Despite Windhand being one of the higher profile examples of this type of music, their split with Satan’s Satyrs was my first exposure to them. As such, it’s great to hear what they’re capable of with a full album’s worth of material to play with. Continue reading
2014’s Crawling out of the Crypt was one of my favourite release from that year, and if I had to do that best of list over again the album would have definitely made it into the top 20 or so. As much as I enjoyed it at the time, it’s been a firm grower, and is an exceptional example of doom metal done right in an authentic, honest, and traditional way. 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
Dead Witches feature past and current members of Electric Wizard, Ramesses and Psychedelic Witchcraft. Listening to Ouija you can expect slow, hypnotic doom metal that worships at the altar of Pentagram, Saint Vitus and, yes, Electric Wizard. Continue reading
This is Traditional Doom Metal for fans of bands like Black Sabbath, Saint Vitus, Pentagram and Trouble. The album is 35 minutes long and has 7 tracks, one of which is a Saint Vitus cover.
With both eyes firmly on the past, Hellhookah peel off the riffs that mark the style and these songs are easily digested.
I find that these songs are at their best the slower and more moody that the band play, such as on tracks like Endless Serpents.
The singer has a decent voice that does the job required. There’s no complaints in this department.
This entire album has a very authentic sound; it could have been recorded decades ago and just recently unearthed.
A not-unpleasant way to spend half an hour – have a listen and see what you think.
This is Traditional/Classic Doom Metal in the tradition of Candlemass, Black Sabbath, Saint Vitus, etc.
Desolate Pathway sound authentic and have the recording to match. This infuses the music with authority and power, not that the songs themselves are lacking in this department, mind.
The singer has a good voice and carries the tunes with ease. He has the requisite presence for this kind of music and he manages to remain the main focal point for the music without detracting from the rest of the band at all.
There’s an Iron Maiden-esque Heavy Metal influence which rears its head here and there too, which is no bad thing. The riffs, solos, melodies and harmonies are forlorn, but not overly so.
It’s an engaging listen as the band clearly know their chosen sub-genre. However, as with any classic style such as this, your tolerance for it will dictate your reaction to them. If you’re sated on this kind of thing you’ll probably not be too interested. If you’re still open to it though, Desolate Pathway play their tunes better than most and Valley of the King is a worthwhile listen.
So sit back, turn up the volume and press play. It’s time to visit the Valley of the King.
For fans of Reverend Bizarre, Saint Vitus, Black Sabbath and Electric Wizard; this is Traditional Doom Metal with a small nod to modern Doom, just enough to give it a dark edge.
With an audible bass that makes a valuable contribution, it falls to the bass and drums to provide a firm foundation on which the lazy rhythm guitar is built whilst the lead guitar sets off in hopeful exploration.
The vocals are as you would expect for this style; loose, mournful and performed with enough character to warrant attention.
The songs are classically composed and written with a true love of the genre. All of the requisite parts of a Traditional Doom Metal band are in place, with Reverend Bizarre in particular seemingly deserving of special reverence.
If you are on the fence with this kind of style or have just had your fill then you probably won’t especially take to Lucifer’s Fall. If you still have more room for another band like this in your collection though, then give this a listen and see what you think.
After enjoying their first release – Almas Malditas – I was eager to check out Black Testament to see if the band had made good on the promise displayed in that first split. The answer is yes.
Doomlord specialise in Classic Doom Metal inspired by the likes of Black Sabbath, Saint Vitus, etc. The personality of the singer and the added organs also speak of a Jon Oliva influence, which adds another level to the band.
The singer has a great set of lungs and the elements of Jon Oliva’s style add a layer of theatricality to the band that is more pronounced on this album than it was on Almas Malditas.
The band have an array of good riffs and the solos are very enjoyable. It’s the whole package here though, as everything works together to create impressive songs that are catchy and full of hooks.
Each of these tracks is a very enjoyable demonstration of just how good Doom Metal can be.
The songs are aided by a strong sound that allows the band the space to show off their skills. It’s a lengthy album at 68 minutes, but it manages to hold interest throughout.
A recommended listen.
Here we have some good old-fashioned worship of all things 70’s style Doom, with Black Sabbath, Trouble and Saint Vitus all being good reference points.
This is a short EP, with 4 songs in just under 16 minutes, one of which is an interlude-style track.
This kind of music is instantly familiar as soon as you press play; within the first couple of seconds they’ve already established what they’re all about and what you should expect.
The songs are good and the production warm. The singer fits with the vibe of the band and everything gels nicely into place.
They do what they do well and make for a perfectly enjoyable 16 minutes. You know what to expect with this style, and Wicked Inquisition do it as well as any.