Genre: Industrial/Pop
Country: Sweden
Label: Nuclear Blast Records
Year: 2016
Maybe it’s the number of the releases he has composed over the years and it drained him out, maybe it’s bad timing, maybe it’s not to my liking, nonetheless “Coming Home” seems to me like Peter Tägtgren’s weakest moment. His association with Till Lindemann has obviously had its effect; you can hear that on the album’s many, in the vein of Rammestein, industrial elements here and there. The album has its fine moments but it sounds uninterested, leaving you with no desire to listen to it for a second time. Clemens’ (Carach Angren) acoustic guitars enrich Pain’s sound, while he also leaves provides enough space for the orchestral parts to be heard even more intensively. As a result, the album sounds more epic and massive, but everything is quite overloaded, (unfortunately) reminding you your annual Eurovision nights on your national TV… Whether the album is overloaded and extravagant or not – that’s not even disturbing for many – it lacks in essence. Joakim Broden’s (Sabaton) participation on “Call Me” sounds quite interesting, after all this one stands out among the album’s best tracks, but the latter lacks hits and its lyrics are more than simple; on many occasions, the album’s lyrics seem even foolish… “Black Knight Satellite” and the self titled track are easily the album’s best moments. We were surely expecting more. Thus, ‘till next time.
2/6
