Candlemass: Swedish Doom Metal Veterans Release ‘Black Star’ for 40th Anniversary

On May 9, 2025, Swedish doom metal band Candlemass released a new extended play, ‘Black Star,’ via Napalm Records. The four-track recording arrives in the band’s fortieth year, positioned neither as a retrospective nor a departure, but as a compact document of continuity. With two new compositions and two cover versions, the EP serves as a focused reflection on Candlemass’s role in shaping and sustaining the genre they helped define.

Rather than attempting to encapsulate four decades, ‘Black Star’ functions as a deliberately measured release—structured, concise, and consistent with the band’s established aesthetic. It resists nostalgia and novelty alike, offering material that affirms Candlemass’s commitment to the slow, weighty forms of doom metal, even as the broader genre continues to evolve.

Candlemass: Origins and Influence in Doom Metal

Candlemass was formed in 1984 in Stockholm by bassist and principal songwriter Leif Edling following the dissolution of his previous project, Nemesis. At the time, the Swedish metal scene was largely dominated by speed and thrash influences, but Edling drew heavily from the slower, more oppressive tones of early Black Sabbath, seeking to craft music that was both weighty and melodically expressive. The band’s debut album, ‘Epicus Doomicus Metallicus,’ released in 1986 through Black Dragon Records, was initially overlooked by much of the press but eventually earned cult status for its stark contrast to contemporary trends. Featuring session vocalist Johan Längqvist, the album introduced a distinctive sound built on sustained riffs, classical-influenced composition, and lyrics grounded in existential and mythological themes.

Candlemass’s critical ascent began in earnest with the addition of vocalist Messiah Marcolin, whose operatic baritone and theatrical presence would define the band’s next three studio albums. ‘Nightfall’ (1987), produced by Jonas Åkerlund and released through Axis Records, refined the band’s approach and brought broader attention across European metal circles. This was followed by ‘Ancient Dreams’ (1988) and ‘Tales of Creation’ (1989), both of which cemented Candlemass’s reputation as central to the formalization of epic doom metal. The band’s music during this period was characterized by slow tempos, minor-key harmonies, and a lyrical fixation on mortality, religion, and symbolic decay—a thematic departure from the speed and aggression of their contemporaries.

Despite growing acclaim, Candlemass would enter a period of instability in the 1990s, cycling through several vocalists and stylistic experiments, including ventures into more groove-oriented and modern metal textures. Albums such as ‘Chapter VI’ (1992) and ‘Dactylis Glomerata’ (1998) received mixed responses and were shaped by frequent lineup changes. The band disbanded briefly at the end of the decade, only to reform in the early 2000s with renewed focus and a partial return to their earlier sound. Their 2005 self-titled album, featuring vocalist Messiah Marcolin once again, was released on Nuclear Blast Records and met with a generally positive reception, though creative tensions would soon lead to further departures.

In the years following, Candlemass stabilized under a rotating but cohesive lineup, with Robert Lowe (of Solitude Aeturnus) and later Mats Levén and Johan Längqvist taking on vocal duties. Albums such as ‘King of the Grey Islands’ (2007), ‘Death Magic Doom’ (2009), and ‘The Door to Doom’ (2019) demonstrated the band’s continued capacity to evolve within their established framework. The latter, notably, featured a guest guitar appearance by Black Sabbath’s Tony Iommi, symbolically closing the loop on the band’s foundational influences.

Throughout its history, Candlemass has maintained a reputation for consistency of vision, even as its personnel changed. The band is frequently cited alongside Saint Vitus, Trouble, and Pentagram as one of the genre’s pillars, and its early work remains a touchstone for both traditional and modern doom metal artists. Despite limited crossover into mainstream channels, Candlemass’s discography and performance history have secured them a lasting place within the global metal canon, not as a trend-driven act, but as one of enduring stylistic authority.

The Genesis of ‘Black Star’

In the lead-up to their fortieth anniversary, Swedish doom metal pioneers Candlemass began planning a release that would acknowledge the longevity of their output without overstating the moment. The result was the extended play ‘Black Star,’ structured as a compact, four-track statement rather than a retrospective or a career-spanning compilation.

In interviews and official statements, the band made clear that the decision to record an EP instead of a full-length album stemmed from both artistic preference and practical clarity: shorter in format, but no less deliberate in purpose. “Not all bands get to see their 40th birthday and it certainly has not been an easy ride,” bassist and founding member Leif Edling remarked. “But many ups and downs later, we stand here as survivors, veterans even… a bit scared perhaps? Still ready though to unleash another piece of doom-laden metal upon an unsuspecting world.”

