Can you say "identity crisis"? Because that is the only feasible - if not logical - explanation as to why such a high caliber band of exemplary musicians could possibly be content with the result of one of the most anticipated albums of 2009. In the past DARKANE have established themselves and their sound effectively outside the standard formula for most Metal bands, increasing their individuality amongst the masses that reached an all time high with 2005's outstanding release "Layers Of Lies". In retrospect, it would seem that the departure of vocalist Andreas Sydow and the loss of his unique vocal style was more devastating than even the band themselves could have imagined.

As early as one minute into the album's intro the listener is faced with an orchestra-laced composition that makes one wonder if perhaps the guys in DARKANE were listening to a little too much "Hall Of The Mountain King"-era SAVATAGE. In and of itself it's no great disappointment, but it's enough to make one scratch their head in confusion. As "Leaving Existence" launches and the band begins their high-octane, technically proficient musical assault we've come to love, a smile of satisfaction doesn't even have enough time to manifest before a very sad reality begins to make itself evident: this music, fully on par with the proficiency expected from DARKANE, is utterly and completely destroyed by a thoroughly unfitting, uninspiring, and rather infuriating batch of horrific vocal malady. The culprit is vocalist Jens Broman, who - despite being touted by Christofer Malmström as having "a huge vocal diversity" - offers up a performance that can only be described as a painfully weak attempt to impersonate Devin Townsend. Why DARKANE consciously allowed a vocalist to get away with such substandard mimicry is beyond logic.

The resulting tragedy is enough to turn the stomach. "Demonic Art" features what is undoubtedly Peter Wildoer's most inspired, frenetic and surgical drumming precision of his already impressive career, and Christofer Malmström and Klas Ideberg are up to their usual unconventional, technically proficient guitar duality. And it is that stark contrast between instrumental excellence and loathsome vocals that is the tragedy of "Demonic Art". There is still enjoyment to be found within the album's folds if you can filter out the underachieving vocal taint that overlays the music, but the obvious potential of what might have been is simply too strong to allow for much compromise. One can only hope that the proper adjustments can be made - be it by Broman finding a vocal identity that is less mimicry and more original, or by replacing him altogether - because it is wholly depressing to see the wasted potential for what "Demonic Art" could have been.