Goddess are a Norwegian progressive Doom rock band, and this is their début EP.
Originally appearing in 2014, this is a re-released, remixed, remastered and expanded version. As this is my first exposure to Goddess, I can only assume these changes have improved The Withering, as it is quite an impressive release.
This is one song Continue reading “Goddess – The Withering (Review)”
This is the début album from Norwegian Symphonic Doom/Death band Abyssic.
Well this is an absolute monster of an album. At 79 minutes in length and featuring just four tracks, Abyssic certainly know how to provide the listener with a lot to get their teeth into.
A decent stylistic reference point for Abyssic would initially be the old Peaceville roster, with bands like Anathema, My Dying Bride and Paradise Lost all providing an idea of what the base of the band is like. Only longer and more epic, of course. Once you have this in your mind’s eye, mix in some more modern, epic funeral Doom from the likes of Monolithe, as well as a sterling Classical influence, and you’ll have a good idea of what Abyssic are getting up to here.
The symphonic aspects of Abyssic’s sound are big, bold and unashamedly impressive. Abyssic don’t hold back, and nor should they. This is a band that manage to incorporate the symphonic and Classical elements into their sound in a holistic and complete way, rather than having them just added on at the end. The music easily takes on a cinematic legendary feel and each of these long songs feels like a story. Nay, a saga.
A Winter’s Tale benefits from a huge and lavish production that allows all of the different parts of their repertoire to sound clear and crushing. Thick guitars and textured keyboards merge together with the crushing drums to provide the listener with a very engaging and absorbing listen. The songs may be long, but if you have the time to spare for them then there is so much here to enjoy.
For the most part the vocals are deep, dark growls, of the kind that are pretty much standard for Death/Doom. That’s not to say they’re not effective or don’t do their job though.
Long they may be, but these songs justify their own existence by being so damn impressive and well-put together. The band know their stuff, that’s for sure. Amazingly, given the length, these tracks don’t get boring and the lavish, lush orchestration is a constant joy to listen to, especially when combined with the heaviness of the guitars.
This atmospheric album really nails the best parts of the Death/Doom style for me, and the overwrought symphonic elements are just candy to my ears, pulling the whole thing up to another level.
Very highly recommended.
This is the fourth album from UK Doom Metal band Camel of Doom.
This unusually named band play experimental Doom Metal that contains elements of Progressive Rock, psychedelia and a bit of Sludge Metal alongside the usual genre trappings. Continue reading “Camel of Doom – Terrestrial (Review)”
This is the fifth album from Swedish Doom/Psychedelic Rock band Witchcraft.
Playing the easy-listening proto-Metal Doom Rock so beloved in the 1970s, while also incorporating wider sounds from 60s psychedelia, Witchcraft have the retro vibe fully sewn up. It would be sickening if it wasn’t so damn good.
That’s the real central point about a band like this; they really are just that good. There’s a lot of music on Nucleus, but all of it is stamped with pure quality and it soars high over the heads of most bands that try their hand at this kind of thing.
Another interesting aspect of Nucleus is that even though it positively wallows in the past, and the production embraces this, it still sounds solid, professional and tight, despite an unashamedly old-school sound in many ways. Put simply, they manage to sound huge and polished without actually being overtly so. Impressive.
I like that there’s an exploratory sound to their music, influenced by the more progressive aspects of the 70s in some ways; it feels like the band are taking you along on their own personal journey and you’re not quite sure what you’re going to see. Which is another reason why they’re so good – this isn’t just your normal Trad-Doom-by-numbers release, as there’s a lot more going on here, hidden in plain sight.
There’s a wide range of song lengths on this release, from the short to the very long. Lighter, rockier moments share space with Doomier ones and the overall impression is of a well-thought-out album that has all of its bases covered for what it wants to achieve.
The singer’s voice is charismatic and easily-likeable. His performance is first-rate and speaks of a confidence of delivery honed through experience.
Very nice. Very enjoyable.
Conan are a UK Doom Metal band. This is their third album.
If you haven’t heard Conan before – think heavy, think Doom, think crushing. They also have the album art to back this up.
Conan play heavy Doom Metal that reeks of axes and old blood. Not content with playing at only one speed, they also throw a bit of groove into the music here and there to keep things spicy, usually before descending into the slow pit of DOOOOOM for a while.
The singer’s vocals have always been slightly unusual; he somehow manages to pitch his voice as a strange cross between singing and shouting. It’s not an unpleasant style, (in fact it can sound quite powerful in places), but it’s one that always took a little getting used to, at least for me. Now that I’m acclimatized to it though, I’m glad it’s a bit different, and even jarring on occasion, as it gives the band a way to differentiate themselves from the masses.
