FROM THE CRYPTS - CELEBRATING PAST ALBUM RELEASES in the HISTORY of HARD ROCK & HEAVY METAL…
On October 25, 1994, Tiamat released their fourth full-length studio album, “Wildhoney” via Century Media Records in the US. The album was produced by Waldemar Sorychta. Vocalist Johan Edlund and John Hagel were the only two remaining members of Tiamat who were still with the group after their previous album “Clouds” in 1992. The album marked a strong change in the style of Tiamat's music with more Progressive Rock and Psychedelic influenced music and a less Death Metal-oriented style. The music on the album deals with the occult, nature, and LSD.
The album was previously released on September 1, 1994 in Europe and was one of the highest-selling records for Century Media on its release. The album sold better than the previous best sellers on the label; Grave and UNLEASHED. The album was re-released to include the “Gaia” EP with it in 2001 by Century Media.
Background:
Tiamat vocalist Johan Edlund was unhappy with the recording of the album “Clouds”, stating that it "definitely didn't turn out the way I wanted it to". After the release of their 1994 tour EP, “The Sleeping Beauty (Live in Israel)”, Edlund fired all members of Tiamat except for John Hagel. In 1994, Tiamat began working on an album that would become “Wildhoney” with session musicians Magnus Sahlgren, Lars Sköld and Waldemar Sorychta, who acted as a keyboardist and producer. Edlund later stated on “Wildhoney” that he "really did what I wanted to do on Clouds". The bird songs on the album were from a sound effects album Edlund had. The album was recorded at Woodhouse Studio.
“Wildhoney” was a move away from the Death Metal sound that was previously heard on their last album “Clouds”. “Wildhoney” has been described as their first album where the "Psychedelic/Progressive influences were more widespread". Edlund looked back on the album later, stating that he was "just a very young guy (who) wanted to sound like his favorite band, Pink Floyd". In 2007, Edlund described stated the themes of the album revolved around the pentagram ("The Ar"), nature ("Gaia"), LSD ("A Pocket Size Sun") and satanism ("Visionaire").
Critical Reception:
Online music database AllMusic gave the album a rating of four and a half stars out of five, with Eduardo Rivadavia stating; “Not even Tiamat's previous achievements and accelerated evolutionary pace could have prepared fans and critics for the unbelievable sounds contained in the band's fourth album, 1994's groundbreaking “Wildhoney”. The album elevated the group's combination of lingering Death Metal roots and ambient soundscapes to unparalleled heights of invention. Not necessarily a concept album in the lyrical sense, the record still operates as a virtually seamless aural experience, as tracks are often grouped into extended suites. The sounds of a running stream and chirping birds (actually the 30-second title track) introduce "Whatever That Hurts," which effortlessly shifts from its slow, massive riff to a surprisingly beautiful melody, each section topped with Johan Edlund's death metal grunting and gentle whispering vocals, respectively. "The Ar" follows, yielding another huge midpace riff and some angelic choruses before giving way to the industrial grind of "25th Floor." "Gaia" and "Visionaire" pretty much stand on their own, but each displays a bevy of contrasting elements, ranging between heavy and light, which make them just as remarkable. "Kaleidoscope" opens the next suite with a delicate acoustic guitar playing over the sound of falling rain, and is followed by "Do You Dream of Me?" perhaps the album's creative zenith. The song's ethereal quality owes much to its intertwining keyboard and guitar lines, not to mention Edlund's most singsong performance ever, and merges directly into the spacy feel of the instrumental guitar piece "Planets." The eight-minute "A Pocket Size Sun" takes a slight dip in quality but is hardly disappointing, and is very reminiscent of Pink Floyd.”
AllMusic gave five stars to the reissue that included the “Gaia” EP, referring to the album as "one of the classics of the genre".
Note: The reviews shared here are for historical reference. The views and opinions expressed within are not always supported (in full or in part) by Into the Wells. — E.N. Wells
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