Traditional Doom – Page 2 – Wonderbox Metal

Pilgrim – II: Void Worship (Review)

Pilgrim play Doom Metal and come from the US. As the name suggests, this is their second album.

The band play a classic form of Black Sabbath-inspired Doom Metal that has a vaguely retro feel, but not overly so like some bands of this ilk.

Pilgrim have an epic feeling to their songs, but not in the same way that Power Metal can be epic, or Black Metal can be; this is more in the form of a terrible majesty and awesome horror, frightening but enlightening to behold. The tracks definitely have that otherworldly feeling.

The vocals are highly accomplished and are stronger than the average for this kind of band; the singer has range, depth and nuance.

The second song Master’s Chamber is the longest and my favourite of the 8 tracks on offer. It is slow and steady; a winding collection of gargantuan riffage that could move mountains with its heaviosity and burn heavens with its occult aura. This isn’t merely Doom, but DOOOOOOOM!

It’s important enough to say again.

DOOOOOOOM!

That’s better.

This album’s a bit of a belter really, the kind of album where the riffs suck you in, slooowly chew you up and slooowly spit you out. Slow isn’t their only speed and they know when to raise the tempo and rock out a bit when the mood is right. And you’d better get out of their way because when they do they mean business.

Pilgrim rule.

Dread Sovereign – All Hell’s Martyrs (Review)

This is the début album from Ireland’s Dread Sovereign and they play Traditional Doom Metal.

At 67 minutes this is an epic album full of True Doom that is executed to perfection by people with an obvious mastery and love for the genre.

The singer is none other than the singer of Primordial, so you know the vocals are not going to be a let down. As usual his very characterful voice is on fine form and it adds a singular amount of personality and drama to the tracks.

The songs themselves are exceptionally well composed, with lots of stand-out moments. They have a real strength about them and feelings of grandeur and Doom majesty abound.

The album is chock full of prime riffage and they utilise both overtly catchy riffs and more subtle, insidious ones. On occasion they also use extra effects to highlight certain sections increasing the overall effect of the songs.

All Hell’s Martyrs is both a slow burner and an instant win; the best combination. It’s strong enough that it comes across straight away as an obviously special record, but it has enough depth and longevity so that it won’t simply be forgotten in a month or two. Part of this is down to the striking, expressive vocals, but it’s in large part to the master-crafted songs that are expertly put together.

Doom Metal has a new great and terrible leader. Lower your heads in reverence.

Ogre – The Last Neanderthal (Review)

This is the fourth album by US Doom/Heavy Metal group Ogre.

This is 70’s inspired Metal combining Hard Rock and Traditional Doom into a retro package with a healthy, organic sound.

The songs have a heady atmosphere and personality by the bucketful. The singer wails and croons over the top of unrestrained guitars and drums that sound very natural.

The band as a whole generally try their best to capture the essence of early Black Sabbath and the songs match accordingly. This is not simply some copycat band however as the album makes sense on its own and has more than enough merits to warrant its existence.

Alongside the hefty guitars the songs have a Blues Rock vibe to them that lets them dig into a comfortable slow groove until they spend themselves in a state of blissful satiety.

When the riffs are pumping and solos are blazing this is life affirming music. Feel the Metal and use it to club your enemies, Ogre-style.