Doom – Page 147 – Wonderbox Metal

Interpreter – Introspection (Review)

So what do we have here then? Some sort of Black Metal/Post-Metal/Sludge album? Actually it’s kind of hard to say. Elements of all said genres, and more, make up this impressive album.

Too fast to be merely Doom; too metal to be merely sludge; too aggressive to be merely Post-Metal; too encompassing of other genres to be merely Black Metal…I could go on. Suffice to say that for all its variety it still retains a cohesive identity that marks it out as a Metal album, so as far as genre goes maybe that’s enough.

Almost every track brings new surprises – a different style of vocals here; a change of pace and style there – but it all flows together into a seamless whole that delivers a very complete, very diverse and weighty collection of songs. The vocal styles range from throaty shouts and growls to Black Metal shrieking; it’s all here. Interpreter were previously unknown to me and as such I did not expect this release to be of such outstanding quality. But it is. Oh yes.

Fusing the best of the Sludge, Post-Metal, Doom, Black Metal, (etc.) genres into a seamless whole, Interpreter are like the proverbial breath of fresh air. A top quality recording job rounds this release off nicely and i can only add to this review by heartily recommending you get this as soon as you can.

Not for the average.

Abbotoir – MCMXV (Review)

Sometimes music can seem more than just music – sometimes it seems like a force of nature. MCMXV is like that. Only two tracks, but over 50 minutes of music. Heavy, colossal, doom. This is the début album by this Irish doom band. Their first release was an EP (XLI) which whet the appetite nicely and this album follows hot on the heels of that.

Their style of doom is a filthy, dirgy, primal one. Primarily slow, (obviously), but not afraid to mix it up now and again in true sludge fashion. Indeed; both songs have their faster moments, but even these are covered in grime and filth, and the atmosphere steadfastly remains one of decay and neglect, further enhanced by the effects in the background of the primary instruments.

This is an album that will only improve with time. The repetitive nature of some of the dirgy riffs burrows into your subconscious and refuses to leave. A most welcome, if rotten, earworm; loudly insisting that you return for more foetid delights in the dank recesses of the Abbotoir.

With this release Abbotoir have proved that they are not one-(bong)-hit wonders and instead are capable of carving a niche for themselves in the doom scene. And I, for one, hope they continue to do so far some time to come.

Bismuth – The Eternal Marshes (Review)

This is a little something for all those who worship at the altar of sloooooow. Almost a UK version of Burning Witch/Khanate; the basic template should be familiar to anyone into this kind of doom, although Bismuth inject enough of their own personal brand of misery and woe into the music to differentiate it from their peers.

This is a one-track release lasting 16 minutes and every single minute is a hymn to distortion and doom. Bass, drums and tortured screeching.

Slow and agonised; the music drags itself into the darkest corner of your forgotten fears and festers, waiting patiently and growing all of the time. Occasional screams of growing pains punctuate this hidden time bomb of malignancy like something trying to escape, but ultimately realising the futility.

This is doom. This is slow, bass-heavy, doom. There is nothing else.

Caves of Glass – Caves of Glass (Review)

Ever wonder what would happen if a band like Vinterriket stopped playing their brand of atmospheric ambient Black Metal and instead started playing atmospheric ambient Post-Metal instead? Of course you have. Well wonder no more! The result would probably sound much akin to Caves of Glass. This is my initial impression at any rate and it serves as a useful starting point for their sound.

From fuzzed up heavy riffing, to classical instrumentation, this is a varied and complete journey into feeling and effect. Heavy guitars meet Moby-style effects and ambience to chilling effect; all wrapped up in the type of recording normally reserved for Black Metal; good but grimey. This is beautiful music not afraid to get mired in the sludge. The vocals as well cover all points – clean, growled, Vinterriket-style almost-too-high-to-hear-screeching…very impressive.

This is a collaboration between members of about 6 different groups, so that would presumably account for the variety on offer here, as well as just how well everything fits together. All members obviously know what they are doing and must work well together as the songwriting and grasp of dynamics on display certainly equal the best of the Post-Metal bands around today. Some of the parts of this album are just hair-raising. They are seriously that good.

This is a band that takes you on a journey through darkness and light, aggression and peace. An album for people who enjoy the distance travelled as well as the final destination. An album that grows and gets better with repeated listens. An album that has a lot to offer open minds and adventurers in sound.

I came across this band essentially by accident – it was recommended to me via Twitter. Now I’m recommending it in turn. You won’t be disappointed.

Favourite track: Barren Earth

Rosetta – The Anaesthete (Review)

I’m a big fan of this so-called post-rock/post-metal genre. There seems to be no end of talented bands with great ideas out there. Rosetta are one such band. They have existed for quite long (relatively speaking) but have never quite reached the same level of recognition as their peers, (Isis, Cult of Luna, Neurosis, etc.), despite being of equal pedigree.

I have enjoyed all of Rosetta’s albums over the years but I have to say this is a strong contender for their best. Compared to a lot of ‘normal’ bands the songs may still seem quite long, but for this genre they are a bit shorter than normal – indeed on this album Rosetta appear to be tighter and more concise than in the past, much to their benefit.

