This one in particular opens up with the best useage of the "spacey" sound to date, and then progresses straight into a somewhat lengthy solo. The solo a minute and a half in sounds like its from an AC/DC song though... Face to Face is the only track that I truly despise, mostly because that opening riff I swear I've heard somewhere (can’t figure it out though). After a six year hiatus, Dan returns with EOS, by himself this time (I don't think many people considered the album released under the name without Dan in the group authentic EOS material and rightfully so). But even if I really love the style, and the songs all work, it doesn’t mean it’s masterful. 03) Passage Of Time: I LOVE the way this one starts, growl some incoherent shit and cue the brutality. Yes, there are soft parts here and there, but mostly Crimson II trudges along at the same speed, volume, and level of heaviness for lengthy periods of time, static. For this, the song was split in half, with side 2 picking up at "Achilles Heel. Naturally, this review will be rife with comparison to the original Crimson. He's taken something that is normally corny and above all else, artificial sounding, and made it very human. Most people will be impressed enough by a good story and epic format, and throw a phrase like that out. Now, 5 years later, Edge of Sanity has ruinited, including front man Dan Swano. But sure enough, this album delivers on ever platform. Though his growls have also improved they sound disconnected from the rest of the music, which can perhaps be attributed to production. The last 45 seconds of the album are quality; if only they went on for longer. It does feature some of Dan's best drumming on the album, but aside from that it's very repetitive and there's really nothing to distinctively point out about it that makes it special. All lyrics are written by Clive Nolan; all music is composed by Dan Swanö. Passage of Time is a nice little fast paced heavy song that uses said effects much more casually than the rest of the album, not hindering the badass riffage but supporting it. Dan decided that the best approach would be a sequel to the classic Crimson. I don't recall keyboards being so integral to the Edge of Sanity sound, and while I am in fact a sucker for keyboards, these don't do very much for me. The most obvious examples that come to mind exist in the cinematic world, but music contains some as well, such as Queensrÿche's Operation Mindcrime II, or Metallica’s three Unforgivens. 50+ videos Play all Mix - Edge of Sanity - Crimson II, Second YouTube Mitch Hedberg Early T.V. 'Crimson II' offers some incredible moments of its own, and expertly throws in some ideas from the original to give a sense of continuity. It's very appropriate for some songs, like Covenant of Souls, but others (Incantation) see the effects weakening the riffs more than supporting them. It's like convincing a beautiful girl to get plastic surgery... LEAVE IT FUCKING BE! Note: Although the album consists of one 43-minute-long song, it really is split up into 9 movements. 05) Achillies Heel: This one again starts out with a melodic, spacey sound behind crunchy EOS distortion and Dan's growl. Best viewed without Internet Explorer, in 1280 x 960 resolution or higher. The last song feels like it should; a nice, slow, melodic end to an epic, the only fast part being the same riff from tracks 1 and 6. I can’t really recommend this given it comes out as about average in both sections of the review, though I still liked it and I’m glad Edge of Sanity didn’t have to end their career on a sour note. I refuse to catagorize it. Like the crests and troughs of a wave this album fluctuates from both spacey ambient progressive sections to flawlessly executed melodic death metal. He had to go back, reuse those riffs with some other recycled melodeath riffs, throw in some synth effects (what the fuck? The album is dedicated to the memory of Death frontman Chuck Schuldiner. Instead, it features contributions from guest musicians Mike Wead, Jonas Granvik, and brothers Roger and Simon Johannson. This, is truly outstanding. Edge Of Sanity has FINALLY, at long last become "Edge of Dan-ity" with Crimson II. These last two tracks are golden. It opens up with a nice symphonic piece, then knocks your head completely off around the 22 second mark and sets the tone for the rest of the album. This is a great opener. The gripping emotion has to be there, the boundary breaking has to be there. "[5] In 2011, it was reissued on "ice blue" vinyl but used the digital release as the audio source, as each section of the songs fade in and out at the exact times they do in the Amazon MP3 release. The mood of the music adapts to each turn in