When will bands learn that titling an album with a Roman numeral has been unoriginal since Led Zeppelin did it in the late ‘60’s/early ‘70’s? That’s just a minor gripe, though. My major gripe with To/Die/For is that their music is oddly forgettable, and perhaps sounds like recent Amorphis minus most compelling elements.

There are some good, driving riffs that manifest themselves in songs such as “Autumn Forever,” and “This World is Made for Me.” However, the vocals are average at best, and sometimes even dive into the horrendous category. “Lies (for Fools)” is an exemplification of the latter; the singer has absolutely no business riddling the composition with such subpar vocalizations. Much of the lyrical content on “IV” is mundane, but captivating music found in “New Year’s Day” makes up for the lyrical shortcomings. “New Year’s Day” is a U2 cover after all. Nonetheless, To/Die/For’s music is basically hit or miss, just like Amorphis post-“Elegy.” The keyboards become more noticeable as the album rolls on (“Little Deaths,” “No Turning Back”), and are a welcome addition to the group’s repertoire. The album doesn’t get much better as tracks such as “Fragmented,” “Endlessly,” and “Last Breath” present themselves to a maligned audience.

It appears as if “IV” is an extraneous addition to the To/Die/For discography and – if To/Die/For and HateFrame are engaged in a competition – then HateFrame has indeed bested their alma mater. “IV,” though not appalling, isn’t consequential either.

[This review was first published on the now defunct scandinavianmetal.info webzine]