Doom Metal Reviews

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Sunday, October 19, 2008

THE HIDDEN HAND - Mother, Teacher, Destroyer


THE HIDDEN HAND
Mother, Teacher, Destroyer
Southern Lord Recordings
8/10





The threesome of Wino, Dave Hennessy (drums) and Bruce Falkinburg (bass, vocals) have joined forces in order to create some of the most out there sonic manipulations this side of Jupiter on “Mother, Teacher, Destroyer”. It seems as if Wino just never stops creating, his latest project being a fusion of doom metal and spacey stoner rock that is mystical and mysterious.

The Hidden Hand begins the sonic deconstruction with “The Crossing”, a track that combines Bruce’s shamanistic vocalizations with board-burning leads and crashing rhythms that make for a potent blend. Wino assumes the microphone on “Half Mast”, conjuring up some smooth, otherworldly vibes which flow very well over the band’s laid back grooves. Desensitized finds Wino lashing out at the powers that be with a buzzed out vocal delivery that is enjoyable and unexpected. A blistering solo courtesy of Wino rages over the top of the vibes, sending electrically charged jolts through the listener’s ears.

‘Black Ribbon’ is a like a trip to the outermost regions of space, aurally. The band aims for feeling over exaggerated technique, emotion over slick production and overall, to create a tuneful trip for fans to catch a vibe from.

The Hidden Hand is successful in their quest as Mother, Teacher, Destroyer is a vibrant musical statement that hits like a comet as opposed to an asteroid, taking you to a place far away in a flash of light!

Written By: Shovelhead

Saturday, October 18, 2008

DOLORIAN - Voidwards


Dolorian
Voidwards
Wounded Love Records
9/10





Swirling moments of Floydian doom and an articulate grasp for creating wide-open atmospheres make "Voidwards" both enjoyable and unique.

"In The Locus Of Bone" sends chills down your spine with excess reverberations and haunting, whispered vocals that make for an intriguing atmosphere. Meanwhile, the rattling chains of "Co-il-lusion" creates a purely haunting feeling that segues well into a shimmering pool of ringing guitar tones and slinking, subdued bass lines.

Dolorian scores well for diversity and texture as "Voidwards" ebbs and flows between sonic dimensions. "The One Whose Name Has No End" is beautifully morose, while the compelling arrangement of "Epoch Of Cyclosure" takes on a heavier bent with growling guttural emanations and lumbering, thickly buzzing rhythm.

This record will be most appealing to doom fans, but the psychedelic elements employed during "Voidwards" are likely to draw in non-traditional listeners. An excellent album all around, you owe it to yourself to seek this one out.

Written By: Ghoul of Grimnosity

Tuesday, October 14, 2008

CANDLEMASS - Candlemass


CANDLEMASS
Candlemass
Nuclear Blast Records
9/10





These forefathers of modern doom return with Messiah Marcolin back in the fold. This release will garner a huge reception from long time fans as Candlemass revisit their classic doom sound with an album that rivals their legendary “Nightfall” record.

From the up-tempo, sinister chugging of “Black Dwarf” to the somber and huge sounding drone of “Seven Silver Keys”, Candlemass recapture the vibe that fans enjoyed so much before. Messiah voice is in fine form, his distinctively dark operatic style making for the perfect fit to the ominous tone of this group’s music, particularly on “Assassin Of The Light”.

The brilliant, epic track “Copernicus” stands among the greatest that the group has penned to date. In its towering riffing and subtle dynamics, you will find the epitome of all that is doom.

Many modern acts that have been influenced by Candlemass see the art form as a contest to discover who can play the slowest, but oftentimes, these bands are missing the point. In order to compose doom metal successfully, one must pay heed to the fact that the sound is not merely based upon tempo, but also upon arrangement and the overall vibe which the song produces. With this track, the group revives a feeling that has not been heard since their first album, the hallowed “Epicus Doomicus Metallicus”.

If one needs further proof that this is one of the most crushing platters of woe filled doom on record, look no further than the monumental, vastly heavy “Witches”, a track which finds the band expanding upon Sabbathisms in order to create a frighteningly crushing tone.

With this fine return to form, Candlemass have managed to place themselves once again atop the mountain of doom, looking down upon each of us with a foreboding presence. Do not hesitate in seeking out this fine slab of somberness for one second.


Written by: Shovelhead

RUNEMAGICK - Envenom


RUNEMAGICK
Envenom
Aftermath Music
Doom Metal
8/10





The dark occult chants which emanate from the five tracks on Runemagick's "Envenom" pummel the listener with blunt force. This group plays with a doomy style instrumentally, with thick, lumbering grooves overlaid by growls of demonic possession and wicked black chants. The monstrously tones of "Vultures" resonate with the enormous, deeply sustained bass notes from Emma Karlsson that give this trio a distinctly evil sound.

