Assumption are a Doom/Death Metal band from Italy. This is their début EP.
Assumption sound grim, dark and evil. Featuring members of the gruesome Haemophagus it should come as no surprise that The Three Appearances is full of mouldy and decomposing delights.
Cavernous, echoing Death Metal growls seem to be generated through an abyssal fog of misery and pain. Surely something like this can’t be good for you?
The music is murky and ancient, lumbering around like a forgotten, decaying god that’s slowly transformed over the millennia into some form of shambling horror.
Reminding of recent albums from the likes of Encoffination, Ævangelist and Sempiternal Dusk, this is the latest album to blend both Death and Doom into an absolute terror of an album that’s designed to loosen the bowels and scar the soul.
As rotten as what’s left in the sewer and as black as the void, Assumption do a great job of describing the essential futility of life; decay always sets in, entropy will get everything in the end and ultimately there’s very little point. So why bother? Why bother at all?
Well, paradoxically Assumption themselves have given us a reason to continue; their music. This is worth taking the time to listen to.
What a glorious, rancid, noxious find this has been. All hail Assumption!
This is Atmospheric Doom/Sludge from the US. It’s the début release from this solo project.
The intro track Our Fields Are Burning is slow and meandering, and reminds me of Abandon. The singer barks over the first part of it and I like his voice; aggressive, legible and passionate.
June 2, 1910 is the first song proper and also the longest at just under 10 minutes. I’m once again reminded of Abandon, and their combination of Doom and Sludge with a dose of Crust is a path that Old Thunder also adhere to.
Having said that, Old Thunder also have faster sections that put me more in mind of a band like Rorcal with their Blackened Sludge delivery.
The first half of Sinking sounds like it’s stalking prey through a dark wilderness and once more I feel the need to comment on his barking voice; it’s very expressive and sounds really, really good. Nice work that man.
Rainroom has a strong despondent melodic streak running through it that focuses more on the Atmospheric Doom side of the equation, as well as some My Dying Bride/Katatonia influences.
The final track Serpent Sovereign is all about the dirrrggggeeeee.
My favourite parts of this release are the bits where the music slows, the guitars lock into a Doomy repetitive riff and the down-beat melodics come into play.
There’s also the odd moment of Post-Metal thrown into the mix, and even some clean vocals added in to spice things up.
This is a surprisingly diverse mix of Doom-esque sub-genres. All performed well and all, for the most part, sounding naturally mixed and not just cut and pasted together.
Slings & Arrows falls short of being absolutely phenomenal only very marginally. The first reason is the recording; there’s nothing wrong with it as such but I can’t help but feel the songs would benefit from a slightly fuller, warmer sound. The second is the songwriting; although very accomplished, especially for a first release, I feel it could be tightened up a little bit here and there.
Really though, these are very minor quibbles as this is a top quality début. On the basis of Slings & Arrows I fully expect that the next release from Old Thunder will be totally jaw-dropping.
Fortress are from the US and play Doom Metal. This is their début album.
This is Doom Metal with plenty of heaviness and bite.
Slow, colossal riffs ring out from the speakers, slowly trying to drag you into oblivion. I do like a band that knows how to play at a glacial pace.
The growled vocals sound like a howling daemon rising from the pit to swallow you whole, whilst the marginally less-deep vocals remind of the singer of Cathedral with a rougher voice mixed with the singer of The Meads of Asphodel.
This is Doom with an undercurrent of Sludge running through the waste pipes. There’s a wildness to Fortress that doesn’t need taming; it’s part of their innate appeal.
Feedback-laden, dirty and unkempt; Fortress remind of Grief, only with longer songs, mixed with a band like Conan.
Chunky, heavy riffs power the songs and some of the guitar parts have a Stoner Metal vibe to them. Everything is played at a snail’s pace though, so both Stoner and Sludge influences ultimately get poured into the same drain that’s filled to the brim with DOOOOM!
For quality Doom that’s crushingly heavy and a vibe of total despair and loss, look no further than Fortess.
Favourite Track: Either Lies & Fears; Slow. Heavy. Miserable. Compelling; or The Nothing, with subtle, ethereal female cleans in the background. Haunting.
Eye of Solitude are from the UK and this is their latest EP. They play Funeral Doom Metal.
Eye of Solitude are a favourite of mine, and if you haven’t already you should definitely check out their début album Sui Caedere and their devastating follow up Canto III.
Dear Insanity is one single track lasting 51 minutes. As with the latest Inter Arma EP this is essentially a full length album rather than an EP. However, there’s no hard and fast rule for this kind of thing though. Other bands like Luna and Monolithe, for example, make similar releases and call them albums. And of course you have Reverend Bizarre’s famous “EP” Harbinger of Metal which is a whopping 73 minutes in length…
But onto Dear Insanity.