This is a very strong album, as it could only ever be if you call your band Conan, I suppose. The songs are all very enjoyable and feature gargantuan riffs heavy enough to stomp entire cities. It’s the kind of music that you can easily get lost in, which can actually be quite dangerous as the riffs and vocals can batter and bruise if you’re not paying attention.
Another 49 minutes of crushing Doom from a band who are, at this point, experts in what they do.
Highly recommended.
This is the latest EP from Australia’s Lucifer’s Fall. They play Traditional Doom Metal.
I really liked Lucifer’s Fall’s début album; it was a definite grower. I was looking forward to listening to this new EP, but also slightly apprehensive as the low-rent cover is in stark contrast to the much better artwork adorning their album.
Of course, this is the classic “don’t judge a book by its cover” syndrome. I was fearful of some under-produced Punk/Doom abomination, (for some reason), but in reality of course the band are still crushing it with their classic take on Doom Metal.
So, apart from the cover, all of the ingredients that made their début album so enjoyable are present and correct – Traditional Doom with hints of the darker modern style, a good sound with an audible bass, loose and mournful vocals, Reverend Bizarre influences…it’s all here and I am very glad that it is.
The songs are effortlessly familiar, enjoyable and seem to roll into your ears with ease.
On this EP the band offer up three tracks spanning 25 minutes and it’s a worthy way to spend your time.
Hellhookah are a Traditional Doom Metal band from Lithuania. This is their début album.
This is Traditional Doom Metal for fans of bands like Black Sabbath, Saint Vitus, Pentagram and Trouble. The album is 35 minutes long and has 7 tracks, one of which is a Saint Vitus cover.
With both eyes firmly on the past, Hellhookah peel off the riffs that mark the style and these songs are easily digested.
I find that these songs are at their best the slower and more moody that the band play, such as on tracks like Endless Serpents.
The singer has a decent voice that does the job required. There’s no complaints in this department.
This entire album has a very authentic sound; it could have been recorded decades ago and just recently unearthed.
A not-unpleasant way to spend half an hour – have a listen and see what you think.
Happy new year, Metal fans! So let’s take a look at some of the best releases of 2015.
As usual, I’d like to include the usual disclaimers about the subjective nature of any such list, and how if I were to compile it again at a different time, it would undoubtedly look different.
With that being said, there was a Hell of a lot of good music released in 2015, and the below is just the tip of the iceberg, really.
I have decided on a top-30 this year, although it could easily have been more. Some of the other notable bands that have made it onto the list in previous versions include the following, in no particular order –
Heaving Earth, Nyx, Arcturus, The Big Jazz Duo, Unhold, Apocrophex, Below the Sun, Ecferus, Hope Drone, Unbreakable Hatred, Ancient Moon, Terra Deep, Abyssal Ascendant
Even just right here, that’s a lot of great Metal, nevermind all of the ones I’ve probably forgotten.
So, without further preamble, starting at the bottom and working our way up – I give you the Wonderbox Metal-approved Best of 2015 list…
30 – Vreid – Sólverv
Norwegian Melodic Black Metal that’s sharp, colourful, fast and full of energy and colour. Having loved their precursor band Windir, I still can’t believe I overlooked Vreid for so long. Thankfully, that is now rectified. This is atmospheric in ways that most bands merely aspire too, and Sólverv is a great listen.
29 – Infinight – Apex Predator
Infinight offer sophisticated, maturely-written and well-played Power Metal. They’re the only Power Metal band to make it onto the list this year, with Apex Predator living up to its name in some ways, as this really is a top-tier album. Infinight are all about the songs, and on Apex Predator they certainly deliver.
28 – Nervous Impulse – Time to Panic
Nervous Impulse offered up some of the most intense and exhilarating Deathgrind that I’ve heard in a good while, and Time to Panic is 36 minutes of Grade-A Grinding chaos. It’s both heavy and extreme, but still manges to find the time for song-structures and skilled writing.
27 – Flesh of the Stars – Hide
Traditional Doom Metal with an occult, sinister vibe; Flesh of the Stars are perfectly attuned to their chosen style and Hide is thick with atmosphere and memorable music. Some of the parts of this release are enough to get the hairs standing on end, and Hide is a thoroughly enjoyable listen.
26 – Forgotten Tomb – Hurt Yourself and the Ones You Love
Forgotten Tomb return with another album of Depressive Black Metal, this time with a more aggressive slant than some of their previous work. Catchy without sounding commercial, they really have honed their style to a fine killing point, and this album is definitely a keeper.
