Under a Godless Veil
The gentler singing gets plenty of room on Under a Godless Veil. Draconian let Heike Langhans sound clear and vulnerable while Anders Jacobsson's deep, rough voice pulls the music downwards again. The contrast is familiar for the band, but the songs seek a dreamier atmosphere more often here. The heavy moments remain without constantly setting the direction.
Sorrow of Sophia demonstrates the approach well. Quiet passages give way to heavier playing, with keyboards connecting the different sections. Langhans gives the melody a human, immediately identifiable quality. Jacobsson's voice provides a much darker counterweight. They sound like two sides of the same emotion.
The guitars retain enough weight to support the slow pace. Even so, atmosphere often matters more than a riff that hits hard immediately. That produces attractive melodies, but also makes some passages restrained. Burial Fields gives the soft voice and quiet backing considerable space. It fits the album, although the momentum noticeably drops there.
The long closer Ascend into Darkness restores the balance more convincingly. It sounds more threatening and gives the band's heavy side greater influence. The quiet sections gain meaning as a result. Its development shows how much stronger the contrast becomes when both approaches receive enough room.
At over an hour, Under a Godless Veil asks for considerable attention. Some songs could have been shorter, and listeners who prefer the heavier Draconian may miss that side at times. But the singing and carefully developed atmosphere maintain interest. The band make their familiar approach gentler and more spacious, with enough strong melodies to support the decision. The record is most convincing when its restrained emotion and heavy guitars strengthen one another. Those passages give the softer direction a clear purpose.
