This is music with an occult, ritualistic feel. It differentiates Continue reading “Bacchus – Bacchus (Review)”
Abyssal Menace contains 41 minutes of gloomy old-school death metal. With a hefty amount of doom metal elements, and a Celtic Frost influence, this is an enjoyable listen for anyone that wants to explore OSDM that has a different perspective on the genre than that of many of the band’s contemporaries. Continue reading “Haunted Cenotaph – Abyssal Menace (Review)”
After being a big fan of the band’s early work, expectations were high for Cult Burial. I have to say that they have been met, and this is a superlative album. Cult Burial play a hybrid form of blackened extreme metal, one which takes what it likes from black, death, and doom metal and then slaughters what’s left. Continue reading “Cult Burial – Cult Burial (Review)”
This immense album is a hard one to describe with genre tags. It’s a mix of doom and thrash/heavy metal, but with elements of black, death, and progressive metal added in too, (as well as forays into dark ambient waters). The promo blurb mentions Continue reading “Totengott – The Abyss (Review)”
2014’s Death Curse was a very tasty serving of rotting metallic delights, and now the band are back with another mouldy 43 minutes of atavistic death metal. Continue reading “Gravehill – The Unchaste, the Wicked, & the Profane (Review)”
The Festival is a H. P. Lovecraft-themed release, completely built and fashioned around one of his stories of the same name.
This is heavily atmospheric doom metal and sees the band mixing elements of classic proto-black metal into their cauldron and Continue reading “Swampcult – The Festival (Review)”
What we have here is essentially a doom metal band that have fallen to darkness and embraced black metal as a secondary influence. There are some other influences detectable in their sound too, (old Anathema), and they all converge together quite nicely over these 56 minutes.
The songs on Shamanic Lvnar Cvlt have muscular guitars and plenty of dark presence. The old-school black metal influences make for a darker sound than most doom metal bands, but the traditional doom metal aspect of their sound means that they don’t wander too Continue reading “Svlfvr – Shamanic Lvnar Cvlt (Review)”
This is solid old-school Death Metal that takes additional influence from older Metal and proto-Black Metal, making for a well-rounded release that creates its own atmosphere and character with ease.
Snatches of melody appear here and there in the leads and solos; played well and thoughtfully constructed, they add colour and feeling to the otherwise heavy old-school thrashings that the band produce. I love me some good soloing and there are some real crackers on here.
This is semi-blackened Doom with dark screaming shouts. The band succeed in creating sombre, down-beat moods that snare the listener in their barbed grasp.
The band have a similar feel and mood to that of Triptykon; like an updated Celtic Frost with added Doom and Black Metal atmospheres.
The riffs pile on top of each other, almost reaching wall-of-guitars proportions but offering more nuance than that style usually does. There’s some quite inventive and emotive ones on here too, adding to the overall dark feelings that they espouse.
A Thousand Sufferings understand the nature of this kind of music all too well, with negativity seeping out of the speakers in an occult way, seeming to feast on the souls of those drawn into this grim web of mystical invocations.
A very enjoyable slab of Doom Metal for fans of the darker side of life.
Tor Marrock play Gothic Metal with a plethora of different influences; Black, Death and Doom Metal are all represented to various degrees. The tracks are an interesting combination of these influences and make the band quite hard to pigeonhole in some ways.
For reference points I’d say an unholy mix of Type O Negative, Celtic Frost, Paradise Lost and Moonspell. Essentially it’s an Old-School Peaceville sound updated with a few different elements from some of the aforementioned bands and genres.
The songs are quite catchy and are quite accomplished in the verse/chorus technique. You could almost sing along, if you fancied trying to keep up with the usually gruff tones of the vocalist.
Some of the songs are quite upbeat while others take a slower, more maudlin route. I find I slightly prefer the latter, although the former is almost as good. Songs like Christ Betrayed have the best of both worlds, making this track one of my favourites.
The songs are stripped back and simplified; it’s easy for Gothic Metal bands to pile on the keyboards and other sounds/effects for quite an ostentatious sound, but Tor Marrock have gone for a basic and raw sound, (relatively speaking), making the most of the standard instruments to colour their emotive palette.
Tor Marrock are doing something a bit different with their take on Metal and this relatively short album, (36 minutes), is an individual and charismatic take on the genre.