Swedish sextet Master Massive gather the spirit of Iron Maiden, Black Sabbath, Jethro Tull, Judas Priest, Candlemass and Dream Theater on its third release, White Shadows. The band’s penchant for progressive music is adamant on the 11 minute opener, “Noah’s Cross”. This track features high soaring vocals compliments of the band’s three vocals, with heavy, dynamic guitar riffs and jazzy guitar leads. The rhythm section featuring bassist Max Warnby and drummer Johan Hautajarvi walk the tight rope of accessible groove and complex rhythm patterns. The drumming is not overly technical, but retains enough complexity to fit with the track’s epic feel. “Islands and Bells” opens ominous guitar riffs and vocals over a thumping bass line, setting the mood for the track’s duration. Candlemass’s influence is apparent from the doomy riffs and vocals. One would think Messiash Marcolin made a guest appearance on this track. “Jonah And The Whale” is a blend of speed metal and pop metal with its infectious, upbeat chorus amid a cacophony of riffs.
“Blood On The Floor” is a plodding, grooving track with punctuating drums and guitar fills that lighten the mood. The midsection features duel baroque leads amid a slight rhythm change that occurs as the vocalist sings “to change its course.” “Blood” concludes in a triumphant fashion with its fiery lead and one can feel the band having fun on this track. Master Massive dive back in to speed metal territory on “Tantrum Rebellion”, which is a fitting song title. The riffs are not the most complex or biting, but the bass lines atone for it. Johan’s drumming is fast paced and seamless. The Iron Maidenesque “Silver Bullet” is notable for its mid-paced tempo and vocals that recall Bruce Dickinson. The guitarists utilize the Phrygian scale, providing the riffs and solos a West Asian tinge. In fact, this track features some of the best leads on Shadows. Epic is the simplest way to describe the title track and album closer. It is the album’s second longest track, clocking in at eight-and-a-half minutes, and has a slower tempo with a galloping bass line. The track’s second half features a searing guitar lead before the tempo transitions to a gallop before slowing to a 4/4 beat during the second guitar lead. Of course, Master Massive have to end things big, and we are treated with one last lead before the song’s glorious end.
White Shadows is an album that draws from numerous influences from progressive rock, speed metal, NWOBHM and doom metal. Thus, one cannot categorize Master Massive in one particular sub-genre. Progressive, traditional doom metal is an awkward phrase, but that is one way to describe Shadows. We get the dark melancholy of Black Sabbath and Candlemass, with a touch of Helstar and Iron Maiden to speed things up. The songwriting is fine, as the band does a good job of balancing songwriting with top tier musicianship. However, the blending of multiple influences leads to slight dilution, so do not expect earth shattering, bludgeoning riffs like a straight up doom metal band. Then again, Master Massive is not a pure doom metal band. The seven tracks on this album range from four to eleven minutes, but there is little monotony or repetition, which is vital when writing long songs. The production has a nostalgic 80s feel, and the bass and guitars sound especially clear.
Master Massive are paying homage to the whole old school on White Shadows. Fans of power, prog, doom and metal will find something enjoyable on this record as it expands its sound to encompass several sub-genres. This album deserves a listen and could be the sleeper hit of 2026. The Shadow of Old School Metal looms large.
Check the band’s website here: https://www.facebook.com/mastermassiveband/
