Doom Metal – Page 56 – Wonderbox Metal

A Dream of Poe – An Infinity Emerged (Review)

A Dream of Poe are from Portugal and play Doom Metal. This is their second album.

This is Traditional Doom Metal that’s rich of texture and hue, laced with a subtle Gothic influence and plenty of majestic melodies; think My Dying Bride-esque.

The singer has a charismatic voice with just the right amount of drama added to the performance. He adds a lot of colour and flavour to the tracks and acts as a focal point for the misery-drenched music.

The songs are long, drawn-out explorations of beauty and tragedy, coming across as chapters in an epic tale of loss and woe.

Subtle keyboards underscore the emotive themes while the guitars provide a bedrock for the evocative atmospheres to attach themselves to. The songs are slow, moody and full of dark feelings.

Each track takes its time to get where it’s going and there’s no impetus to make things hurry along; this is a very good thing as the relaxing pace of the music is quite hypnotic and it’s easy to just switch off and absorb this album.

This is 56 minutes of quality Metal. Highly recommended.

Flesh of the Stars – Hide (Review)

Flesh of the Stars are from the US and play Doom Metal. This is their début album.

Taking their cues from bands such as Sleep and Black Sabbath, Flesh of the Stars play Traditional Doom Metal with an occult, sinister vibe and 70s accoutrements. Throw in a few elements of bands like Electric Wizard and Ice Dragon and you have a hugely impressive début that is head-and-shoulders above most who attempt this style.

And that’s the thing in many ways; this kind of music has been absolutely done to death, but Flesh of the Stars play it so damn well it’s hard to care. The level of songwriting and dark atmosphere on this album is downright freaky in itself. Surely they’ve sold their souls for these songs?

Out of these seven tracks only four of them are actual songs, so Hide leaves you hungry for more. It’s an addictive release as it’s so very easy just to start playing it again once you’ve listened to it; the hallmark of a great album.

The band create an impressive atmosphere with their music and there are some genuinely creepy/eerie moments on Hide. The interplay between the, (largely), restrained, introspective vocals and the fuzzy guitar is perfectly judged and everything fits into place where it should.

Well, I can’t say enough nice things about this. It’s always great when you discover a band who seem so perfectly attuned to what they’re doing that it’s a genuine pleasure to listen to. This is especially true when the band isn’t actually doing anything different or ground-breaking; Flesh of the Stars are just so massively good at what they do that it’s probably immoral.

Essential.

Favourite Track: Grim Baptist. Well, what a stunning song!

Organ – Tetro (Review)

Organ are an Italian Doom band. This is their début album.

Organ play a merging of Doom, Sludge and Psychedelic Metal.

A colossal, crushing sound heralds Tetro’s beginning, and this is a theme which is developed throughout. They’re not without their introspective moments, but the overall emphasis is on heavy atmospheres.

Speaking of atmosphere, Organ have it in buckets. Or rather, waves, as the onslaught of heaviness seems to internally generate its own ecosystem which bleeds out of the speakers like controlled tsunamis of density.

Relentless, repetitive rhythms drive the music forward, while dark vocals seem to lurk just beneath the surface. Harsh screams and cleaner vocals both have a place on this record, although the singer’s voice is used like an additional instrument to merely enhance the power and focus of the main musical maelstrom.

A roiling, churning beast of an album. It’s relatively short for this kind of release at ‘just’ over half an hour in length, but it packs a lot of punches into that time and Tetro is a very worthwhile listen for anyone into layered, atmospheric Doom.

For fans of Om, Electric Wizard, Sleep, Yob, In the Company of Serpents, Ufomammut, Generation of Vipers, etc.

Hooded Menace – Darkness Drips Forth (Review)

This is the fourth album from Finnish Doom-laden Death Metallers Hooded Menace.

Hooded Menace are well-known for playing Death Metal that’s heavy on the Doom influence, and just heavy in general. On this latest release this is taken to its logical conclusion, and the four songs on Darkness Drips Forth really blur the line between Death and Doom Metal, so much so that this is equally for fans of Incantation as it is for Esoteric.

The shortest song here is just under 10 minutes in length, with all tracks being stretched out to their maximum capacity for crawling, sinister, evil Metal.