It starts off all ambient with soft and vaguely unsettling drone sounds. This lulls the listener into complacency and when the crushing guitars suddenly come thundering down on you just after 8 minutes it’s almost startling.
After this Eye of Solitude do what they do best; slow, crushing, emotive DOOOOOM! This is relentless and laden with colossal Doom riffs and vocals as deep as night.
At about the 15 minute mark we get a change, with brief respites added in to soften the mood before the misery begins once more; this time with increased atmosphere.
At 22 minutes subdued piano takes centre stage and really brings home the feelings of dejection and forlorn hopelessness. Subtle, soft, crooning vocals can also be heard at this point; like an echo of a ghost in the background. This is a very well-judged change of pace and works perfectly as a mid-album centrepiece that carries real emotional weight.
At 29 minutes the guitars are back like a long lost friend. The mood is one of solemn reflection and sorrowful realisation. The piano can still be heard playing softly alongside the tidal wave of guitars, with the two disparate instruments merging into a cohesive whole.
There’s another change at 33 minutes, with the music noticeably becoming more expansive and expressive. The atmosphere is really starting to build now, slowly and inevitably heading towards crescendo.
Another brief piano interlude happens at 36 minutes, allowing the emotional pressure to build with gentle coercion.
39 minutes in. The Doom riffs start coming on strong now and the guitars take pride of place in the ongoing avalanche of misery. This is the final stretch of the song and things are moving towards their fatal conclusion. The band start to ramp up the intensity, slowly, which brings us to the last few minutes of the song where all of the emotion has been felt, all of the despair has been used up and we’re left with a gentle feeling of hopelessness so soft that we don’t even realise how lost we all are.
I do love it when bands do work like this, and Eye of Solitude have shown that they can do it even better than most.
A colossal landmark of a release by a band who can seemingly do no wrong. Get this now.
Usnea are from the US and play Blackened Doom. This is their second album.
We’ve met Usnea before on their split with Ruins. This, coupled with their début album, (which is absolutely amazing, by the way), means that Random Cosmic Violence is an album that I have high expectations of indeed.
Usnea write riffs that are huge Blackened tsunami’s of tar and malevolent urges. This is Doom that’s as colossal as it is unfriendly. The Black Metal influence is still a definite part of their sound, albeit a little less closer to the surface on this release.
Multiple vocal styles of attack are present on this; from high-pitched screams, to bowel-shaking growls, to spoken word, to haunting cleans.
The interesting thing about Usnea is that their songs may be monolithic slabs of shaded darkness, but importantly they can write actual songs; the shortest track here is just over 12 minutes in length but Usnea have an exceptional ability to write songs that are catchy.
It may sound strange for a band like this, but the winding melodies really seep into your brain and it’s easy to find yourself humming along with the tunes. This was a hallmark of their début and they’ve carried this over to their second album with great aplomb.
The dark atmospheres that the band create are a pleasure to explore. Each track has its own personality, character and place on the album.
Everything about this album screams quality, longevity and depth. The songs draw you in and mesmerise. Even on first listen you know you’re dealing with a truly special album, and after multiple listens it’s confirmed; Usnea are just fucking brilliant.
What more can I say? If you like interesting, heavy music then this is essential.
Anatomy of Habit are from the US and this is their second album. They play Experimental Post-Metal/Doom.
This is music that will probably be dismissed by a lot of people as not being immediate or conventional enough. Their loss.
How to describe Anatomy of Habit ? The share a similar very individual stylistic space with bands such as Swans, Neurosis, Fantômas, Burning Witch, Skullflower, etc. This is music that’s slow, Doomy and with lots of personality.
The vocals are a large part of the personality of the band. That’s not to denigrate the music of course, as this definitely has its own flavour, but vocally we’re in territory that’s reminiscent enough of Mike Patton to be instantly recognisable and familiar but not too similar so that it sounds like a rip off or bad copy. Couple this with an Avant-Garde feeling akin to Manes/Arcturus as well as the odd harsher scream and you have a performance that puts most singers to shame.
There are two tracks here and both of them are very finely crafted examples of how you can play Post-Metal and really have your own sound. Both are over 20 minutes long.
Radiate and Recede is a Drone Doom epic that is as hypnotic as it is powerful. I really love this kind of crawling, quirky, slowness that’s repetitive enough to become engaging but dynamic enough to keep the interest. It finishes with an extended Doom workout that would do Esoteric proud before the main vocals end it totally.