Runemagick authors fairly long compositions as so many doomy acts do, but they take pains to place enough variety in their riffing to hold the listener's attention well. The title track kicks off with a fast riff that is uncharacteristic for doom, but fits the dark atmosphere very well. The vocals are sparse much of the time with a specific emphasis on riffing. Nicklas Rudolfsson handles the guitar and vocal duties for the group, placing melodic, single-note melodies over Karlsson's bass work when applicable, and at other times opting for a hammering chugging attack.

Daniel Moilanen plays simple beats with a lot of start atop action and this technique suits the music of Runemagick very well. He places appropriate fills without overplaying and this is a key ingredient in the group's overall sound. As the stream of consciousness guitar melodies of the title track melt into stop action downpicking and triplet gallops, Moilanen provides the proper amount of accents needed in order to accentuate the heavy features inherrent in the band's sound.

The flanged axe work Rudolfsson undertakes in "Nebulous" adds a cosmic aura to this group's compositional structure. The frontman's bleak vocal grumblings are sparse yet effective as the rumbling lyrics echo over the song's buzzing riffs. You'll find detuned, heavily distorted plodding throughout "Maelstrom", a track which seethes with the bitter force of dark magick.

This crawling repast of blackened doom ultimately succeeds in its ominous pummeling as Runemagick reveal themselves to be yet another dusk triumvirate in the ever growing legions of the genre.


Written by: The Gatekeeper

Saturday, October 11, 2008

CALLISTO - True Nature Unfolds


CALLISTO
True Nature Unfolds
Earache Records - 2005




The record fades in with a surrealistic introduction that sets the stage for some dismal vibes from Callisto that straddle the lines between doom metal and Tool style, dark musical vibes.

The tracks are quite long, giving the band an opportunity to experiment with a lot of dynamic interplay ranging from open sounding breaks that are vast in the breadth of their sonic scope, to slamming dirges that impact the listener with a weighty presence. The impression of “Limb Diasporas” is solemn and grandiose.

The music imparts a melodious tone, even when it launches into a heavy lurch, as the group creates textures of light and shade that make for an emotionally moving listen overall. “Cold Stare” is perhaps the most well rounded tune you’ll discover here, as the band reaches out into a sea of musical depression, resulting in a haunting, epic song that is both intense and harmonious. Rarely do Callisto go for a full on assault, instead, opting to cause aural damage with the arrangements of the material.

“Caverns Of Khafka” lurches into an enormous web of emotions that take the listener up and down a path of huge melodies and thunderous accents designed for a maximum degree of artistic feeling. This release is for those who crave atmosphere overall as Callisto provide plenty of it, and then some. It’s a record that requires the listener to remain focused on the music, as there aren’t really any hooks or simplistic formulations here.

That said, “True Nature Unfolds” is an engaging album which is brimming with forceful, dark harmonies that will certainly be of interest to adventurous listeners who crave music with a large amount of emotional substance and creative, thoughtful song crafting.


Written by: The Gatekeeper

Friday, October 10, 2008

AHAB - The Call Of The Wretched Sea


AHAB
The Call Of The Wretched Sea
Napalm Records
8.5/10




German Funeral Doom trio Ahab reveals a plodding sound that gives an impression of the vast depths of the Ocean during this full-length debut. Inspired by Herman Melville's oft-influencing novel Moby Dick, Ahab explores the depths of the blackest of waters, in turn coming up with one of the most impressive interpretations of this tale of the murky depths to date.

You'll recognize both Daniel Droste,(the group's vocalist, guitarist and keyboardist) and guitarist Chris R. Hector as being known for their contributions to both Midnattsol and Penetralia. These two talented players join with bassist Stephan Adolph (who also contributes guitars and vocals), in order to form this behemoth of plodding doom. As the near twelve-minute "Below The Sun" sets the stage for the album with thick, weighty resonations and mournfully melodic guitar work, Ahab articulates sounds of despair that are in a word, massive.

While Ahab is not as slow as many of the Funeral Doom acts hailing from Europe at this time, the fact makes their sub-sonic buzzing and pounding that much more digestible. While "The Pacific" emotes the very essence of what the voices from below the turbulent waves must sound like, Ahab are at once mighty and foreboding.

Meanwhile the mournful, liquid harmony present during "Old Thunder" is surely sufficient to gain the respect of any lover of melancholy, saddening sounds. On "The Sermon," the group opts for more saturation than during other instances and the playing of Droste is highlighted well on the album’s closer "Ahab's Oath."

It must be said that the production here is commendable; especially the tone of the drums, there’s a lot of emphasis on a good kick drum sound, which is a crucial factor in doom, being that individual sounds, while expansive, are much easier to dissert from one another.

Ahab breaks the mold of the general theme of Doom Metal on The Call Of The Wretched Sea, and putting such a well-known story line behind this type of music certainly conjures up a lot of great mental images while listening to the record. Standard-setting in terms of creativity and delivery, this is the album that can bring Funeral Doom Metal before a much wider audience.