Dark melodies creep into the thick, crushing music so that the band really foster the ancient Death/Doom influences that sit at the core of music like this. It’s not as overpowering or centralised as some who play similar styles though, allowing the heaviness and pure dirt of a band like this to remain at the fore. Old-school Anathema/Paradise Lost/My Dying Bride fans will be proud.

The singer’s cavernous growls are slow and drawn out, keeping pace with the unhurried music and reminding everyone that ultimately this isn’t pretty music; this wants to drag you down into the murk and consume your soul.

When they’re not playing at a snail’s pace the band have a rhythmic quality to them that’s almost Rocking, albeit one that’s coated in filth and grim intent.

These songs are veritable slabs of monolithic Metal, seemingly passed down through the ages in sealed tomes of forbidden lore, only to be discovered and unleashed by Hooded Menace. Each one is an impressive foray into Doom/Death, only much more malignant and nasty than a lot of the style normally is.

Highly recommended for both Doom and Death Metal fans alike.

Phased – Aeon (Review)

Phased are from Switzerland and play Psychedelic Doom Metal. This is their fifth album.

Phased are a familiar proposition in many ways. Taking the blueprint of a band like Electric Wizard, they proceed to play 44 minutes of music that’s similar enough to what we’re used to so that it’s instantly welcome, but with enough individuality to ensure that they’re not written off as a mere copy.

As with most things to do with music, this is subjective of course. For me, although this release has enough familiar markers from bands like Electric Wizard, Warhorse and, (to a lesser extent), Black Sabbath that it feels like an old friend, it also retains its own identity enough to be a worthy listen. In fact, if you cross Electric Wizard and Warhorse, you have a good idea of where Phased are coming from.

Understated, strangely-inhuman vocals act as just another instrument and can almost be overlooked as you get caught up in the riffs and confident melodies. Having said that, the overall impact of the songs would be lessened without them though.

The laid back, confident swagger of the Doom riffs and the general vibe of easy-going Space Rock is a beguiling combination. It’s hard not to like a band like this when they lock into a hypnotic groove.

So, will Phased do it for you, or have they missed their mark? Have a listen and see what you think.

Mammoth Storm – Fornjot (Review)

Mammoth Storm are from Sweden. This is their début album and they play Doom.

Thick, heavy guitars, groove the size of tsunamis and colossal riffs? It can only be Mammoth Storm’s first album. This is heavy, ponderous Doom with a juicy Stoner streak running deep through it.

Charismatic vocals extend out over the songs, animated just above a drawl to provide focus and character to the gargantuan riffs and huge beats.

The guitars are a definite selling point of this music, as the heavy rhythms are meaty as Hell, while the more fragile leads almost have a Post-Metal transcendental quality to them. These are anchored in place by the more earthy guitars so that they remain firmly a part of the music.

The combination of the droning, repetitive nature of the rhythms and the exploratory, unbounded leads make for songs that form a soundscape of textures, writ large in Doom. The vocals cement the idea of a journey through this soundscape, guided by the album art and propelled endlessly forward by the understated-yet-essential drums.

Atmospheric layers are built with ease, immersing the listener in the moods and feelings that the band wish to evoke. It’s extremely effective; it’s easy to slip into these songs and lose yourself in the band’s emotive performance.

This is a substantial début in more ways than one, with the band creating a conceptual storyline to accompany the weighty music. At 55 minutes in length there is a lot of content here to enjoy.

I think this album is pretty much a must-get for any fan of Doom Metal. Check it out.

Disenchanter – Strange Creations (Review)

This is the début album from US Doom Metal band Disenchanter.

Having enjoyed their previous EP On Through Portals, this album is a welcome chance to catch up with the band and see how they have taken advantage of having a full-length release.

Well, here we have 55 minutes of quality music; on this release the production is heavier and more professional, the playing crisper and tighter without losing their easy-feeling style, and the songwriting skills have been honed to a fine, sharp point.

Disenchanter play Doom Metal with a good Stoner component, which means that the songs almost roll out of the speakers with an easy confidence and a self-assured air.

The singer has a rich, powerful voice that seems to have a natural presence all of its own, irrespective of the warm, heavy riffs that frequently accompany it. Her voice is strong and compelling.

My favourite tracks are the longer ones, which take their time to build and explore their musical horizons more than their shorter, more upbeat brethren.

Female-fronted Doom Metal is something I’ve been enjoying more and more recently and Disenchanter are a really good example of why.

Recommended.