Second track Then Window continues the stylistic theme developed in the first song but with a slightly different spin on it. We’re still in Doom territory but the music is slightly more colourful and upbeat in a way that’s still subtly sinister.
Taken together, Ciphers + Axioms is a very enjoyable album that allows a creative band to flex their musical muscles in a worthwhile and involving way. They really have crafted a remarkable album.
I love music that’s a bit weird, a bit different and yet still remains a bloody good listen. Anatomy of Habit fit this description perfectly. They get a big thumbs up from me. Well done!
This is the début album from US Doom Metal band Wolf Blood.
Wolf Blood play Doom Metal – a cross between Traditional Doom and Stoner Doom.
The tunes here are memorable and kicked out with obvious passion and no shortage of charisma. It’s a testament to the band’s talent that the melodies and riffs that the band perform sound both familiar and fresh; ancient yet vibrant.
A mix of Traditional Doom and Stoner Doom could theoretically have descended into the mediocre quite quickly but Wolf Blood manage to side step this pitfall by taking the best aspects of each. This has resulted in a collection of songs that have the power and majesty of Doom with the energy and drive of Stoner.
The band have a really warm, welcoming sound that embraces the listener with good feelings and Doomy vibes. It’s not too polished and keeps an underground feel but it does the band justice and the songs sound authentic and engaging.
There’s a lot to like here. Wolf Blood clearly know what they want to achieve and I think their début album succeeds in this.
This is a split between Portugal’s Process of Guilt and Switzerland’s Rorcal.
Rorcal’s contribution to the split is 15 minutes of anguished, Blackened chaos.
On their previous album Vilagvege they had a Blackened element to their sound, with dark atmospheres and Black Metal-laced blasting appearing in places; on this split they appear to have embraced this bitingly harsh side of their sound to a greater deal and these three songs have a much stronger Black Metal influence. Having sampled the whirlwind Rorcal seem to have liked their taste of the darkness.
The Sludge is still here though. Blast beats there may be but they also slow things down to let the listener really feel the despair. At least for a short while.
I like Rorcal a lot and think that no matter whether they play fast or slow they have a talent for sounding both evil and agonised at the same time.
The first half of the split is a triumph then.
Having never encountered Process of Guilt before – what of the second half?
Process of Guilt’s contribution to the split is three tracks of Atmospheric Doom Sludge lasting 17 minutes.
They start with harsh screams that seem to escape from the void of negativity that the band shroud themselves with. They have a good sound that veritably screams for the apocalypse to happen and the hammering guitars combined with the very emotive and atmospheric aura of misery that they perpetuate is a treat to listen to.
Deeper, grimmer vocals share stage with these otherworldly shrieks to create a well rounded vocal package that complements the professional delivery of the band. This is Sludge to fall in love with.
Process of Guilt combine the abrasive, twisting parts of Neurosis, the relentless heaviness of Celeste and the dark, gritty atmospheres of Burning Witch to create 17 minutes of feedback-drenched Hell that any Sludge/Doom fan couldn’t help but fall for.
A 32 minutes split featuring quality bands and songs. What’s stopping you from getting this right now?
Kвіти Знедолених Берегів is a solo project from Ukraine that plays Atmospheric Death/Doom. This is his début demo.
This is woe-filled Atmospheric Doom with deep growling and swathes of desolate feeling.
The singer has a very powerful growl. It sounds quite primal in its force and carries a strong presence against the backdrop of the mournful music. This is backed up by occasional spoken word sections which are also performed well and have a good place in the mix, as I find spoken word parts are usually too high when most bands employ them. Soft, low-key cleans also unexpectedly appear, greatly enhancing the already varied vocal package. Neither the cleans or the spoken word sections are over done though and the deep growls eclipse them both.
The music shows good composition and everything is played well. The dark melodies have an air of longing to them and really drive the music forward.
Both of the songs on this release slowly build their funeral dirge over the course of about 10 minutes and the winding, plaintive guitars have just the right tone to connect viscerally with the listener without becoming overwrought. Subtle keyboard/piano is used here and there to further add feeling and I like the style of songwriting in general; it’s mainly about heaviness, both musically and emotionally, but there’s enough subtlety and nuance here to satisfy fans of all tastes and preferences.
For what is, apparently, a demo release, the production is very professional sounding. Everything is balanced and in its place; everything sounds crisp and punchy.
I’m very impressed with this. Hopefully we’ll see a full album from Kвіти Знедолених Берегів in the future and if it’s even half as good as За небокрай мрій it’ll be very good indeed.
Assumption are a Doom/Death Metal band from Italy. This is their début EP.
Wonderbox Metal 