Stygian is a monster of dark funeral doom. Three tracks sprawl out over 45 minutes, promising nothing but glacial moods and barren hopelessness, and delivering. There are two colossal songs that bookend a shorter ambient piece. Continue reading “Atramentus – Stygian (Review)”
After a gap of eight years, legendary doom act Esoteric have returned. The band’s strain of crushing, suffocating music has lead the way in funeral doom since their first album was unleashed in 1994. On A Pyrrhic Existence they return with a colossal double album spanning 98 minutes of huge, awe-inspiring monolithic doom songs. Continue reading “Esoteric – A Pyrrhic Existence (Review)”
Featuring members of Dalla Nebbia, Mesmur play death/doom that offers the listener a little bit more than what they might usually expect to find for something with that appellation. Continue reading “Mesmur – S (Review)”
Here we have some truly ugly, colossally heavy music, the likes of which you don’t stumble upon too often. Which, for the listener’s sanity and well-being, is probably a good thing. Continue reading “Owlcrusher – Owlcrusher (Review)”
Although this is ostensibly a solo project, (from the man that brought us the mighty Aureole), it also features several session musicians and guests, (most notably from Esoteric and Svartidauði), which help to flesh out the release. Continue reading “Tchornobog – Tchornobog (Review)”
There’s a very special day approaching soon – May 6th 2017. Why is this date so important? Well, if you’re in the UK on that Saturday, it means you can get on down to the Black Cloud All Dayer in Manchester.
The lineup for the day is ridiculously strong. Below we’ll have a look at each of the bands playing in turn. With such a wealth of talent on the bill, it would be foolish to miss this. Continue reading “Black Cloud All Dayer – Preview”
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.
The track starts off with an exotic flavour; Middle Eastern-inspired music that shortly is replaced with heavy guitars in the mournful, Doom/Death style. Eye of Solitude are very good at combining the stark heaviness of Doom with the rich melodic streaks of Doom/Death.
The vocals continue to be the pitch-black growls that we know and love so much. If anything the singer’s voice seems to be getting deeper as time passes, and his performance on Obsequies is quite monolithic. Combined with the slow pace of the accompanying funeral dirge each growl becomes akin to the passing of aeons.
The middle section of the song is comprised of a piano and violin section, amiably breaking up the crushing misery of the main composition with a textured, emotive exploration of grief.
After this, the song crawls to a natural close, all emotion spent, all energy drained.
After Eye of Solitude comes the contribution from Faal. This is a track called Shattered Hope that lasts over 13 minutes. I have not heard Faal before this, but they quickly draw me in with their atmospheric Funeral Doom.
Accompanied by subtle synths, their music is bleak and suicidal, reminding of some of the older, slower material from Forgotten Tomb, only with less Black Metal and more Doom/Death; maybe kind of Forgotten Tomb mixed with Esoteric?
Dark growling vocals appear to swim in and out of the music, adding highlights to it rather than being the main focal point. Although the band have a heavy side, Shattered Hope is more about mood and substance than heaviness for the sake of it. It’s slow, miserable and easy to become absorbed in. Before you know it, the long running time is over with and you’re left with an unsubstantiated feeling of having lost something important.
A quality split of slow, mournful Doom. Press play and lose all track of time.
This is dark, misery-drenched Doom that has a harsh Sludge edge, giving the band a nasty bite.
One of the first things that strikes me about Funerary are the jaw-dropping, ultra-intense vocals. They’re mainly high pitched screams or deep growls, although that description doesn’t do them justice. The screams sound rabid and the growls sound inhuman. Either way, they make a big impression.
This is 34 minutes of mind-numbing despair and utter misery. The songs are heavy, slow and full of depressed fury. This last point is an important one; for all of the Doom and gloom on this record, Funerary have a very angry side that lends their songs an aggressive dominance over all they survey.
Funerary also know how to do subtle though. It’s a downtrodden, malicious subtle and their version of light and shade is multiple shades of black, but subtlety is still within their arsenal. As such, there’s also a side of Atmospheric Sludge to their assault, which is always a welcome addition to any band and further enhances Funerary’s sound, giving them an added depth.
Throughout the release the feeling is one of a filthy, worthless existence, one that has no merits or positive sides just different types of pain and anguish. In itself this obviously doesn’t sound very appealing at all, however, when translated into Funerary’s scorn-filled hate-sludge, it suddenly becomes very appealing indeed.
It’s a relatively varied release, taking in aspects of the main sub-genres mentioned previously, as well as elements of Drone, Post-Black Metal and Experimental Doom. Largely though, it’s an impressive mixture of Doom, Atmospheric Sludge and feedback-laden nihilism, like a cross between Primitive Man, Esoteric and Khanate.
I strongly suggest you get a dose of Starless Aeon.
This is music that will probably be dismissed by a lot of people as not being immediate or conventional enough. Their loss.
How to describe Anatomy of Habit ? The share a similar very individual stylistic space with bands such as Swans, Neurosis, Fantômas, Burning Witch, Skullflower, etc. This is music that’s slow, Doomy and with lots of personality.
The vocals are a large part of the personality of the band. That’s not to denigrate the music of course, as this definitely has its own flavour, but vocally we’re in territory that’s reminiscent enough of Mike Patton to be instantly recognisable and familiar but not too similar so that it sounds like a rip off or bad copy. Couple this with an Avant-Garde feeling akin to Manes/Arcturus as well as the odd harsher scream and you have a performance that puts most singers to shame.
There are two tracks here and both of them are very finely crafted examples of how you can play Post-Metal and really have your own sound. Both are over 20 minutes long.
Radiate and Recede is a Drone Doom epic that is as hypnotic as it is powerful. I really love this kind of crawling, quirky, slowness that’s repetitive enough to become engaging but dynamic enough to keep the interest. It finishes with an extended Doom workout that would do Esoteric proud before the main vocals end it totally.
Second track Then Window continues the stylistic theme developed in the first song but with a slightly different spin on it. We’re still in Doom territory but the music is slightly more colourful and upbeat in a way that’s still subtly sinister.
Taken together, Ciphers + Axioms is a very enjoyable album that allows a creative band to flex their musical muscles in a worthwhile and involving way. They really have crafted a remarkable album.
I love music that’s a bit weird, a bit different and yet still remains a bloody good listen. Anatomy of Habit fit this description perfectly. They get a big thumbs up from me. Well done!