25 – De Profundis – Kingdom of the Blind
UK band De Profundis have flourished with their latest release of Death-inspired Technical/Progressive Death Metal. As a band who are striving to be the best they can be and deliver music that’s both challenging and accessible, (for the style), De Profundis succeed and Kingdom of the Blind is a firm favourite at Wonderbox Metal.
24 – Cult of Occult – Five Degrees of Insanity
A crushing, filthy display of ugly Doom across 65 minutes; Cult of Occult’s latest release is an exemplar of Sludge Metal dragged out to epic Doom lengths. This album positively drips with anti-social scorn and horrible intentions, which means we crave it all the more. We like the abuse.
23 – Sulphur Aeon – Gateway to the Antisphere
As Death Metal albums go this is simply gargantuan. Bowel-shaking vocals, monstrous riffs and mysterious, underworld atmospheres make for songs that are heavy and brutal yet still have more emotive qualities to them than most. A very impressive release from this German band.
22 – Tine – The Forest Dreams of Black
Symphonic Blackened Death Metal is quite hard to do well, but Tine have it all sewn up nicely. This is a passionate and personal release that exudes emotion and atmosphere amongst the brutality and power. If you only get one Black/Death Metal hybrid release this year then this is the one.
21 – Blaze of Perdition – Near Death Revelations
Supreme, sophisticated Black Metal art, with lashings of occult atmosphere and malevolent auras. Near Death Revelations succeeds in capturing the essence of what makes Black Metal so exciting and provocative. Blaze of Perdition easily take up the mantle of leaders and not followers on this album.
20 – Outre – Ghost Chants
More sophisticated Black Metal here, this time from Poland’s Outre. Ghost Chants is an exceptional release that combines Atmospheric Black Metal with Post-Black Metal sensibilities to create transcendental Dark Art. Upon repeated listens there’s always something new to discover.
19 – Fuck the Facts – Desire Will Rot
A veritable Canadian Grindcore institution, Fuck the Facts are always a good listen. This latest album of theirs is no different and presents the listener with a multi-faceted Grind release that demonstrates just how effective the style can be when in the right hands. Challenging and impressive.
18 – Corpo-Mente – Corpo-Mente
This is exotic, sensual music that combines Dark Rock, Trip-Hop and Electro Avant-Garde. It’s something a bit different from everything else on this list and shines all the brighter because of it. This album is a sumptuous feast of aural delights and contains so much WOW-factor it’s hard to credit. Listen and be converted.
17 – Wrvth – Wrvth
Wrvth have produced a hugely impressive experimental/Progressive/Technical Death Metal album that takes a lot of emotive qualities from Post-Metal and works them into its strange brew. An innovative and impressive release from a very talented band.
16 – Ogotay – Dead God’s Prophet
Here we have Polish Death Metal at the height of its game. Dead God’s Prophet is muscular Death Metal that has a touch of the mystical and the mysterious about it, resulting in an extremely strong album that blows away the competition.
15 – Cattle Decapitation – The Anthropocene Extinction
These veteran Death Metallers keep getting better with age, and The Anthropocene Extinction is a perfect example of how Death Metal can be true to its roots while also being cutting edge. This is 46 minutes of quality Death Metal that’s not afraid to do its own thing and succeeds because of this. Savagery and intelligence combined.
14 – Immortal Bird – Empress/Abscess
Immortal Bird are Death Metal, but only in the loosest of senses. Theirs is a more expansive palette than most bands’, with Empress/Abscess being more refined and all-encompassing of other styles than purely Death Metal. It’s an engrossing listen and indicative of so much that’s good in Extreme Metal.
13 – Winter Calling – As Darkness Falls
Polished and professional Progressive Rock that’s been a real fixture of some of my playlists; this is the kind of album that just grows and grows. Since originally writing my review of it I’ve grown to love it more and more. As Darkness Falls contains catchy and memorable songs and takes the listener on a real journey through Winter Calling’s world.
12 – Behold! The Monolith – Architects of the Void
A varied Doom/Sludge Metal release that mixes up sub-genres to create an involving album that has that special secret ingredient, causing it to add up to much greater than the sum of its parts. This is an album that has come to mean a lot to me and I hope you enjoy it as much as I do.
11 – Witchsorrow – No Light, Only Fire
No Light, Only Fire is the most enjoyable album of Traditional Doom Metal I’ve heard this year. Well-written songs backed up by a thick guitar sound means that this is a sterling release that should be enjoyed by an Metal fan. This is one I can listen to again and again and again.