The contents of the EP reflect a carefully chosen balance between original work and interpretive homage. Alongside two newly written compositions—‘Black Star’ and ‘Corridors of Chaos’—Candlemass included studio renditions of two cover songs drawn from their formative influences: Black Sabbath’s ‘Sabbath Bloody Sabbath’ and Pentagram’s ‘Forever My Queen.’

According to Edling, this pairing was not intended as filler or nostalgia, but as a reaffirmation of the band’s foundational sound and cultural lineage. “We had a lot of fun recording some new stuff as well as covering a couple of old favorites,” he stated, describing the process as part of a “celebratory” gesture. These selections are notable not only for their influence on Candlemass’s musical vocabulary but also for their historical placement—early works from the 1970s that helped define doom metal as a genre before it had a formal name. Their inclusion in ‘Black Star’ positions the EP as a referential bridge, linking the present output of the band with the genre’s early iconography.

This contextual strategy is consistent with Edling’s long-standing approach to songwriting, which privileges atmosphere, structure, and theme over trend alignment or stylistic shift. In ‘Black Star,’ Candlemass does not pivot or reframe its identity; instead, it reasserts a trajectory that has remained focused across decades. By opting for brevity over breadth, the EP was able to concentrate the intent of the anniversary project without diverting into commemorative excess. It is a release shaped as much by selection as by statement.

Bridging Past and Present

The four tracks that comprise ‘Black Star’ present a tightly structured listening experience, with each selection contributing to a broader dialogue between origin and continuity. The EP opens with the title track, a new composition that situates Candlemass firmly within the stylistic boundaries they helped codify in the 1980s. Driven by a slow-building tempo and a heavy, down-tuned melodic progression, ‘Black Star’ reflects the band’s long-standing interest in existential themes—focusing not on theatricality but on restrained, measured expression. The lyrical material avoids abstraction, favoring direct references to decay, finality, and psychic weight, rendered through Johan Längqvist’s measured vocal delivery. Instrumentally, the track is anchored by dense rhythm work and sparing guitar ornamentation, suggesting a conscious avoidance of modern production excess.

The second original composition, ‘Corridors of Chaos,’ functions as an instrumental interlude but avoids the transitional role such pieces often play. Instead, it serves as a standalone track that highlights the band’s technical control and compositional economy. Unlike many instrumental entries in metal releases that serve as preludes or ambient bridges, this track sustains its own internal logic. Its cyclical structure and dynamic shifts allow for attention to tonal texture, rhythm variation, and structural pacing, reinforcing the EP’s cohesive aesthetic without relying on vocals for thematic articulation.

The second half of the release turns to reinterpretation with covers that are neither casual nor opportunistic. Candlemass’s rendition of ‘Sabbath Bloody Sabbath’ remains close to the original in phrasing and tempo, yet subtly recontextualizes the track through updated guitar tone and vocal restraint. Where the original relied on theatrical shifts and a wide dynamic range, the Candlemass version favors sonic weight and a narrower emotional register, emphasizing the foundational influence of Black Sabbath not just as inspiration but as source material. It is not a revision, nor an embellishment, but a study in fidelity through reinterpretation.

The closing track, a cover of Pentagram’s ‘Forever My Queen,’ completes the EP with a return to minimalism. First released in the early 1970s, the original version is sparse and urgent, qualities Candlemass retains while adjusting the track’s sonic architecture to reflect a fuller production environment. Rather than amplifying or updating the arrangement significantly, the band delivers the song with controlled intensity, retaining the brevity and directness of the original while filtering it through their own decades-long stylistic lens. The selection reinforces the band’s early influences without diluting the EP’s self-contained intent, closing the release with a gesture that is referential but not nostalgic.

Together, these four tracks construct a deliberate structure—two looking forward, two looking back—without collapsing into summary or overt concept. The sequencing and interpretive decisions reflect a disciplined approach that privileges cohesion over contrast, offering listeners an EP that functions as both an annotated reflection and a current dispatch.

Composition and Production Details

The recording of ‘Black Star’ took place at Deep Well Studios in Stockholm, a setting familiar to Candlemass in both geography and method. The location offered continuity with previous projects while allowing the band to work within a controlled, self-contained environment. Over the years, Candlemass has adopted a consistent approach to studio work, favoring dense but uncluttered arrangements that emphasize tonal clarity without sacrificing the genre’s essential weight. This release followed that model closely, with an emphasis on maintaining sonic coherence across its four tracks, each distinct in structure but linked by production intent.

Marcus Jidell, who has worked with the band on multiple occasions, oversaw production. His role in shaping the EP’s sound was significant but not overstated. As with earlier collaborations, Jidell approached the material with restraint, maintaining the band’s established sonic identity while introducing subtle refinements. The mixing was handled by Ronny Lahti, whose past engineering credits span both hard rock and metal genres, offering a polished but measured interpretation of the recordings. Mastering duties were assigned to Patrick W. Engel, a technician well known within European metal circles for his work on reissues and archival projects. Engel’s involvement helped ensure the final output retained the low-end gravity and tonal warmth characteristic of the band’s earlier catalogue without drifting into overproduction.