the story. The album was remixed and slightly edited for the compilation When All Is Said (2006) so it would fit on one CD. Prog/melo-death at it's best. He finishes out the track with some speedy riffing and growls. The backup vocals sound a bit odd, but they work. Dan mixes the classic EOS guitar tone with his newfound "spacey" sound as is heard throughout Moontower. Neither Swanö nor label Black Mark Production have commented on why this is the case or why the edited version was used. What makes this more spectacular is that after Edge of Sanity broke up after recording Cryptic without Swano, he … I'm not a big fan of the synthetic shit every Scandinavian band seems to want to use, DT being my biggest (and most upsetting) example. As usual, although it's a concept album, the lyrics are hard to understand both due to the vocal style and their actual phrasing. Most of the tracks also fade in and out at the beginning/end. A large development here is the greater presence of keyboards in the mix. The Evil Queen is back from her Crimson Sleep. The Evil Queen is back from her Crimson Sleep. Not only is this the brainchild of one man, but it is the most dynamic and epic death metal album ever. It would more approapriately be titled "Moontower II" if it were to be a sequel album at all, as it shares very little if anything in common with the original Crimson album. Then, he slows it down to an acoustic, dreamy type of pace around the 2:50 mark. I procrastinated on hearing this album for awhile and now I wish I heard it earlier. I highly suggest you go out and buy this album, fans of EoS, melo-death (not gothenburg style, real stuff) and pretty much any fan of music. Crimson II is definitely one of my top three albums of all time because of all the musical variety within it; it has brutality, melody, and just it is just plain epic. It’s not a huge difference, but it’s one worth mentioning. While the original Crimson had magnificent riffs of all types abound, this is quite disappointing, chock full of standard melodeath fare, and a few breakdowns. Anyone can play some major chords and deem it happy. Anyone can play ugly chords on a distorted guitar and deem it dark. This one gets very good around the 1:15 mark, where he begins to show us some of the distinctive and impressive riffs that the previous song lacked. There's nothing melodic about the first minute of this song, although it seems he tries to stress melody in places with some keys in the background. That being said, 'Crimson II' is much more about the riffs and individual sections than Edge Of Sanity made the first out to be, which tended to have a greater overall cohesion. Swano's clean singing sounds fantastic. So, I know I'm almost 20 years late to the party, but Edge of Sanity's Crimson and Crimson II are simply fantastic, and I hope there's still people out there willing to discuss it. This one is also quite short, clocking in at around 2:29, but it's still great. This album, at times, is every bit as intense as Moontower and possibly moreso in spots. 02) Incantation: Very fast right from the beginning, I'll use the term "intensely melodic", which could be said for the whole record. Guitars that are trance-inducing one minute, and six-string chainsaws the next. I'm not a fan of the movie Grease or anything, but I can appreciate it, and it's the best analogy I can come up with. I shall break this down into two sections, one that addresses the sound and the songwriting, and then, of course one that addresses this song as one flowing composition. Oh well, atleast we have this album of epic proportions to have graced our CD players. A song of length ought to have some payoff or go somewhere, and it's still not quite enough, beginning only sometime during the sequence of Aftermaths, but it is a definite step up. The fact that people acclaim it as much as or more than its predecessor makes me hate. The solos are soaring melodic torrents, the lyrics are brilliantly written and compliment the music perfectly. {Originally written for http://www.metalcrypt.com} Note: I did deem Krono's Colossal Titan Strife the best death metal album ever, but I don't really consider this album death metal. 04) The Silent Threat: This one, even though I find this album to be perfection in the overall scheme of thing, I'm not so crazy about. A while after 'Crimson' came out, Edge Of Sanity disbanded, and the musicians proceeded to go their own ways. Dan Swano's death growls keep up a strong foundation for the music but I espesially love his singing, he's not whiney, he's at right level of mellowness. The song then recalls its metal form and remains as such for the remainder.

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