I was drawn to this album by the enigmatic album cover, and then reeled in by the description of the music – “an ambitious, qualitative blend of thick doom, dreamy instrumentals and layered vocals.” Continue reading
From the blurb – “An EP about anxiety, depression and crippling, petty envy.” So now you know. Continue reading
The band have in interesting and individual take on music, fusing elements of Doom, Progressive Rock, Shoegaze and Psychedelia, into a tight ball of Progressive Atmospheric Doom, (for lack of a better term).
This is music that uses Doom as a base and adds Progressive Rock and Shoegaze elements to it to create something a bit different and a lot special.
The music has multiple vocal styles, delivered by both male and female singers. These are diverse in delivery and used sparingly as necessary to complement the needs of the songs. Frequently understated, but always relevant, the vocals act as additional instruments used to enrich the music further.
Synths are employed to enhance the already well-textured songs and allow the eclectic music to have a firm, emotive foundation on which to build their diverse music.
This is highly textured music that plays with mood and emotions freely and easily. There’s a resplendent Post-Metal quality to the music that rubs shoulders with the grittier nature of the Doom influences and harsh male screaming, as well as the in-the-background-but-essential-anyway nature of the synths.
The Camel, the Lion, the Child is an exemplar of individualistic music done right and a shining example of a band ploughing their own path through the overburdened musical scenery. If you like music with a lot of character that isn’t afraid to be itself then I heartily recommend this album.