Visual presentation has historically played a complementary role in Candlemass’s releases, and ‘Black Star’ is no exception. The cover art was created by Daniele Valeriani, whose illustrations are associated with extreme and occult-leaning acts across the metal spectrum. His work on the EP integrates abstract iconography with textured grayscale contrasts, avoiding overt symbolism in favor of suggestion. The graphic layout was executed by Beatrice Edling, adding a familial dimension to the project. Together, the visual and auditory components of ‘Black Star’ reflect a deliberate consistency—an alignment of sound, aesthetic, and intention that avoids thematic departure while still signaling the band’s current posture.

Daniele Valeriani: Visual Architect of Atmosphere

The artwork for ‘Black Star’ was created by Italian visual artist Daniele Valeriani, whose name has become closely associated with the darker fringes of extreme music over the past two decades. Known for his detailed, often esoteric compositions, Valeriani has produced artwork for a range of metal subgenres, with clients including Mayhem, Dark Funeral, Behemoth, and Archgoat. His visual language typically draws from religious iconography, occult symbolism, and textured monochrome palettes, often merging digital techniques with classical compositional sensibilities. While each project varies in visual tone, a consistent thread in Valeriani’s work is the evocation of atmosphere without overt narrative—a quality that aligns with the aesthetic priorities of doom and black metal in particular.

For ‘Black Star’, Valeriani created an abstract, grayscale composition that avoids literalism while reinforcing the sonic character of the EP. The imagery—subtly layered and intentionally obscure—resists interpretation, functioning instead as a visual parallel to the music’s tonal weight and temporal suspension. The decision to work with Valeriani was consistent with Candlemass’s broader visual trajectory, which often favors artwork that is suggestive rather than illustrative. In this context, the cover art does not reference a specific track or lyrical theme but operates as an extension of mood—one that supports the band’s long-standing emphasis on atmosphere, decay, and existential distance.

Valeriani’s involvement in the project underscores a shared affinity between auditory and visual disciplines within the metal genre, particularly among bands that prioritize thematic depth over surface aggression. His collaboration with Candlemass places ‘Black Star’ within a wider tradition of metal releases that regard cover art as not merely packaging, but as an integral component of the release’s conceptual frame.

Napalm Records: Championing Doom Metal

Napalm Records, the Austrian label responsible for releasing ‘Black Star,’ played a central logistical and strategic role in the EP’s development and distribution. Having worked with Candlemass on previous releases, the label’s involvement with this anniversary project reflected both continuity in partnership and a calculated effort to align the band’s output with the current demands of a global metal audience. While doom metal remains a genre often resistant to mainstream packaging, Napalm Records has developed a track record of balancing traditional genre aesthetics with modern marketing and distribution infrastructure. This dual capability made it a logical choice for facilitating a release that was intentionally limited in scope but aimed at reaching a wide international audience.

The label’s handling of ‘Black Star’ emphasized physical product diversity alongside digital accessibility. In addition to standard digital formats available through streaming services and Bandcamp, Napalm Records coordinated the production of multiple physical editions, including a CD digisleeve and two vinyl variants—standard black and a limited splatter edition bundled with a poster, booklet, and tote bag. This format strategy reflected not only the purchasing habits of doom metal listeners, who often prioritize collectible media, but also the label’s broader market segmentation model that favors exclusive formats as a tool for sustaining relevance in a fragmented industry. Rather than relying on a traditional album cycle model, the rollout for ‘Black Star’ was oriented around a contained window of press engagement, pre-orders, and staggered content reveals across platforms.

Napalm Records’ wider catalogue contextualizes this release within a framework that spans multiple subgenres of heavy music, from symphonic black metal to stoner and occult rock. Within this ecosystem, Candlemass occupies a foundational tier, regarded less as a contemporary flagship act and more as an anchor—one of a small number of legacy bands whose affiliation lends institutional legitimacy to the label’s roster. As such, the distribution and promotional tactics used for ‘Black Star’ were measured in scale but calibrated for impact, ensuring that the release would not be overshadowed by larger campaigns while also avoiding overexposure. This positioning allowed the band to maintain artistic autonomy while benefiting from a professional support structure that facilitated broad, multichannel visibility.

In keeping with its approach to heritage acts, Napalm’s involvement did not alter the band’s aesthetic or output. The label’s role was primarily functional—coordinating manufacturing, platform placement, and press outreach—without imposing thematic or stylistic directives. This division of labor remains consistent with Napalm’s reputation among genre purists, who often regard the label as one of the few mid-size European independents able to navigate both artistic credibility and commercial sustainability. For Candlemass, this collaboration ensured that Black Star would be treated not as a peripheral anniversary product but as a timely release with clearly defined reach and purpose.

