As for the songwriting, itself, there is a lot of variation present on The Spectral Sorrows. While slower, these mellow sections sound no less evil than their faster counterparts, a sound consistent throughout the album; if I had to choose a word to describe the general feeling that this album elicits, it would be insanity.

Comparable to any classic of Entombed, Dismember, At The Gates, and even Opeth somewhat. The third of these acts is the equally as potent Edge of Sanity who made Death Metal history with their unique take on the styling with Crimson. Unlike most trigger happy drummers nowadays, you can tell that Benny Larsson actually played them.


Swano in many ways has contributed and influenced a plethora of masterful acts with his multi-faceted talents.

The break is intense and sees the eerie keys making their presence known around the cryptic guitar lines – it’s not until the last minute where one finally gets the chance to catch his/her breath.

Schon auf dem Vorgänger "Unorthodox" deuteten die Schweden an, in welche Richtung sie sich entwickeln würden. November angekündigt, FAITH NO MORE - Mitglieder von Anthrax, Mastodon, Korn u.a. Ein weiteres Plus von "The Spectral Sorrows" ist, daß sich der Songaufbau der zwölf Stücke (plus Outro) nie ähnelt. Nothing speedy, but galloping riffs, skull-crushing tempos, morbid melodies, and more fun than a bag of body parts can be found throughout the album. 44058 Dortmund

They’re either a dry-throated shouts or angsty clean vocals that are just as awful. The band's third studio effort, The Spectral Sorrows, was released in November 1993 and may be the true highlight of their discography. The Manowar cover, although laughably bad at first, will automatically make you pick up a sword and decapitate a water bottle (face it, you don’t keep peasants in your room).

More examples?

The production also worked well to connect each song, remaining consistent enough for the varying material to be tied together, so to speak. From the opening harmonies, to the progressive/death metal bulk of the song, to the almost pop - rock riff beginning at 3.20, all seamlessly woven together, finished by the disturbing screams of Jesus's crucifixion. Melodic death numbers such as Lost, Jesus Cries and Waiting to Die. Das alles ergibt eine Platte, die man getrost zu den 20 besten Death Metal-Scheiben aller Zeiten rechnen darf. For a while it seems that The Spectral Sorrows completely lives up to its name, but I just wish it did entirely, as some tracks one stumbles upon later sound rather out of place. We hear lots of song variation within13 tracks, an intro (The Spectral Sorrows) and outro (A Serenade for the Dead). It features a good balance, while not getting overly progressive as the band would later do. Other than that, the song sort of fits in where it is, and doesn't possess an atmosphere that is really at odds with the surrounding songs. Needless to say that the issue had been fixed, which means The Spectral Sorrows reigns not only as Edge Of Sanity’s heaviest offering (aside from the debut), but the songs are backed by some sick leads, doomtastic riffs, grimy bass, cryptic atmosphere (Seagrave artwork says it all), and perhaps Swanö’s most ferocious vocal performance in the band. Drumming on “Lost” and “Sacrificed” in regard to snares is actually not bad at all; “Lost” has a thicker tone which should have been the case for all the other songs and “Sacrificed” might just be programmed beats, but anything goes when it comes to Swanö. Album Rating: 3.5its very good, if you like EoS's other albums, you'll most likely like this.

Here, Blood of My Enemies by Manowar is covered, which sounds little to nothing like the rest of the album.

There's also a curious influence from traditional heavy metal on this album. I feel that the general use and sound of the drums on this album are very passive - they act as a glue holding the songs together. Not bad by all means...but hardly spectacular when compared to the more melodic and progressive numbers that appear on The Spectral Sorrows.

The mystique of the instrumental title track adds to the European vibe, only for groovy and heavy riffs to take over in the forms of great tracks such as Dark Day and The Masque. Auf ihrem dritten Longplayer haben es Edge Of Sanity geschafft, ihren Stil zu perfektionieren und eine durch und durch überragende und originelle Platte abzuliefern. Swano’s hoarse death shout is still powerful as the last two albums but feels more controlled and audible. Dan Swano's vocals are excellent throughout this album, mostly in the form of his rich, deep growl that still packs enough punch to exaggerate the insane feel to the album. After an eerie introduction that sets the tone of the record, ‘’Darkday’’ immediately storms onward like a tornado with its forceful, yet melodic riffing. Skip one song ahead, to 'Lost'.

Reviewed in the United States on January 22, 2005 Spectral Sorrows is the pinnacle of Edge Of Sanity's Death Metal career. Like early albums such as Metallica’s Kill Them All or Slayer’s Show No Mercy, these tracks are cheesy but a blast. The aforementioned ‘’Jesus Cries’’ is another vivid number; from the dramatic chorus roars to the upbeat march that resembles a gathering crowd to witness the horrors that unfolds during the tortured ending, it’s absolutely superb.

Rather than the flimsy jobs given to Marduk and Dark Funeral, among others, this album has a strong production that suits the music quite well.

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