Of course, a band can’t make a full comeback without a new studio album. That’s where "Thy Kingdom Gone" comes in – and it may be the king (er, queen) of comeback albums in female-fronted metal.

Released in November 2008, "Thy Kingdom Gone" is 54 minutes of heady, driving gothic metal led by Helen Vogt’s deep, husky voice. The band has described this disc as their "darkest and most intense [album]," and "very homogenous" but with plenty of variety – and that description couldn’t be more accurate. The music is heavier than on previous Flowing Tears albums, and while no two songs sound alike the chemistry of the instruments is tight and palpable. The new material has also channeled Helen’s best studio vocals since joining the band. She shifts from gentle to powerful, whispers to growls, and low to high without much effort or strain. No longer does she sound like an emulator of previous FT singer Stefanie Duchene, but rather a frontwoman who has clearly come into her own.

Do not be fooled, though. Despite the stark differences, "Thy Kingdom Gone," is not a radical departure from Flowing Tears’ previous material. The entrancing, ethereal side of the music has been toned down, but there is no shortage of atmospherics. Keyboards and bits and pieces of programming rain down in the background, while the piano is a centerpiece for several tracks. Not to mention Benjamin Buss’ guitars are so layered and full-bodied, it takes a couple listens to detect all of the chords as they blend together.

The fresh elements to the music certainly fortify Flowing Tears’ sound. "Orchidfire" bursts through the floodgates with progressive traits such as double-kick drums, unrelenting guitars, and assertive vocals. It’s potent and commanding, and highly effective as an opening track. "Pain Has Taken Over" is another hard-hitting number, with one of the most searing (and best) intros in female-fronted metal, before it slows to a melancholic acoustic end.

And there are plenty more surprises to be had on "Thy Kingdom Gone." Samael vocalist Vorph delivers his trademark raspy growls on the title track, and even Helen unleashes her inner monster on "For My Enemies." The airy "Kismet" wades in keyboards and Helen’s sweetness, and the ambiance lingers well after the band joins in halfway through the song. "Miss Fortune" is an interesting ballad, guided mostly by a waltzing piano. Then there is "Grey," the most accessible song in Flowing Tears’ catalogue. It’s far from mainstream, straying from the typical verse-chorus format, but the strong melodies and guitar hooks are so memorable it’s impossible to sit still while listening to the song.

Some of the slower songs on "Thy Kingdom Gone" are reminiscent of the band’s "Serpentine" and "Razorbliss" eras. "Rain of a Thousand Years" starts off as ambient and moody, then gradually builds to a rousing anthem. "Colossal Shaped Despair" swells to astounding heights for gothic doom metal, with unusually low vocals from Helen and crunching guitars from Benjamin that sound almost like sirens. "Souls of the Neon Reign" is pleasantly eerie with guest vocals from Transit Poetry vocalist Sascha Blach, and "The War We Left Behind" closes the album with stirring guitars, rhythmic melodies, and possibly Helen’s strongest vocals of the set.

Then again, it’s not easy for the listener to choose which song on "Thy Kingdom Gone" they think Helen sounds her best or Benjamin’s guitars are most impressive – or, simply, which song is their favorite. All 12 songs are high-quality, well-crafted metal songs that show the new soul and vitality of Flowing Tears. Helen sings with grit, heart, and soul; and the music possesses an undeniable depth that is lacking in some metal albums nowadays. So make no mistake – "Thy Kingdom Gone" is Flowing Tears’ most exciting, impassioned album and one of the best female-fronted releases in recent years.

Welcome back, Flowing Tears.

9.5 / 10