Doom – Page 88 – Wonderbox Metal

Nightslug – Loathe (Review)

Nightslug are a German Sludge band and this is their second album.

Nightslug sound as their name suggests – ponderous and heavy. This is discordant, ugly Sludge that grips you by their hair and forces your face into the vomit. This, of course, is something you like. So eat it all up. Eat it now.

The songs have a good groovy swagger and the guitars steal the show with their cocky bravado and murky heaviness. The vocals shouldn’t be discounted, however, as they sound like the aural equivalent of an acid splash to the face.

The bass makes its presence felt like a steel girder that props everything up and works with the guitars to create a solid and crushing foundation for the songs to destroy everything around them.

Feedback, distortion and an overall dirty, grim aesthetic is par for the course with Sludge but Nightslug do it with style. They have a slightly unusual sound in their guitar tone and the way the vocals are mixed. It works exceedingly well though, and gives them a distinctive flavour. It reminds me of, (although sounds different from), the production of Rabies Caste’s début album Let the Soul Out and Cut the Vein, which also had an atypical sound. Like Rabies Caste though, they have taken the Sludge template as handed down by Eyehategod and made it firmly their own.

Also like Rabies Caste, Nightslug specialise in songs that are incredibly catchy and memorable. Certainly not in a radio-friendly way, of course, but these are riffs and tunes that stick in the head like an infected nail. It’s painful, but a twisted stroke of master workmen and the Sludge Gods should be proud of them.

I love a good Sludge band and Loathe will be firmly a part of my playlists for some time to come.

This is one you must check out.

Favourite Track: Vile Pigs. With a main riff that just won’t quit, this song is as catchy as Hell.

Abjvration – The Unquenchable Pyre (Review)

Abjvration are from France and this is their début EP. They play Death/Doom Metal.

Imagine the most hideously disgusting type of Doom that’s congealed around some sickening Death Metal to form an unholy mass of evil…this is The Unquenchable Pyre.

Huge, heavy-as-Hell riffs populate this release like disaster sites, almost relentless in their assault. Colossally slow guitars crush all before them and faster, more-Death Metal riffs punctuate the blackness like knife wounds.

The vocals are a thing of beauty, albeit a very warped and disturbing type of beauty, of course; utterly deep and pitch-black in their delivery of rolling, growling terror. They sound immense and ancient, just like the music.

The music oozes and seeps along, like some sort of infectious disease. There’s a real rank feeling of a wet, unhealthy underworld to this release and that’s an entirely complimentary comment. Abjvration have created something disturbingly special here.

The Doom riffs keep flowing and it’s only when the Blackened Death Metal parts break out that you remember they’re not just a pure Doom band.

What little melody there is on this EP is aimed at increasing the listener’s unease and the entire 27 minute playing time is a masterclass in creating rotting, noxious, heavy music.

This isn’t Black Metal but it shares a lot in common with the more foetid styles of the same. A deep, dark, miasma of Blackened pestilence hangs over this release like a funeral shroud and Abjvration milk this for every last drop of feeling that they can.

This is unapologetically Old-School Death/Doom that’s flawlessly delivered and expertly realised.

France continues to keep its reputation for producing high quality Extreme Metal intact. Abjvration are a dark revelation.

Tyranny is Tyranny – The Rise of Disaster Capitalism (Review)

Tyranny is Tyranny are a US band and this is their latest album. They play Post-Hardcore.

As soon as the first song, Or Does it Explode?, starts it’s immediately clear that Tyranny is Tyranny are a band that are emotive and expressive. This is apparent from both the music and the vocals.

This is a kind of Hardcore-based music that’s moved beyond its original parameters, (hence the term Post-Hardcore), without losing the vibrant nature of the style. It’s been expanded though to include more introspective and Shoegaze-esque elements and the band have embraced this direction.

The vocals have a lot of personality and have a kind of fragility to their delivery that allows them to convey greater feeling than if this was absent.

The closest band I can think of to compare them to would be Australia’s No Anchor. Both bands share a similar style of music that’s exploratory, expressive and heavy without becoming too heavy. They also share singing styles in the sense that their vocalists have a lot of personality and gravitas while remaining highly emotive and engaging.

There’s a lot of moods and feelings on this album and each song takes part in the overall theme of the release but still manages to cover a lot of different ground.

The political nature of the tracks and the highly-emotive, reflective music results in songs that resonate in the mind long after the last chord has died.

This is an impressive album that holds the interest throughout. The emotional delivery and richly evocative musical choices mean it stands out from the crowd and its longevity is assured.