Formats and Distribution

The release of ‘Black Star’ was accompanied by a focused yet diversified format strategy that reflected both the habits of long-time doom metal collectors and the logistical standards of contemporary independent music distribution. Available in digital and physical editions, the EP was issued in four primary formats: digital download, CD digisleeve, standard black vinyl, and a limited-edition splatter vinyl edition bundled with a poster, an exclusive booklet, and a branded tote bag. This range reflects a dual intent—to accommodate digital access while retaining physical editions designed for a dedicated collector base. The decision to issue a splatter vinyl variant with supplementary materials follows a trend within the genre’s physical media culture, in which tactile packaging and visual components serve as extensions of the music’s aesthetic.

Distribution was managed through a combination of Napalm Records’ official webstore, Bandcamp, and a network of regional and international retail partners. The use of Bandcamp allowed for direct-to-fan access with minimal intermediary delay, while Napalm’s own platform facilitated bundled pre-orders and shipping options geared toward European and North American audiences. The EP also appeared on major e-commerce platforms, including Amazon and select independent record stores, ensuring broad physical availability without overwhelming the scale of the release. The distribution model remained consistent with Candlemass’s prior campaigns, prioritizing availability over saturation and avoiding multi-edition fragmentation that often characterizes mainstream anniversary releases.

Pre-release indicators suggested a stable interest from the band’s existing fan base rather than a surge of speculative purchases. While exact sales figures have not been publicly disclosed, the limited vinyl edition reportedly sold out its initial run through Napalm’s storefront within days of announcement, according to listings and restock notices observed in early May 2025. Streaming engagement, though modest by mainstream standards, remained consistent across platforms like Spotify and Apple Music, with ‘Black Star’ receiving prominent placement on genre-specific playlists. These metrics suggest a release calibrated for its audience—neither inflated in ambition nor underdelivered in availability. Rather than pursuing cross-market expansion, the distribution and format decisions behind ‘Black Star’ were designed to serve an existing, measurable demand with minimal deviation from genre and audience expectations.

Live Performances and Future Endeavors

Concurrent with the release of ‘Black Star,’ Candlemass scheduled a limited number of performances, one of which has drawn particular attention for its historical resonance. In May 2025, the band will appear at the Rock Hard Festival in Athens, where they are set to perform alongside former vocalist Messiah Marcolin. Known for his operatic vocal delivery and monastic stage presence, Marcolin played a central role in shaping the band’s sound during its late-1980s period, most notably on the albums ‘Nightfall’ and ‘Ancient Dreams.’ His participation in this performance represents a rare convergence of past and present line-ups, though the band has not suggested that the appearance signals a permanent reunion or larger tour. Instead, it has been framed as a one-off engagement tied to the broader commemorative context of their fortieth year.

Beyond this scheduled performance, the band has not announced additional tour dates or new recording projects. In interviews, members have emphasized a preference for working at deliberate intervals rather than adhering to fixed album cycles or promotional calendars. This approach has defined the group’s activities over the past decade, during which releases have been spaced with minimal public buildup. While the commercial structure of heavy music has shifted toward high-frequency output and algorithmic visibility, Candlemass continues to operate on a model shaped by selective engagement, issuing material when it aligns with internal priorities rather than external demand.

The band’s measured pace has not diminished its position within the genre. Among listeners and critics, Candlemass remains widely regarded as one of doom metal’s foundational acts, particularly for their role in codifying what came to be known as “epic doom”—a style distinguished by slow tempos, melodic lead vocals, and lyrical focus on mortality, mythology, and existential gravity. The release of ‘Black Star’, coupled with the Athens performance, reinforces that position without overstating the band’s current visibility. At a time when legacy acts often lean on expansive box sets or commemorative tours to sustain relevance, Candlemass has opted for precision and self-containment, presenting their anniversary not as an event, but as a point of continuity.

Conclusion

With ‘Black Star’, Swedish band Candlemass reinforces its stature not through reinvention, but through clarity of intent and fidelity to a form it helped shape. The EP’s concise format, deliberate content, and selective presentation reflect a group that, after four decades, continues to work at its own rhythm, guided less by commercial cycles than by its internal logic. While the release does not seek to reposition the band within the broader metal canon, it offers a measured contribution to an already durable body of work—one that has long influenced both genre peers and successors.

As listeners revisit ‘Black Star’ alongside earlier recordings such as ‘Epicus Doomicus Metallicus’ or ‘Nightfall’, many have begun sharing reflections on the band’s evolution, underscoring the role Candlemass has played not only in defining a genre but in soundtracking the personal histories of those who have followed them across years and formats.