Doom Metal – Page 65 – Wonderbox Metal

Decembre Noir – A Discouraged Believer (Review)

Decembre Noir are from Germany and play Depressive/Doom/Death Metal.

This is a release dripping with emotion, raw and bloody. The songs are instantly recognisable as carriers for the dark disease of misery and hopelessness.

They take their cues from bands such as early Opeth, Katatonia, Paradise Lost and My Dying Bride. They build on this classic template by injecting their own vital sense of songwriting into the mix and effectively breathe life into a subgenre that can easily become stale and overdone in the wrong hands.

Decembre Noir know what they’re doing though. The crisp and powerful production meshed with the emotive riffs and the highly accomplished growled vocals mean that this is no amateur piece of work.

The tracks summon up their negative energies and deliver them with a strong Metal wrapping that can easily hold its own.

And just when you think you’ve got them down, the last song Escape to the Sun throws up some gorgeous clean male/female vocals in a gloriously luxurious section. It’s brief, and all the more special for it.

The band take the listener on a journey through melancholy conveyed via the medium of Metal, and what a trip it is.

Decembre Noir have that certain special something that the bands mentioned above all have/had in abundance. Get your ears around this one, it’s a keeper.

Pilgrim – II: Void Worship (Review)

Pilgrim play Doom Metal and come from the US. As the name suggests, this is their second album.

The band play a classic form of Black Sabbath-inspired Doom Metal that has a vaguely retro feel, but not overly so like some bands of this ilk.

Pilgrim have an epic feeling to their songs, but not in the same way that Power Metal can be epic, or Black Metal can be; this is more in the form of a terrible majesty and awesome horror, frightening but enlightening to behold. The tracks definitely have that otherworldly feeling.

The vocals are highly accomplished and are stronger than the average for this kind of band; the singer has range, depth and nuance.

The second song Master’s Chamber is the longest and my favourite of the 8 tracks on offer. It is slow and steady; a winding collection of gargantuan riffage that could move mountains with its heaviosity and burn heavens with its occult aura. This isn’t merely Doom, but DOOOOOOOM!

It’s important enough to say again.

DOOOOOOOM!

That’s better.

This album’s a bit of a belter really, the kind of album where the riffs suck you in, slooowly chew you up and slooowly spit you out. Slow isn’t their only speed and they know when to raise the tempo and rock out a bit when the mood is right. And you’d better get out of their way because when they do they mean business.

Pilgrim rule.

Obelyskkh – Hymn To Pan (Review)

This is the third album by Germany’s Obelyskkh and they play Doom that’s crushing and visceral.

They have an extremely full, heavy sound; like they’re about to birth a special kind of monster into the world.

As well as super-heavy Doom they are also adept at adding a bit of melody into the proceedings to further the depth and richness of their sound. I particularly enjoy these moments in The Ravens where it reminds almost of Agalloch.

Take the Pagan side of Agalloch, mix with some Post-Metal Neurosis elements and wrap in some demolishing Doom and you’re close to the Obelyskkh sound.

The vocals are very impressive; powerful, strong, forceful, full of charisma and with good range and variety – not a weak link to be found.

Importantly these are not just collections of riffs they are actual songs, with plenty of hooks to grab the listener and draw them close. They are, dare I say it, catchy in a lot of ways.

Each track is expertly constructed and well thought-out; designed to create a highly impressive collection of Doom that’s damn near essential for anyone with even a passing interest in this genre.

Compared to most bands this is an album that’s on another level entirely. Prepare to meet one of your new favourite bands.

Stoneburner – Life Drawing (Review)

Stoneburner are a Sludge/Doom band from the US and Life Drawing is their second album.

The band combine aggressive Sludge with minimal Doom in a pleasing and refreshing way, taking elements of the masters such as Eyehategod and Neurosis and combing them with an eclectic mix of bands like Electric Wizard, Warhorse and even a splash of Isis on occasion.

They have a punchy, buoyant sound for a group of this type, with the guitars seemingly larger than life and ready to pop out of the speakers at a moment’s notice. For all this vibrancy however theirs is a filthy sound, mired in dirt and caked in sin.

The vocals are low-in-the-mix rumbles that sound as if something lurking just underneath the surface is threatening to break through and wreak havoc, yet is restrained by the thick, syrupy music.

The songs are free form expressions of the darker side of life where not everything works out in the end. The album cover is quite evocative and one can imagine this album chronicling the life and times of the figure in the painting. Which is possibly why the album sounds so bleak, yet with moments of uplift; even in a drab life there are moments of colour. Of course the actual lyrics are probably about something completely different, but this is my impression and it seems to fit the mood of the album.

At over 66 minutes in length this is a long and rewarding journey through a damaged life that culminates in the final, epic track The Pheonix. A moment of hope as the final curtain falls? Maybe.

Music to captivate and absorb.

Buioingola – Dopo l’Apnea (Review)

This is the début album by Italian atmospheric Doom band Buioingola.

The vocals sound like someone shouting into a bucket and are strangely effective for this. They are set to a backdrop of apocalyptic Doom that wells up with despair and loss to the point of overflow.

The darkly melodic guitars speak of a deep dissatisfaction with the way things are, while the generalised aura of suicidal fragility permeates everything. Even when the band play more up-tempo the atmosphere is still very much down-tempo. In this regard they are not dissimilar to Deinonychus with their all-pervading mood of misery.

The icy feel of the riffs seem to leech all life and energy out of the room as you’re listening to it, drawing you further into the web of negativity that the band conspire to propagate.