Very highly recommended.

Secrets of the Sky – Pathway (Review)

This is the second album by US Atmospheric Doom band Secrets of the Sky.

We’ve encountered this impressive band twice before – their début album and their split with Godhunter.

Due to this, Pathway has been somewhat eagerly awaited by yours truly.

The band’s brand of Doom is one that mixes Atmospheric/Progressive Doom and Post-Metal to create an interesting soundscape for the listener to drown in.

On Pathway they have continued to progress their sound. The heavy parts sound bigger and more imposing while the lighter parts sound more nuanced and well-rounded.

The album boasts a particularly vibrant and organic production where all of the instruments sound completely clear and very strong. The drum sound in particular is an impressive one, although in a way it’s unfair to single out any one instrument as they all have a very satisfying finish.

Vocally we continue to get an impressive array of voices, from cleans to screams to shouts to growls. Pretty much all bases are covered and all styles are used according to how they best convey the band’s message.

These songs are gorgeous Post-Metal/Progressive Doom essays that take in multiple textures and rich imagery in their running times. The songs, overall, are slightly shorter in length than Secrets of the Sky’s previous work, but this is not to their detriment; they’re exactly the length they need to be to achieve what they want to do.

Secrets of the Sky have enough talent to dominate at whatever they try, it seems. Whether this be the heavier, the lighter, the progressive, the aggressive, the angelic clean melodies or the Blackened screaming…it’s all an aural treat for jaded ears.

I always like music that seems to take you on a journey and in this regard the album is aptly named. These are superior compositions that should see Secrets of the Sky propelled to the upper echelons of the Progressive/Doom/Post-Whatever pantheon.

Like a canvas painted in sound, this is destined to be a masterpiece.

I can’t think of a single reason you shouldn’t have this in your music collection. Can you?

Pendulous – A Palpable Sense of Love & Loss (Review)

This is the début album by US Doom Metal band Pendulous.

Pendulous play depressive Doom/Death that’s sorrowful and full of woe. The album title should be a dead giveaway; there’s no happiness here, just misery.

The vocals alternate between grim Death-growls and clean singing, depending on the needs of the song. The growls are ably done and are strongly performed, but it’s the clean vocals that stand out.

Emotive and dripping with melancholy; the singer’s voice acts as a focal point whenever it appears and also serves to characterise the album as a whole – expressive and lost to negativity.

The songs are expressive in their own right but the addition of a rather subtle cello is a wonderful enhancement to the band’s style.

The music just excretes melancholy from every musical pore. Although the band are suitably heavy it’s an emotional heaviness that really makes A Palpable Sense of Love & Loss so crushing.

The Doom/Death scene is quite a narrow one; too much either way and you’re playing a different style. The true way to set yourself apart is the emotional content of the music and how it resonates with the listener. Pendulous should have no worries in this regard and their album is a work of bleeding, regretful art.

Listen and absorb their heart-rending story.

Keeper – The Space Between Your Teeth (Review)

Keeper are a Doom band from the US and this is their latest EP.

Keeper have graced these pages before on their split with Sea Bastard release.

Here they treat us to two tracks of ultra-heavy Doom that snarls and crushes yet also has a contemplative side.

The vocals are so serrated that this EP should come with a health warning. Their scathing assault is a reminder of how truly harsh screamed vocals can sound from the right singer.

The music is down-beat Doom which is slow enough to cast a grim shadow where it falls but energetic enough to keep a beat to. Although they specialise in the heavier side of Doom, the songs also carry a multitude of melodies through these tumultuous waters. Said melodies are largely low-key affairs content to hide just below the heavier rhythms, although this is not always the case.

The band’s more nuanced side manifests through these streaks of melodic colour and also through some Isis/Cult of Luna-esque Post-Metal moments.

The entire package is rounded off with a strong sound that accentuates all of the band’s strengths, leaving them free to pursue the music through to its logical conclusion.

Keeper have released a devastating calling card with their new EP, one that will surely, and rightfully, gain them many accolades.

Hogslayer – Defacer (Review)

Hogslayer are a Sludge band from the UK. This is their second album.

This is hateful, heavy Sludge Metal that sometimes it seems only the UK can do so well. Yes, you have the entire American/NOLA Sludge thing which started everything with Eyehategod, etc. but the UK has its own distinctive underground full of festering filth and misery that grows only in this specific environment. Hogslayer were born to such surroundings.

This is crushingly heavy. I mean really, really heavy. Like, ultra-heavy or something. You get the idea.

