Slomatics are a doom metal band from the UK and this is their seventh album.
They’re heavy, they’re doomy, they’re Slomatics. This is a band that I really, really like. Haven’t heard them? As well as this new record, make sure you check out Future Echo Returns, Canyons, and their splits with Mammoth Weed Wizard Bastard/MWWB and Yanomamo. Continue reading “Slomatics – Strontium Fields (Review)”
This is the fourth album from international funeral doom band Mesmur.
Following on from 2017’s S and 2019’s Terrene, Chthonic provides us with 48 minutes of new material from Mesmur. Spoiler alert: it’s the band’s best album yet. Continue reading “Mesmur – Chthonic (Review)”
Green Yeti are a Greek psychedelic doom metal band and this is their third album.
Yes folks, it’s time for a new Green Yeti album. If you have had your fill of 2016’s The Yeti Has Landed and 2017’s Desert Snow and are eager for new material, the 44 minutes of Necropolitan has finally landed. Continue reading “Green Yeti – Necropolitan (Review)”
This is the debut album from Natt, a Norwegian progressive/post-rock/doom band.
Natt contains just three songs, with 45 minutes of music. They’re an instrumental duo, although they’re joined on this recording by session musicians on bass and drums/percussion, (the latter from Enslaved). I’m not normally drawn to instrumental music, but one look at the strangely disturbing album artwork made me want to hear this work, and I’m so glad it did. Continue reading “Natt – Natt (Review)”
This is the ninth album from French doom band Monolithe.
Monolithe are a band that I have really enjoyed over the years, and you can pick up pretty much anything they have released and be transported into a world of doom delights. (this, this, this, this, this, this or this, for example). Kosmodrom is as epic and ambitious as anything the band have previously attempted, and the album is a 67-minute journey into conceptual spacefaring territories.
This is the second album from Canadian/US death/doom metallers Dream Unending.
Song of Salvation contains 44 minutes of atmospheric death/doom metal. The band features two members, who are in bands such as Outer Heaven, Sumerlands, Tomb Mold, and Vestal Claret, and between them they create an immersive tapestry of slow, mood-focused doom that’s as compelling and well-realised as it is enjoyable. Continue reading “Dream Unending – Song of Salvation (Review)”
This is the second album from Everest Queen, a sludge metal band from the UK.
I’ve enjoyed following Everest Queen, from their initial self-titled EP in 2016 to their debut album Dead Eden in 2019, so to have a new album appear in the wild is a fine thing. Murmurations boasts 44 minutes of new music, so let’s get stuck in. Continue reading “Everest Queen – Murmurations (Review)”
This is the fifth album from US progressive doom band Dreadnought.
Dreadnought play a brand of progressive doom, with black, folk, jazz, classical, and post-metal elements all embedded into it. It’s a heady mix, but the band have more than enough talent and skill to pull it off. Continue reading “Dreadnought – The Endless (Review)”
This is the debut album from Moths, a progressive doom band from Puerto Rico.
Moths paint from a rich and diverse palette and play a form of music that takes influence from a range of places. In essence it’s a mix of stoner, doom, psychedelic, and progressive metal, which has then been expanded to include elements of space rock, 70s progressive rock, and jazz. It’s quite the experience, and Space Force contains 28 minutes of characterful material. Continue reading “Moths – Space Force (Review)”
This is the second album from Italian death/doom band Assumption.
Following on from 2014’s The Three Appearances and 2018’s Absconditus, Hadean Tides contains 56 minutes of new material from Assumption. Continue reading “Assumption – Hadean Tides (Review)”
Wonderbox Metal 