10 – He Whose Ox Is Gored – The Camel, the Lion, the Child
This is a band who have an individual and interesting take on Progressive Atmospheric Doom. Theirs is music that’s rich and emotive, taking multiple influences and styles and incorporating them into a cohesive whole. The Camel, the Lion, the Child has lots of character and isn’t afraid to be itself.
Another interesting Doom Metal album. This one flirts with Traditional Doom but also injects a nastier Sludge Metal influence into things, resulting in an album that spans both styles very nicely indeed. There’s a lot of hidden gold on Absolution and this is a first-rate album.
Where can you find rabid, brutal Grindcore mixed up with a will to experiment and push boundaries? Why, wherever you find Antigama, that’s where. The Insolent is a force of nature, effortlessly combining savagery and intelligence with ease. Complex brutality for a refined palate.
Cloud Rat deliver us yet more inventive and individual Grindcore. Theirs is an experimental and surprisingly atmospheric and emotive take on the genre, but no less vicious for it. The songs have depth and intensity, and the band have proven what massive talent they have. You need Cloud Rat in your life.
6 – Secrets of the Sky – Pathway
An eagerly awaited release by yours-truly; Secrets of the Sky once again show why their Atmospheric Doom/Post- Metal is an essential listen. This aptly-named album takes the listener on a real journey through vivid soundscapes. Bigger and better than ever before.
Rarely has cloying, suffocating Sludge felt so visceral and nastily enticing. This is a gloomy, heavy, grim masterpiece of atmospheric brutality. Effortlessly combining the beauty of Post-Metal with the dirty horror of Sludge, this album has definitely become a firm favourite of mine.
Mammoth storm play vibrant, colourful Doom with lashings of atmosphere and Post-Metal transcendental qualities. I was very quickly captivated by the immensity of this album and just how compelling and engaging it is. Hugely impressive.
3 – Minsk – The Crash & the Draw
This is a hefty slice of Post-Metal that showcases a varied, multi-textural delivery, rich with evocative and emotive soundscapes. The songs seem to build on themselves until the music acts like waves, reinforcing itself. It’s easy to get wrapped up and lost in their music and Minsk should be way more popular than they are after releasing this gem of an album.
2 – Un – The Tomb of All Things
This is a dark and personal trip into the dimly-lit world of all things Doom. The album offers a dark and harrowing musical journey that you’d be foolish not to explore. The level of depth and emotion rawly on display here is staggering, and Un really have created something special.
1 – Midnight Odyssey – Shards of Silver Fade
And here we have it – top spot. This year it has been awarded to Shards of Silver Fade, which is Atmospheric Black Metal of the highest order. This colossal and epic release is a massive 143 minutes in length and every part of it is essential. Highly emotive and deeply moving, this is richly evocative music that you just can’t fail to be touched by. This is an incredibly special album that’s just exceptional and demands attention. I can’t rate this highly enough, which is why it’s my album of the year. Go and find a dark place and listen to it as soon as you can.
I wonder what 2016 will bring? I can’t wait to find out.
This is the début EP from US Doom/Stoner band Eternal Black.
Eternal Black play Traditional Doom Metal, (à la Saint Vitus), filtered through a filthy lens and incorporating an influence from bands like Down, Corrosion of Conformity, Orange Goblin and a touch of Eyehategod in the riffs.
The songs pass by with a pleasant rumbling and a companionable fuzzy delivery. The singer’s measured drawl is familiar enough to be enticing, but individual enough to carry off.
With decent grooves and an ear for a good riff, these three songs are over before you realise, despite each lasting about 5-6 minutes each.
A good, earthy sound that’s not too polished breathes life into the tracks, and all of the instruments are clear enough to be heard.
The songs are catchy, memorable and enjoyable. What more is there to say, really?
Recommended.
This is the latest EP from US Doom Metal band Yidhra.
This is Classic/Traditional Doom Metal played with passion and mystique.
The singer has a leaden presence that adds weight and charisma to the band’s delivery; his voice is darker, deeper and thicker than is usually the norm for a lot of bands of this type, and it adds volumes to the music.
The songs are well-written examples of the style that have both a modern and a timeless edge to them. They’re also gritty and earthy without losing a certain lustre.
It’s easy to enjoy these tracks and the 27 minutes on this EP pass quite pleasantly with a companionable and personable flow. The riffs and melodies the band employ are familiar without sounding stale or over-used, and the drums have got a delicious sound to them that makes them very satisfying indeed.
Each of these songs have their own personality and distinctive style, all within the overarching framework of Doom Metal, of course.
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