Livid – Sint (Review)

Livid are a Doom Metal band from the US. This is their début release.

Featuring two tracks and a running time of 23 minutes, this is a murky, dirty introduction to a new band that shows a lot of promise for the future.

Monk-like clean vocals, huge, Sludge-drenched riffs, warm, earthy drums and a nasty, filthy bass sound mean that Livid easily have what it takes to make a mark.

The music is divided into two parts. On the first, we’re introduced to Livid’s hypnotic, trance-like qualities that they inject into their music, borne out of the repetitive dirge of the low and lazy riffing style and wandering drums.

The vocals sail above the other instruments, a sharp contrast to the rough, Sludgy music. It’s almost as if they’re completely separate from it; untouched by the filth, decay and disease of the underworld. They’re clean in every sense of the word, like angels flying above daemonic undercurrents. It’s a beguiling juxtaposition that shouldn’t work, but it really, really does, adding to the hypnotic nature of the tracks.

As the music crawls to a close after 14 minutes, it’s time to hand things over to the second part. How does this differ from the first? Well, at just under 9 minutes it’s a bit shorter, but it also differs slightly in pace and mood, as this track is more mid-paced and lively, although this is all relative, of course, as it’s still Doom Metal.

The vocals are similar in style to the first track, albeit not quite as detached and separate. They do their job amiably, however, and the song as a whole still retains a hypnotic groove.

Livid have created something quite enjoyable here. Give them a listen.

Tyranny – Aeons in Tectonic Interment (Review)

Tyranny are a Finnish Funeral Doom band and this is their second album.

Now this is the stuff! Agonisingly slow Funeral Doom, crawling out of a long-forgotten crypt to infect the living with its venomous being.

It’s instantly enjoyable, how could it not be?

Dark atmospherics are provided through a combination of slow-warped guitar melodics and keyboard enhancements. They work together to bring the songs to a crippled, disturbed and miserable life. Bands like this are all about the atmosphere and mood, and Tyranny have bucketloads of the stuff.

There’s an almost tangible emotive veneer to the songs here. It’s like you can reach out and touch the misery. The music is so coated and soaked in despair and lost causes that it makes you wonder how the band members ever function in what we laughingly call real life at all.

The vocals are as deep and as dark as the music, with each growl seeming to stretch back in time over aeons. Perfectly matched to the music, the vocals are just another instrument, drawing out the depressive moods with cold, uncaring growls or eerie chants.

Aeons in Tectonic Interment is an exemplar of the style. Colossally crushing and hypnotically bleak, it does exactly what Funeral Doom should do; completely absorb the listener in the music and transport them to a dark, lonely place of torment and woe. Because, you know, that’s what we want from this kind of music. Oddly. But it’s true; this is an album it’s easy to lose yourself in, and I imagine that their live rituals are amazing.

This is one of the best Funeral Doom albums I’ve heard in quite a while. They know the sub-genre inside out and everything on this release is perfectly designed to attain the desired end results.

So close the doors, turn off the lights, put the music on and turn it up; Tyranny are your soundtrack to anguish, and we love it.

Witchsorrow – No Light, Only Fire (Review)

This is the third album from UK Doom Metal band Witchsorrow.

Witchsorrow are a Traditional Doom Metal band and No Light, Only Fire has all of the requisite ingredients that you would expect from this particular sub-genre. What sets it apart is a feeling of real darkness that infuses the songs, and the fact that the songs themselves are pretty damn good.

It’s well-recorded and packs a punch; none of this retro-worship, fake-authentic throwback sound for Witchsorrow. That’s not to say that No Light, Only Fire is over-produced or hyper-polished; it isn’t, it just has a very strong sound that allows the band to land with a thump.

The songs are, (largely), slow-to-mid-paced affairs that play the long game and really go in for some atmospheric occult misery, as well they should. The main exception to this rule is the first track There Is No Light Only Fire, which is more upbeat and traditionally Heavy Metal in its approach, before the more crushing Doom of the next song The Martyr kicks in.

The songs have character and charisma, and come across as prime Black Sabbath-esque songs, unearthed from a secret stash and recorded fresh in the present day. Witchsorrow appear to have gone to the Doom Metal source and made secret pacts with the same dark figures that gave Black Sabbath their powers.

So what if you’ve heard it all before? This is a damn good way to spend 64 minutes and Witchsorrow have made a firm fan out of me. What say you?