All trilogies must end. But when that trilogy is one as massive as Green Carnation’s A Dark Poem, the ending is bittersweet, indeed. Few bands have been able to capture the depths of human loss and the downfall of humanity to a blind technology and suffering as they have, and as the third installment is rolled out, does it stand as a sound terminus for such an emotional trilogy?
In a word: absolutely.
When this trilogy first commenced back in 2025, and I covered A Dark Poem Part I: the Shores of Melancholia, I had no idea of the direction that these guys would go (and why would I? I’m just along for the journey). The follow-up to that album was an even more brooding dip into the psychological depths of grief and loss. A Dark Poem Part II: Sanguis had a much doomier and more solemn tone to its six tracks. “Loneliness Untold, Loneliness Unfold” being my favorite track off that, while it was “The Slave that you Are” from Part I that captured my attention the most.
But now I sit here with the brand-spanking-new stuff. The coup de grace if I may be so bold. The whole thing is magnificent, from the artwork to the stellar production; I feel almost sad that it’s ending.
So how is A Dark Poem Part III: the Messiah Complex compared to its predecessors? It builds up on subtle keys; the drums come in, and the bass walks right on up and starts rolling along. “Unconditional Artificial Chemistry” gets under your skin with that catchy, Arcturus-ish-sounding title, and the song itself lives somewhere between Opeth’s Black Water Park and Arcturus’ Sham Mirrors. It moves with its own powerful currents, ripping at your heartstrings as it goes on its way.
“The Messiah Complex” is next, the crushing title track with the epic lyric “It’s a sign”, King Herod replied “A massacre’s needed in order to withhold the throne. Oh, my Bethlehem, I will reign in blood until my enemies are slain”. This is the heaviest song on A Dark Poem Part III: The Messiah Complex, fitting the overall resonating theme of overcoming the depths of human suffering and the resolution to continue after all is said and done.
This is a Prog album, first and foremost. Yes, it has it’s heaviness that compliment a Metal aspect, but for as much as there is a hint of say, Opeth. There’s also a King Crimson-esque quality that is unmistakable; “Common Enemies” is quite possibly the best song in the whole trilogy. It is dynamic and breathtaking; the way Green Carnation put the song together is masterful in it’s scope. The solo will give you chills down to your soul.
But there is a trick up the sleeve of A Dark Poem Part III: Theitssiah Complex, and that is the final track “A Dark Poem – Orchestral Suite”. This is sixteen minutes of command performance. It moves like currents within it’s own tide. A spellbinding movement that captivates and caresses your mind.
The band brought in guest performer Ingrid Oitsn flute for “Broken Souls, Common Enemies” and the Kristiansand Symphony Orchestra and Opera Choir on “A Dark Poem – Orchestral Suite”. If I were to rank the trilogy in order of best to least, then it would run Part III, Part I, and then Part II. This is the most fun I have had reviewing a trilogy. Maybe Green Carnation could be talked into a box set of the whole thing. Maybe?
At any rate, this album needs to be in your collection. Listen to it on its own or as part of the overall architecture of the three combined albums. For fans of Opeth, King Crimson and Mozart. Submit yourself to the sorrow, get it now.
