Let me begin this review by saying that the mere fact that a band with more than two and a half decades of history can still move us this deeply after all these years is, in itself, a remarkable and truly admirable achievement.
Reaching such a level demands an unwavering commitment to constant evolution, coupled with undeniable musical craftsmanship — the two essential qualities GREEN CARNATION have drawn upon to create what I consider their ultimate masterpiece: the “A Dark Poem” trilogy, a work that reaches its conclusion with the release of its final chapter, “The Messiah Complex”, this coming September.
And I believe this third installment is also the trilogy’s most distinctive. I could even call it the best, but honestly, there’s no need. Once you hear it, you’ll decide for yourselves where it stands alongside the other two interconnected albums, and whether they should —or even deserve to— be separated at all.
One thing, however, is beyond dispute: the quintet of Kjetil Nordhus (vocals), Stein Roger Sordal (bass, rhythm guitars, lead guitars, keyboards), Bjørn Harstad (lead guitars, effects), Endre Kirkesola (keyboards, synthesizers, organs, effects), and Jonathan Alejandro Perez (drums) has returned in all its glory, driven by an inexhaustible well of inspiration.
“The Messiah Complex” opens with “Unconditional Artificial Chemistry”, the album’s first single, a majestically melodic, outstanding composition that stretches close to six minutes and serves as the perfect continuation of “Sanguis”, sharing much of its atmosphere and emotional expression.
Things take a different turn with the following title track, “The Messiah Complex”, which, throughout its seven-minute duration, reveals a far more pronounced progressive character, blending strong lyrical sensibilities, subtle orchestral touches and a breathtaking, ethereal unfolding that carries you through an impressive journey of introspection and philosophical reflection.
An ASTONISHING track, one that completely captivated me. I listened to it with absolute focus, fully immersed in every single moment. It was an extraordinary listening experience.
“Oh, I submit
Fate has got me this far
Now I need to receive
Would you guide my way if I believe?”
With each passing moment, the album’s music becomes increasingly refined, continuing to craft complex and intricate sonic landscapes. Before I had even fully absorbed what I had just experienced, “Broken Souls, Common Enemies” arrived, unfolding across nearly nine minutes of heavier guitars, elegant riffs and harsh vocals, seamlessly intertwined with heart-rending melodic passages, symphonic textures and imposing orchestral depth that elevate every climactic moment. And yes, a MAGNIFICENT guitar solo, a perfectly placed spoken-word section, and an incredibly complete composition — this is a genuinely extraordinary, one-of-a-kind epic.
It was more than obvious that the collective anxiety over encroaching technology, power-hungry leaders and social division that stirred below the surface of Part I and Part II surges to a head on “The Messiah Complex”. “Whether it’s religion, money or the media, we use things in order to justify our bad habits and get what we want”, Kjetil Nordhus grimly surmises. The divide runs so deep that it almost appears impassable on “Broken Souls, Common Enemies” were it not for a guitar solo that is, without a doubt, one of the highest of high points in the trilogy’s arc.
“Originally, that solo was quite different. You can hear our original idea on the bonus LP that comes with the box set for ‘A Dark Poem’”, Nordhus teases. “Luckily, we found the perfect place for it to just build and build”.
Can there possibly be a finale capable of surpassing everything that has come before?
Yes.
There can.
And it is “A Dark Poem – Orchestral Suite”, a 17-minute musical MIRACLE beyond words. If there’s anything I can say about it, it’s that it became a profoundly overwhelming experience—far beyond any expectation. You don’t simply listen to something like this; you LIVE it. It flows through you like something ancient that had always belonged to you, searching for a place within your soul to call home, ultimately becoming your home as well.
A true transcendental inner mystagogy!
And if we were to bring GREEN CARNATION‘s great creative expedition to a temporary close, we would have to say that since their very first journey into the night more than 25 years ago, they have never shied away from a challenge. However, from the beginning, there was one tale –or three, to be exact– that eluded them.
Until now.
After reaching crushing new peaks and delving into the deepest, darkest and most personal depths of their career during its first two parts, the Norwegian prog bards are bringing their critically-acclaimed album trilogy to a conclusion on “A Dark Poem, Part III: The Messiah Complex”.
The BOLDEST and MOST COMPLETE work of their career, indeed!
And I think, it’s equally important to hear what the band themselves have to say about it.
