MEMENTO MORI: Rhymes of Lunacy CD 1993 Signed, Autographed by the Candlemass singer Messiah Marcolin. 1st press RARE, original. Check audio

Description

Memento mori is a Latin phrase translated as “Remember your mortality”, “Remember you must die”

Memento Mori was a Swedish doom metal band with power metal influences. The band was founded by Messiah Marcolin and Mike Wead in 1992 after Messiah left Candlemass. After two albums, however, Messiah left the band; the third album was sung by a different singer. For the fourth album, Messiah returned. After that album, the band broke up. All albums were released by Black Mark.

Rhymes of Lunacy (1993) = Studio album by Memento Mori
Released 1993
Genre Doom metal
Length 51:40
Label Black Mark Productions

Rhymes of Lunacy is the debut album by Memento Mori. It was released in 1993 by Black Mark Productions.

“The Rhyme” 1:04
“The Seeds of Hatred” 6:09
“Morbid Fear” 4:19
“The Caravan of Souls” 5:54
“Lost Horizons” 5:56 (Michael Schenker Group cover)
“When Nothing Remain” 5:10
“Forbidden Dreams” 3:55
“Little Annes Not an Angel” 4:55
“Fear of God” 5:11
“The Riddle” 1:56
“The Monolith” 7:17

Messiah Marcolin – vocals
Mike Wead – guitars
Nikkey Argento – guitars
Marty Marteen – bass
Snowy Shaw – drums

Associated acts:
Candlemass, Mercy, Therion, Satariel, King Diamond, Mercyful Fate, bibleblack, Nightingale, Memory Garden, Notre Dame, Dream Evil

Mike Wead (real name Mickael Vikström) is a Swedish guitarist who lives in Stockholm. Wead contributed to heavy metal bands such as Hexenhaus, Memento Mori, Abstrakt Algebra, The Haunted, Edge of Sanity, Witch, Firegod, Candlemass, The Project Hate. Currently Wead is the guitarist of Mercyful Fate, King Diamond, Notre Dame. As a guitarist in King Diamond, Wead shares lead guitar duties with Andy LaRocque. Wead also works as a producer and sound engineer.

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A Melding of Styles – 99%
Memento Moris debut release, Rhymes of Lunacy, had a large effect on me as a musician and fan of heavy music back when it was released. It remains a favorite of mine to go back to when I’m in the mood for melodic, yet doom-ridden fare. The musical prowess brought together in Messiah Marcolin, Mike Wead, and Snowy Shaw is considerable, and the end result is worthy of many a listen, and even some amount of devotion.

The opening salvo The Rhyme lets you know where the band is going to place themselves, roaring forth with a crash at maximum volume, then dying into a delicate acoustic pieces, punctuated by more loud crashes and melodic guitar screams.

Most of the time Rhymes of Lunacy is attempting to walk that tightrope — wanting to blast you into the wall with its de-tuned power riffing and monster drum work — and yet once it gets you there, it romances you with delicacy, mostly via Wead and Argentos ample guitar skills. You will find the layering of guitars to be thick, with lead screams punctuating the power chording in the background, and acoustics fluttering beneath the power in several places.

Certainly there is doom to be had, as witnessed by the stomping rhythms of The Seeds of Hatred, and the slow unstoppable grind of Caravan of Souls. Fans of Candlemass will find familiar territory in Memento Mori, with Messiahs trademarked forlorn crooning all over the disc and in fine form, and a sense of plodding inevitability weaving in and out of the songs like a monstrous shadow with a hammer striking over and over again with no hope of reprieve.

But there are additional melodic touches added, some fantastic solo guitar work, and plenty of departures from the norm. Morbid Fear is an example of this, offering an oddly melodic look at the topic of impending death, with Wead and Argento weaving harmonic guitar work and solos throughout and a nimble little acoustic piece rounding out the tune. Another example is the instrumental Forbidden Dreams.

Even the final song on the CD, The Monolith, is strong. Its a smashing finish, complete with mythic lyrical themes, epic rhythm guitar work on both the distorted and acoustic side of the ledger, and Shaw’s monstrous drumming.

Some material is less desirable, particularly the interesting but somewhat out of place Little Annie’s Not An Angel. The cover of Michael Schenker’s Lost Horizons is quite pleasing to my ears, but I acknowledge that it is a note-for-note reproduction of the original, and therefore more a homage to the guitar legend rather than a different take on the song. Lost Horizons is my favorite MSG song, so for me it is fun to hear it covered, and particularly interesting to hear Messiah sing it (and pull it off quite well, I might add).

Overall, the vibe Memento Mori hooks into is one I’m buying hook, line, and sinker. Killer doom riffing with fantastic guitar touches and the distinctive vocal stylings of Marcolin — I find no basis on which to complain. By contrast, I did find the bands future work to be hit-and-miss. This first CD is wonderful and I wholeheartedly recommend it.