The sound on this album is perfect; everything sounds crisp, clear and the drums hit like earthquakes. Nothing sounds sterile or dry though, and the sound is the absolute right one for the album to come across like a living, breathing force of nature. The songs are full of feeling and atmosphere, with plenty of great melodies and ideas.

If you haven’t heard Rosetta before then you should get this album. If you have heard them before then why haven’t you already got this album?

Monolithe – Interlude Second (Review)

Another solid release from Monolithe. They really do play some exceptional doom. After recently getting their Monolithe II album I knew this was going to be good and I was not disappointed.

If you have not encountered Monolithe before they play crawling, mysterious Doom with an emphasis on the heavy.

This is only a two-track EP ‘interlude’ between their main releases, but there is still over 36 minutes of music here – all of it of a high quality and well worth a purchase. Monolithe are not a band for everyone – the repetitive drone-esque heaviness will just be more than some people can stomach. Never-the-less; devotees of all things slow will find a goldmine of doom to be found in their work, and this EP is fitting as a good introduction to the band and as preparation for the doom-a-thons that are their albums.

Interested? Have a listen and then hop over to Bandcamp to get it – it’s currently only €0.50 and an absolute steal at that price.

Bongripper – Live at Roadburn 2012 (Review)

My first concern with any live album is the sound quality. Thankfully there are no concerns here as the sound is, frankly, brilliant. Everything is clear, warm and the album has a big sound. And when I say big, I mean massive, as Bongripper play all-massive, all the time.

This is a recording of their 2012 Roadburn Festival appearance where they actually played two sets – both of which are included here. If you have never encountered Bongripper before then you are in for a treat. Here they are in all of their visceral glory.

They play absolutely huge doom, with giant fat riffs crawling and shattering around all over the place. There are no vocals to interrupt the flow of these hymns to all things doom; rather the music itself takes you on a trip through waves of sound and crashes all over you leaving you shocked and stunned by what just happened.

At over two hours in length this is not for the faint-hearted. It is, however, worth it. This is something to put on and get absorbed in, and watch your day just drip away as you get lost in the colossal riffs and feedback.

Play loud. Very loud.

Eye of Solitude – Sui Caedere (Review)

UK-based Eye of Solitude play slow, dirge-y funeral doom. Imagine a band like Esoteric only with some Paradise Lost-esque riffs/melodies, topped off with some very nice vocals. Ahh yes; the vocals. The vocals are absolutely relentless – pure, deep, utterly uncompromising growls. The vocals fit the music perfectly and almost act as another instrument used to flatten the listener with their oppressive aural assault.

As well as the slow, crawling, very-heavy nature of the music, Eye of Solitude display a welcome grasp of songcraft and melody. This means that the songs don’t get boring or outstay their welcome, as well as having an emotional content which enhances the general feeling of the album to the point where even on the first listen you know that this is going to be a ‘grower’ of an album; the more you listen to it the better it gets.

Interspersed with all of the heaviness are also some quieter, more introspective moments that allow the listener a brief respite before being steamrollered once more by the crushing doom on offer here. It all works very well. “A Note to Say Farewell” is a great example of this.

This is the kind of album I can just sit back; turn up loud; and just let the soundscapes wash over me. The sheer feeling of the tracks on display here; the combination of songwriting, melody and atmosphere that gives the album something special and definitely makes it stand out from its peers.

Highly recommended. If you even vaguely like this genre of music then you will enjoy this band.

Generation of Vipers – Howl and Filth (Review)

Featuring members of more prominent bands; Generation of Vipers play a brand of ultra-filthy sludge, that seems wrapped in layers of grime so thick and dense it’s impressive. Somewhere; lurking under all of this murky heaviness, the vocals strain to get through. Agonised screams and tortured verbalisations that are strangled and dragged down by the weight of the oppressive sludge.

This is an album aimed at the true devotees of doom and sludge; for those who are willing and eager to brave the extremes of sonic heaviness. Even though there are six separate tracks on this album it’s more like one big journey, one made by wading through the filth. This may not sound particularly appetising to some, but if you like your sludge then you know for this brand of music it’s a very good thing indeed.

Give this band a go – there’s a lot of treats to be had in those murky depths…

Night Heir – A Maze of Evenings (Review)

Atmospheric metal from the US. There is plenty of variety and individuality on display here, with varying styles from Black Metal to Doom, and everything in between. The band are not afraid to experiment, so you’ll find plenty to hold the interest on this album if you like your metal with a touch of the Avant Garde/experimental.

I also notice what seems to be an In The Woods… influence, so if you imagine a band like In The Woods… with extra Black Metal, Doom, Folk, etc. parts thrown in you’ll be on the right lines.

This will not be to everyone’s tastes of course, but if you are in the right mood then stick this album on and relax, zone out and just get swallowed up in the atmosphere and the journey.

If you’re looking from something a bit different then give them a listen – you won’t regret it!