Written by: Shovelhead

ABANDON - In Reality We Suffer


ABANDON
In Reality We Suffer
Codebreaker Records - 2005
8/10




Opening with a dirging track that’s tendencies are fairly minimalist, the appropriately titled “…”, Abandon plow through eleven doom-filled caricatures of subharmonic discordance on “In Reality We Suffer”.

This record is for those who like riffs that drip like molasses from a mountaintop, sludgy and painstakingly slow. Johan Karlsson issues anguished vocals that are abrasive enough to peel paint from walls on the sandpaper anthem “Trauma Is The Trigger”. Unlike many groups of this nature, Abandon mix up the lengths of their songs and this proves to be an effective approach, allowing the group to deliver mind numbing sonic manifestations without becoming redundant.

Clean guitar tones usher in “In Hopelessness Enlightened”, a somber behemoth of a track that encapsulates the meaning of heavy in its plodding depth. On the granular “Piles Of Pigs” the group stabs away with a corpulent concoction that is hastily withdrawn in favor of further deliberate discordance in the despair filled title track.

Abandon are extreme, there can be no objection to that fact, but this band simply takes their sonic languidity in the opposite direction of most, opting to slowly bludgeon the listener with resonating forcefulness.

Put this weighty platter of mournful dissonance in your PC and check out what this music does to the visualization program in its media player for an optimum experience.

Quite the disquieting ration of hopelessness, “In Reality We Suffer” is bitter, glum weight upon your doom seeking soul.

Written by: The Gatekeeper

Thursday, October 9, 2008

THE DROWNING – When The Light Was Taken From Us


THE DROWNING
When The Light Was Taken From Us
Casket Music
7/10




Peering from an appropriately bleak window to the world, Brits The Drowning deliver a Peaceville-esque perspective on “When The Light Was Taken From Us.” Minimalist, murky doom intertwines with deathly flurries during the morose “A Bitter Shade Of Grey,” a track which melds swift intensity with plodding melodies. A great representation of this band’s dynamic vision, this track twists and turns in dramatic sequences, making song parts that would generally be singularly average become vibrant with disparate directions.

All the while, however, the focus is centered on a dismal atmosphere, whether The Drowning is bashing out a blast of life-ending fervor or concentrating on ushering in a disenchanted melody suitable for any grim state of mind. Appropriately long songs for the doom-initiated form the bulk of “When The Light Was Taken From Us,” with the type of clean vocal interludes you’d expect from Anathema making “Halo Of Flies” particularly of note.

While neither groundbreaking nor orgasmic, it stands to reason that The Drowning is much more creative than most standard doom outfits. This fact alone makes “When The Light Was Taken From Us” worthy fare for those who dwell in darkness.


Written by: Shovelhead

Novembre – Materia

Novembre – Materia
Novembre
Materia
Peaceville Records
7.5/10




Novembre has taken heat for a supposed similarity to the recent works of labelmates Katatonia, but you can forget all about any sort of comparison. Sure, Novembre possess a quantifiably gothic rock edge, there’s no questioning that fact. But that’s where the similarity ends.

The sounds of “Materia” are much looser in form - free-sounding and airy, a glistening adventure in atmospherically astute wanderings. At times, these songs are on an even keel with the latest from HIM, “Dark Light,” in terms of production and presence, but the material of Novembre is more introspective and certainly less polished for mass consumption. In saying that, the intention is that you’ll know there’s no an easy formula, catchy love anthems or overtly obvious radio pandering to be found here. Just very emotional, well-written and played rock sounds with a contemporary, gothic edge.

Standouts include the expansive, far-reaching “Reason,” the swirling “Aquamarine” and “The Promise,” which heavily borrows inspiration from U2. Bleak yet hopeful, “Materia” delivers blissful dread and an engagingly tuneful glimpse into an ocean of melodic sadness.


Written by: Shovelhead

Funeral - From These Wounds review

Funeral - From These Wounds
Funeral
From These Wounds
Candlelight USA
9/10




Having already made a name for itself amongst in-the-know lovers of doom-laden sounds, Funeral has returned with yet another testament to mourning made music. “From These Wounds” explores a tactful variety of sonic textures, from woe-begotten dirges to lingering, evocative melodies - in doing so, fully encompassing despair in most of its possible musical utterances.

Line up the pallbearers, haul out the casket and don’t forget to bring a nice bouquet of flowers, as “From These Wounds” is not only a suitable soundtrack for one’s daily depression, but a fine record to be spinning after said depression is long since past , the corporeal entity serving as garden variety worm fodder. Oddly enough, there’s enough melody amongst the misery found here to be of appeal to more than just the average doom metal fan.

Expansive yet confined, with as much depth as the most sorrow-filled moments this life has to offer, “From These Wounds” easily ranks amongst the best doom records of 2006.

Written by: The Gatekeeper