The feral, underground darkness that bred Hogslayer didn’t just select for the nastiest traits either. The band understand, in their own warped way, the need for riffs to be catchy, vocals to have character and songs to be memorable. Of course, you have to understand that this is all from a Sludge Metal/Doom perspective, as no-one will accuse Hogslayer of threatening the radio-friendly unit-shifters any time soon.

Oh, but there’s something about this kind of relentlessly heavy, riff-oriented Sludge. When the band lock into a heavy groove and repeat it just the right amount of times…it really hits the spot.

The vocals, as mentioned previously, are charismatic and buried within the distortion just enough to work with the music without dominating it but aren’t too low in the mix so that they’re lost in the colossal bass/guitar riffs, as can sometimes be the case with some Sludge bands.

Hogslayer will be a firm favourite of mine moving forward. Their brand of gritty, well-done Sludge is just what the Metal Doctor ordered.

Defacer is a feast of distortion, feedback and negativity. Eat up.

Sea of Disorder – Merging Land and Sky (Review)

Sea of Disorder are a Post-Metal band from Austria, and this is their début album.

The band play a combination of Post-Metal and Doom that combines the atmospheric with the harsh.

As well as the standard instrumentation Sea of Disorder also use keyboards and effects to get the sound they like, as well as including a fair few guests from other bands.

As alluded to earlier, Sea of Disorder mix the lighter, more introspective elements of Post-Metal with the louder and heavier aspects of Doom to create long songs that tell a tale in atmospheres and moods.

Deep vocals that seem to come from the bowels roar out accompanied by large riffs and atmospheric heaviness. This is juxtaposed against the more Post-Rock instrumental moments of tranquillity as the band build themselves up to a peak.

Cleans also appear on As the Clouds Disperse and they fit Sea of Disorder’s style well.

Overall I liked this quite a bit. Check them out.

Shrine of the Serpent – Shrine of the Serpent (Review)

This is the début release by US Doom band Shrine of the Serpent.

Heavy, slow, filthy, nasty. These and other words like this. Shrine of the Serpent are a like a crawling, slithering, Leviathan-like monster, relentlessly advancing over the bones of its enemies.

Dirty great Sludge riffs are physically restrained and forced to do the bidding of Doom’s unholy work.

The stench of the occult is strong and this is a release not to be approached lightly. In fact, there’s nothing light about Shrine of the Serpent at all.

This evil brand of Doom Sludge also takes aspects of Death Metal and Black Metal into its dark, foetid embrace and bends them to its will.

The songs are top quality exemplars of Doom’s overwhelming ability to suck additional styles into its orbit like a black hole, forging them into its core identity and resulting in something different each time. Here, it’s the darkest of Doom.

A mandatory listen.

Irk/Wren – Split (Review)

This split is made up of two bands from the UK. Irk play Noise Rock and Wren play Post-Metal/Sludge.

Irk are first with four tracks totalling 13 minutes.

This is angular, Mathcore-style Noise Rock. The bass has a good, heavy presence and drives the music forwards. It maintains a constant, prime position throughout the recording.

The vocals are impassioned and kind of fall halfway between shouting and some form of demented pseudo-singing. It’s an acquired taste yet works well juxtaposed against the solidly-constructed, almost mechanistic music.

The band have the feel of a DIY punk band only with edgy grooves and a detached riffing style.

They remind me of a cross between Hawkeyes and Association Area with a bit of Sultans of Ping FC mixed in. It’s a good, jagged ride they take the listener on and it’s certainly a memorable one. I think the vocal style won’t be for everyone but if it works for you then there’s a lot to enjoy here.

After this it’s now down to Wren to play us out. They offer up 3 tracks totalling 16 minutes.

Theirs is a murkier, slower sound than Irk. Wren take the Post-Metal/Sludge template laid down by Neurosis/Isis/Cult of Luna and make their own mark on it with impassioned playing and heavy riffs.

Walls of heavy guitars mix with transcendent Post-Metal melodies and a Sludgy core. There’s a high level of emotional content to a band like this and it’s all powered along by the relentless heaviness of the guitars.

Shouted vocals make an appearance on the second song and seem to merge with the guitars, providing pointed highlights to the aural onslaught of the six-stringers.

These are very enjoyable songs and if you’re a fan of the heavy Post-Metal style then Wren deliver in spades.

This split is a little unusual when compared to a lot that get released as the bands involved are quite different from each other. It’s a recommended listen for sure though, featuring two bands that show a lot of promise for the future.

Favourite Track: An Approach by Wren. The best is saved for last. Driving, heavy riffs, emotive violence and reflective chaos. Class.