Sorrowful guitar melodies, distorted noise Industrial effects, Post-Metal meanderings and some Hardcore/Crust bravado all added to a Doom core and an all-encompassing air of gloom mean that this is a heartfelt journey into someone’s bleakest nightmare.

Apparently Buioingola means “darkness in my throat”. Sounds about right to me.

A recommended listen.

Dread Sovereign – All Hell’s Martyrs (Review)

This is the début album from Ireland’s Dread Sovereign and they play Traditional Doom Metal.

At 67 minutes this is an epic album full of True Doom that is executed to perfection by people with an obvious mastery and love for the genre.

The singer is none other than the singer of Primordial, so you know the vocals are not going to be a let down. As usual his very characterful voice is on fine form and it adds a singular amount of personality and drama to the tracks.

The songs themselves are exceptionally well composed, with lots of stand-out moments. They have a real strength about them and feelings of grandeur and Doom majesty abound.

The album is chock full of prime riffage and they utilise both overtly catchy riffs and more subtle, insidious ones. On occasion they also use extra effects to highlight certain sections increasing the overall effect of the songs.

All Hell’s Martyrs is both a slow burner and an instant win; the best combination. It’s strong enough that it comes across straight away as an obviously special record, but it has enough depth and longevity so that it won’t simply be forgotten in a month or two. Part of this is down to the striking, expressive vocals, but it’s in large part to the master-crafted songs that are expertly put together.

Doom Metal has a new great and terrible leader. Lower your heads in reverence.

Ogre – The Last Neanderthal (Review)

This is the fourth album by US Doom/Heavy Metal group Ogre.

This is 70’s inspired Metal combining Hard Rock and Traditional Doom into a retro package with a healthy, organic sound.

The songs have a heady atmosphere and personality by the bucketful. The singer wails and croons over the top of unrestrained guitars and drums that sound very natural.

The band as a whole generally try their best to capture the essence of early Black Sabbath and the songs match accordingly. This is not simply some copycat band however as the album makes sense on its own and has more than enough merits to warrant its existence.

Alongside the hefty guitars the songs have a Blues Rock vibe to them that lets them dig into a comfortable slow groove until they spend themselves in a state of blissful satiety.

When the riffs are pumping and solos are blazing this is life affirming music. Feel the Metal and use it to club your enemies, Ogre-style.

Disenchanter – On Through Portals (Review)

Disenchanter are a US band who play slow and monolithic Doom.

There may be only three tracks on this EP but at 31 minutes in length it has plenty of substance.

The riffs meander and roll in true Stoner fashion and the psychedelic guitars cruise over a bedrock of bass with the drums bashing alongside.

The first track Journey To Abydos – Moon Maid puts in an impressive 8 minutes or so of work before the vocals even kick in, and when they do it’s like a shot of adrenaline into the system. Prior to this the relentless guitars, seemingly coming on in waves, pushes you into a semi-trance-like hypnotic haze of psychedelic bliss, and when the singer’s powerful vocals slash through your reverie like a hot razor blade, it’s somewhat of a wake up call.

And oh what a good voice she has. Powerful and strong yet still with a feminine and gentle edge. Like a crystal clear diamond sailing through a sea of roughened musical waters.

After this rather impressive first track the remaining songs Invoke and Into Darkness do not disappoint either.

Invoke has a more sedated start like a light breeze but quickly building up into a fully-fledged storm before spending itself early. After this it starts to build momentum once more, only gradually this time. The song is an exercise is build and release, build and release, before peaking at the end. Sexy stuff.

Into Darkness is a lumbering Doom colossus with the singer’s flawless vocals soaring over the top of gargantuan riffs.

This should be eagerly snapped up by all Doom connoisseurs everywhere. A big thumbs up!

Nidra – Coma (Review)

Russian band Nidra play Depressive/Funeral Doom with a Blackened atmosphere thrown in for good measure.

Bleak, doleful melodies softly cover this album like a deathly blanket. Solemn musicality frames every note and the threat of melancholy is never far away.

Nidra conjure up this atmosphere through the standard Metal instruments as well as keyboards, effects and pianos. The overall effect is quite satisfying as this genre goes and Nidra peddle their woe well.

The vocals have good variety, alternating between growls and cleaner singing, all in keeping and time with the mid-paced sombre funeral marching of the songs.

As a bonus there is also a rather excellent Blut Aus Nord cover on the end of the album.

A good release that allows you to wallow in the darkness without being swallowed by it. It may paint a bleak portrait but it’s one worth looking at.

https://www.facebook.com/Nidraproject

Mammoth Salmon – Call of the Mammoth (Review)

This is the latest EP from US Stoner Doom band Mammoth Salmon.

The riffs are chunky and full of substance; you won’t go hungry for heaviness here as the band have a nice organic sound that shows off their Doom-laden platter and allows all-comers to gorge on their ample treats.

The first song Dark Descent is an instrumental slow burner of monolithic and classic Doom Metal that crushes the listener in grand riffs before devolving into almost space-age noise and bleeps, then suitably recovering itself for the end of the track.

It’s only on the second song In Constant Shadows that we get to hear the vocals; powerful dirty-cleans that are belted out with strength and passion and fit perfectly with the warm, living sound of the rest of the band.

Each of the songs has a vibrant central core, wrapped lovingly in an earthy embrace of colossal riffs and songwriting know-how. Each track sounds lived in and worked on by enthusiastic hands and wise minds. Laid-back and easy going, but heavy and relentless; not a million miles away from what I imagine Bongripper would song like if they had a singer and shorter songs.

At 27 minutes the band have well and truly captured my attention with their considerable skills. A recommended listen for sure, and here’s hopefully to an album in the future.