“’A Dark Poem’ is by far our biggest achievement since ‘Light of Day, Day of Darkness’”, Nordhus says. “Our new album trilogy returns to the epic storytelling that put us on the map back in 2001. While the reception to Part I and Part II has been overwhelmingly positive for us, we do believe that Part III saves the best for last. ‘The Messiah Complex’ ties the whole story together with our most ambitious statement to date”.
“The intention behind ‘A Dark Poem’ was to build a completely new musical universe”, bassist and primary lyricist Stein Roger Sordal comments. “While the direction revealed itself as the creative journey unfolded, ‘The Messiah Complex’ was carefully planned with a clear vision for where we wanted the story to end. Our goal was for all three parts to stand on their own, but Part III brings them all together into a unified whole”.
So, how did it all begin?
The idea for penning “A Dark Poem” after Arthur Rimbaud’s dreamy ode to William Shakespeare’s tragic Ophelia steams all the way back to GREEN CARNATION’s earliest reflections of life and death. But when Part I of “A Dark Poem” was unfurled in 2025, right away, it was clear that the Norwegians had completed their masterpiece. While clouded by a gloomy worldview, “The Shores of Melancholia” reached newfound peaks of heaviness, swept out to sea by Floydian whirlpools and second wave black metal courtesy of ENSLAVED vocalist Grutle Kjellson.
If Part I of “A Dark Poem” set sail from a familiar place of melancholy, then Part II found GREEN CARNATION fighting to stay afloat against the storm raging in their mind’s eye. The heaviness from “The Shores of Melancholia” continued to age like a fine wine on “Sanguis”. Over the course of nine minutes, the title track vowed to forgive and forget familial wreckage, only for a traumatic memory to come flooding back during its doomy coda. But the album revealed the band at their most raw and intimate with ballads that unfolded like the grace of a wilted flower. In a rare appearance, Sordal stepped in front of the mic on aching centerpiece “Loneliness Untold, Loneliness Unfold” for the first time since 2005 EP “The Burden Is Mine…Alone”.
While Part I and Part II left fans and critics more than satisfied, Part III arrives as the missing key to “A Dark Poem”. Whereas “The Shores of Melancholia” and “Sanguis” showcased GREEN CARNATION’s command of metal, rock and folk, “The Messiah Complex” ties together the lyrical story with rich strokes of prog. The album overflows with riffs that evoke the majesty of classic progressive rock and the ghostly reverence of OPETH with every maze-like rhythmic twist and turn.
“The world is moving with such frightening speed. You get the feeling like we’re no longer in control”, Nordhus says. “As individuals, we can’t really cope with everything that’s going horribly wrong”.
And in the end, what truly is the conclusion of “A Dark Poem”?
As is only fitting, no final chapter would be complete without an epic finale. In keeping with the prevailing gloom and doom of GREEN CARNATION’s discography, Part III of “A Dark Poem” does not end happily. But in classic prog fashion, the closing orchestral suite to “The Messiah Complex” finds these veteran musicians at their boldest. The band weaves together themes from across the trilogy with the returning flautist Ingrid Ose and her colleagues in the Kristiansand Symphony Orchestra and Opera Choir. Right through to its final dark and doomy note, the result is resounding.
“For quite some time, I have been exploring the idea of setting Arthur Rimbaud’s poems to music”, Sordal says. “For ‘A Dark Poem’, I chose to use Rimbaud’s interpretation of Ophelia, Shakespeare’s tragic character, as a source of inspiration, rather than directly adapting them – until the title track. Listeners will recognize Ophelia, whether through oneself or our society”.
“Everyone we’ve talked to is surprised by what we chose to do with the orchestra”, adds Nordhus. “It’s a bold statement. But from the moment we started our journey into this trilogy, everyone in the band agreed that we were not going to accept any compromises. To end ‘A Dark Poem’ with an orchestra and all its capabilities is a very proggy thing to do, like the great bands did back in the late ’60s”.
With “A Dark Poem, Part III: The Messiah Complex”, GREEN CARNATION complete a masterpiece that stands proudly alongside “Light of Day, Day of Darkness” as the defining statement of their storied career.
And personally, I came away feeling that, as a listener, I had witnessed true musical greatness.
“A Dark Poem, Part III: The Messiah Complex” will be released on September 9th by Season Of Mist on CD and LP, and will also be included in the limited-edition “A Dark Poem, Part I-III” Colored LP Box Set.
Check the discussion about the album in our forum pages.
You can pre-order the CD, the LP, and the Colored LP Box Set here.
