Following on from 2020's Leaves of Yesteryear, a solid if self-rehashing collection (of new and old songs and a cover) it was something of a surprise to read that Green Carnation's first proper follow-up to 2005's The Quiet Offspring would be just part one of a trilogy named A Dark Poem, parts two and three to follow in 2026. Whether this is another part of Tchort's trilogy, originally titled The Rise and Fall of Mankind, who knows, yet what is plain is that Leaves of Yesteryear was something of a teaser for this, stylistically a continuation of the Quiet Offspring sound with much more of a progressive and atmospheric leaning.

Indeed, first listens are near overwhelming, with the rather beautiful As Silence Took You showing the band's skills are far from dead as they make forays into melodic doom territory. Kjetil Nordhus' vocals remain as heartrendingly emotive as ever, with new collaborators including Trail of Tears drummer Jonathan Perez, who joined Green Carnation in 2016. Returning guitarists include of course Tchort yet also Stein Roger Sordal and Bjørn Hårstad, and the trio are put to the test on the likes of In Your Paradise's groovy rocking, which is soon interrupted by the track turning more whimsical and prog-tinged, aided by new keyboardist Endre Kirkesola (who also produced the record and has long links with the band, appearing on Light of Day, Day of Darkness in another link with the past).

The main surprise for most will be the shift to Borknagar-esque black metal on parts of The Slave That You Are, fuzzy guitars taking over with the unmistakable rasp of Enslaved's Grutle Kjellson leading the vocals in the verses whilst Nordhus carries the chorus. It's prog-tinged as far as black metal goes, of course, yet is still quite the leftfield turn for a band not known for it, and although initial listens make it something of an unbalancing act for the album, with time it fits well and is a real highlight. And it contrasts nicely with the preceding almost pastoral prog of Me, My Enemy, which builds slowly into one of the prettier pieces of the album even when the 'metal' guitars join.

The Shores of Melacholia's brightest gems come at the end, however, starting with the catchiest piece present in the title track, driven by the rhythm section and vocals with some yearning hooks and the best vocal performance yet from Nordhus. And although nine-minute finale Too Close to the Flame is relatively short given the lengths of some past songs from this band it's still a fine closer, a little more upbeat and driving initially before taking up a prog doom groove and running with it. It can be hard to judge first albums from planned trilogies in advance, missing the relevant context, yet so far this is certainly excellent and more than good enough to appreciate in its own merits were it a standalone. Those who enjoyed the most recent output from sister band In The Woods... will appreciate this even more as it is the better album, yet all in all The Shores of Melancholia is a fine return to form from Green Carnation - roll on parts two and three!