So there’s no time like the present to delve into the unattainable highs (no fewer than four undeniable classics) and merely mediocre lows (anything that somehow failed to be an undeniable classic) of Edge of Sanity’s oft-schizo, always fascinating career. This month marks 25 years since the release of band’s massive breakthrough The Spectral Sorrows, while Crimson II turned 15 in August. As such, they didn’t last long past the peak of this evolution, and Swanö himself was content exploring his various ideas through a multitude of other bands and projects. The range they covered and evolution they showed over this time (it was only five years from the debut to Crimson) was unmatched by most of their more famous, conventional Swedeath brethren. Their career was brief – it originally ran from just 1989 to 1997 before a one-off Dan Swanö revival in 2003 – but it played out like an episode of Behind the Music.
They were never at all content with being normal, which may or may not have had something to do with naming an album Unorthodox, but definitely had a lot to do with their music eventually including everything from pop hooks and goth rock vocals to the celebrated prog of Crimson. Hell, they didn’t even truly adopt the full chewy, buzzsaw “Sunlight Sound” until they used it for a very un-Sunlight album.Įdge of Sanity never fit in because the five men that usually made up Edge of Sanity – vocalist/multi-instrumentalist Dan Swanö, guitarist Andreas Axelsson, guitarist Sami Nerberg, bassist Anders Lindberg, and drummer Benny Larsson – never really wanted to fit in.
Although they spent their formative years during the rise of Swedish death metal, they never released a classic regular death metal album, nor did they do the obvious thing and record at Sunlight Studios with Tomas Skogsberg.
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