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Tiamat have been one of Sweden's oddities for the last two decades, keeping with a certain style generally only until the next album comes out. Ranging from synth-rock to gothic metal to death metal, there's something for pretty much any fan of dark music to enjoy. However, 2003's Prey is pretty unique, even among Tiamat's discography. From 1990 to 2002, the band had been getting progressively softer in tone; from the pure death metal of Sumerian Cry, to the psychedelic doom of Wildhoney, to the dark synth-rock of Judas Christ, they were getting further and further away from the heavy and abrasive and closer to the catchy and banal. However, 2003's Prey marks something of a return to form, sounding something like a cross between Wildhoney and Skeleton Skeletron.
Specifically, the album is fairly diverse, with a smattering of influences and styles, but the majority of the songs are gothic rock or gothic metal, with the remaining songs falling under either ballads or interludes. Johan Edlund employs the deep, crooning, clean baritone delivery he's used since A Deeper Kind of Slumber, and it works remarkably well, creating a suffocatingly depressive atmosphere with his deep tone and the desperate, almost hopeless quality of his voice.

Silver vinyl