Here we have 45 minutes of exploratory stoner doom, creating vibrant soundscapes full of all manner of enjoyable fuzzed-out vibes. Continue reading
This is a rich, textured release that combines psychedelic doom, post-rock, and shoegaze to create involving soundscapes. Described as doomgaze, the appellation is apt. Continue reading
Worshipping the purity of The Riff, yet with enough psychedelic depth to fashion a very well-rounded and nuanced release, Rooster is a top quality listen from start to finish. Continue reading
2014’s All Hell’s Martyrs was an absolute stormer of an album, and definitely one of my favourites from the doom metal genre. After catching them live at last year’s Damnation Festival, I was very excited to eventually hear some new material from the band. Finally, the wait is over. Continue reading
The album cover alone makes me feel paranoid, not to mention confused and slightly panicked, and this is before I’ve even pressed play. Continue reading
This is huge music from a huge green monster. What’s not to like?
There’s over an hour’s worth of music on here, spread across four colossal songs. And what damn good songs they are too.
The band jam out riff after riff, exploring psychedelia, doom, stoner and all things 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.
Dark Buddha Rising are purveyors of Psychedelic Doom/Drone. It’s a minimalistic-yet-shaded affair, with all varieties of dark catered for. It’s also bleak in a comforting, warm sort of ceremonial way.
There are only two tracks here, but these amount to 47 minutes of music. This is a slow-burning release, steeped in a lazy insistence; it will absolutely get to where it’s going, but it will not be hurried at all. Acting like the relentless tide of glacial marching, the band proceed to build and build until you almost can’t take it any longer.
There’s a definite Old-School, almost 70s vibe to parts of the music, although this is darker and heavier than anything from that era. The vocals are both hypnotic cleans and screeching wails; both add value to the musical onslaught and both provide a different emphasis for the listener as they work their way through the tracks.
Understated-yet-atmospheric keyboards add spice to the warm recording and the heavy bass sound provides enough low frequencies to crack glass.
This isn’t ultra-slow music; it’s on the slow-side of course, but it picks up the pace a bit here and there, although not enough to be described as fast.
The band this reminds me of most is Drone/Doom legends 5ive, although Inversum is more ritualistic in a way. Dark Buddha Rising are not a million miles away from this and it’s safe to say that if you’re a fan of 5ive then you’re likely to enjoy what Dark Buddha Rising do too.
Tune in and drone out.
Ufomammut create confident, exploratory Doom that builds atmosphere in the best tradition of Neurosis, Yob and the like.
This is music that’s both heavy and nuanced, having the instant appeal to draw you in and the depth of longevity to last.
Ufomammut are undoubtedly heavy, but they also have their considered side. The songs are mature and well-written works of contemporary, otherworldly Doom that take you on a journey through waters uncharted.
I like that the band incorporate psychedelic influences into their sound without diluting the core nature of their Doom Metal aesthetic. Strange sounds and effects enhance the delivery of the tracks, giving the listener even more to bite into.
The vocals are low-key affairs in some ways, almost lost in the barrage of apocalyptic riffs and thundering, winding drumming. They’re used less as vocals in their own right and more as another weapon in their musical arsenal, merging with the music at a cellular level.
I’m always a fan of songs where the bass makes a noticeable difference to the performance and Ecate uses the bass wisely. It sounds good and works well across these tracks.
After this many releases Ufomammut clearly know what they’re doing and Ecate is yet another top album of quality Doom. If anything, this is a step forward for the band as Ecate really is pretty damn good.