Review of Canopy - Will and Perception

The thing I like most about Canopy, aside from their music, is their openness. I mean, Will and Perception is definitely a cut of “regressive Swedish death metal,” which is a throwback to bands such as Opeth, Edge of Sanity, Unleashed, Entombed, and Grave. Unlike a copycat group falsely touting uniqueness, this five-piece basically confirm their penchant for emulation, but notably back that up with songwriting know-how and interesting musicianship. Far from an average cover band or two-bit hack, Canopy are serving their homeland proud and though their music won’t leave as much of an impact as the music of their forefathers, this stuff is practically begging to be lapped up. I, for one, can handle that task.

These lads haven’t unleashed much since they formed in 2002, but their two EPs do have plenty of substance. None other than mastermind Dan Swanö (Edge of Sanity, Nightingale, Bloodbath) contributed a guitar solo and backing vocals to During Day One, and this time around they’ve employed Kristian Niemann (Therion, Demonoid) to produce and record a guitar solo. The production is great. Each instrument occupies an appropriate amount of space, while the guitars sound absolutely crystalline. Huldtgren (Facing Death) – the frontman – does commendable work as Canopy’s voice – his raspy death vocals fit the music snugly, though I especially like the deepness he reaches on “Will.” He proves capable of functioning on multiple levels simply because he’s so versatile. Again, Will and Perception sounds great, except for the kick drum – the tone of which I don’t like.

With five songs, there’s quite a bit of Swedish death metal to get through, about 28 minutes worth to be exact. The introductory portion of “Decipher” will have you recalling the clean guitar swirls of Amorphis, though the opus ups the pace and heaviness shortly after the opening guitar melody dies. Undoubtedly influenced by the likes of Opeth’s Deliverance, the transition into a mellower region (2:17) is uncanny in its resemblance to “Deliverance.” The Opeth injections don’t cease there, however, as the interlude in “Will” (6:00 and on) will corroborate. Otherwise, the influences aren’t as conspicuous. Now, as far as Canopy’s own resourcefulness is concerned, there are numerous passages that cement the band’s finesse such as the 5:02 minute mark of “Decipher,” the Gothenburg-isms on “For the Sickened Voice to Hear,” and just about anything on the 10-minute closer “Will.” All contain varying elements, yet all should be noted.

Methinks this crew accomplished what they set out to do, which may or may not be as follows: crank out quality Swedish death metal in the vein of our icons. Their idols may be too close to the surface – perhaps the dissenter’s argument – but in the end I’m a fan of what they’re doing. At first this may seem monotonous, or like a trifle, but there is a point at which it will click with you. I have no doubt that the followup to Will and Perception will trump this one and I’m intrigued to see how they approach the situation. I guess the only thing I can do is wish them luck.

Release Details

Canopy

Will and Perception

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