drive and release, while the haunting electronic landscape of “The Doomsday Clock” presents a more elaborate and hard-hitting answer to the Linkin Park question. Yet as irony would have it, the songs that truly sum up this album’s highly eclectic character with the most compelling results are the last two “The Ripper” and “Dark Legacy”, which see the band covering every stylistic base in their arsenal while the riff and vocal assault out of Harley and Alex outdo themselves at every turn.

Mister Misery’s self-titled album embodies the true definition of an alternative by throwing something that is otherwise familiar to most ears yet in a way that has never been done before. It’s a veritable spider’s web where each thread is a telegraphed rock or metal trope that has been heard within the past 30 years, but the whole thing sounds as fresh and original as anything that one might hear in 2024.

While it maintains a somewhat predictable structure, only occasionally diverging from traditional songwriting conventions, this quartet of black-clad musical performers has crafted an identity that resonates with enthusiasts of the metalcore and melodic groove metal scenes on both sides of the Atlantic. For those who relish the blend of theatricality and heavy riffs, getting acquainted with Mister Misery‘s latest work is a must.

Released By: AFM Records
Release Date: August 2nd, 2024
Genre: Modern Metal

Musicians:

• Harley Vendetta / Vocals, guitar
• Alex Nine / Lead guitar, backup vocals
• Rizzy / Drums, backup vocals
• Alex Alister / Bass, backup vocals

“Mister Misery” Track List:

1 – Root of All Evil 
2 – Erzsébet (The Countess) 
3 – Eye Of The Storm 
4 – Hand of Death 
5 – The Doomsday Clock 
6 – Crooked Man 
7 – Survival of the Sickest 
8 – Until The End 
9 – Haters 
 10 – Sinner Or Saint 
 11 – Ripper 
 12 – Dark Legacy 

Order “Mister Misery” HERE