Undoubtedly, this is one of the best US doom releases of the year and sits alongside The Skull and Apostle of Solitude as one of the best albums in the genre for 2018.
“Pale Divine” CD//CS//DD//LP track listing:
1. Spinning Wheel 2. Bleeding Soul 3. Chemical Decline 4. So Low 5. Curse the Shadows 6. Shades of Blue 7. Silver tongue 8. Ship of Fools
The Review
Pale Divine have been playing this music for two and a half decades and it shows- in terms of quality and experience. This record is doom/stoner doom in the traditional sense. Think The Obsessed, Pentagram, Troubleand throw in a heavy dose of Sabbath and The Sword and that gives you a fair idea of what is on offer here. The band also have some trad metal in their veins too (some Maiden-esque passages here and there) and that melting pot makes for a very satisfying listening experience.
The vibe is pure doom and comparable to the dark and powerful atmosphere that Iron Manconjured up on their “South of the Earth” album. “Spinning Wheel” and “So Low” both have heavy doses of Maryland Doom within their structures and the sound is pleasingly raw and live. It's melodramatic, downcast and features superb riffing with twists and turns that Sabbathcirca “Vol. 4” would be proud of.
The bass work is fantastic- very Geezer. The drums are rock solid and tastefully done; nice fills here and there, good groove and good dynamic use of the kit. The guitar work is very Griffin/Iommi esque and therefore superb. The vocals are of course actual singing- rough edged and smoky and thus another huge plus for the record. In fact... there is nothing about this that I don't like.
With songs like “Ship of Fools” and the closing doom blues of “Shades of Blue”extending to the seven and eight minute territory, there is the possibility for the record to drag, but the playing time of around 45 minutes (or so, I am looking at the MP3 song lengths here and adding up) means that the record clips by at quite a rate and feels solid front to back. There are riffs and substances to die for in “Chemical Decline” as well as archetypal Sabbathian “fast bits”. “Bleeding Soul” manages an epic feel with a sub five minute running time- quite a feat.
If anything, the record builds up a head of steam as it goes; the back stretch providing some of the most satisfying music of the album. “Silver Tongues” is a grooving delight that fits alongside the best of US doom/stoner material. Conversely, “Curse the Shadows” strays a lot closer to proto doom/70's rock territory and is a nice change for the record.
The aforementioned “Shades of Blue” is a bassy and bluesy beast and closes the record in some style; large in sound and scope with a laid back feel to the grooves and delivery. Undoubtedly, this is one of the best US doom releases of the year and sits alongside The Skulland Apostle of Solitude as one of the best albums in the genre for 2018. It may well be that the Europeans have ruled the doom roost this year with superlative records from Dawn of Winter, Witchsorrow, Iron Void (cough!), Conanand Barbarian Hermit but this record is truly excellent and I have enjoyed reviewing it almost as much as I have enjoyed listening to it. Doom on, gentlemen, doom on.
"Excalibur" is going to win over a lot of classic doom fanatics. Iron Void should be on the radar of the scene for a revivalism that it owns wholly and proudly.
“Excalibur” CS//CD//DD//LP track listing:
1). Dragon’s Breath
2). The Coming of a King
3). Lancelot of the Lake
4). Forbidden Love
5). Enemy Within
6). The Grail Quest
7). A Dream to Some, A Nightmare to Others
8). The Death of Arthur
9). Avalon
The Review:
Veteran doom peddlers Iron Void have had plenty of fits and starts over their career. After forming in 1998, the band disbanded for a decade before roaring back with a vengeance, dropping 2010's "Spell of Ruin," 2014's "Iron Void" and "Doomsday" in 2015. Now at their creative peak, Shadow KingdomRecords will issue the European vinyl of "Excalibur," Iron Void'sArthurian themed nine-song release tracking at just over 45 minutes.
Vinyl has been the financial shot in the arm to the music industry that few ever expected to make the comeback it has. Partially such success can be credited to bands like Iron Void. "Excalibur" offers rich, earthy sonics that seem made for wax. As the LP kicks off with "Dragon's Breath,"Iron Voidis inescapably catchy as it is dense. The band is also deceptively elegant in how its songs are constructed; the Sabbathesque "The Coming of A King" boasts a holistic duty to the story it's telling, while not breaking the power of the song itself, its guitar or rhythm section. Thus, lyrics inject themselves into just the right points, while not interfering with the structure of the cut. You hear similar instances on "Forbidden Love" as well.
Those who love fantasy in metal are going to appreciate the story immensely. Without spoiling anything, just know that Iron Void set out and succeed at telling an effecting tale. The vocals throughout are quintessential doom and even transcendent at turns. As the album builds, it is impossible not to be swept up in how massive the sound comes across.
In addition, what doom and sludge devotees may most appreciate with "Excalibur" is its fidelity to providing a new varnish to classic doom in the vein of Saint Vitus, Pentagramand the like. As you know, there's been a major renaissance in the old-school sound of black metal and death metal, hastened surely by the number of derivative bands in more modern takes on these subgenres. Doom, stoner and sludge undoubtedly have these bands as well – The Sword may have been the most popular and prescient of the revamp – and Iron Void stakes its flag admirably. Even songs like "Enemy Within," with clear influences from "Electric Funeral," feel rejuvenated and original. Iron Void deserve a lot of credit for having the courage to make an album that is inevitably going to draw tons of comparisons, yet doing so in a way that feels like a modern makeover of doom metal. Steve Wilson's riffs are heavy, Iron Void's lyrical themes are solidly mystical and medieval, and its ultra-thick drums by Richard Maw and bass by Jonathan "Sealey" Seale compose a ridiculously good foundation for it all.
"Excalibur" is going to win over a lot of classic doom fanatics. Iron Void should be on the radar of the scene for a revivalism that it owns wholly and proudly.
The riffs are infectious, the grooves hit you right in the gut and their well written songs are accentuated by climatic dynamics and impassioned performances by all members of the band.Witchcryer have created something really quite special on “Cry Witch”, a debut surely worthy of addition to the doom metal cannon.
“Cry Witch” CD//DD//LP track listing:
1). Cry Witch
2). Ricochet
3). The Preying Kind
4). Ma Kali
5). Embryo (Instructions)
6). Great Divide
7). For The Slaves
8). Witchfinder General (Witchfinder General Cover)
9). Lapis Philosophorum
The Review:
Do you like fat, fuzz soaked guitar tones? What about heavy, blues based riffs with a gloomy, vintage vibe? A singer who belts raspy, darkly melodic vocals about witches, vengeance and fighting systematic oppression? Well if you are reading THE SLUDGELORD, there is a pretty decent chance that you are here largely to find more bands that do exactly what was just described above. If that’s you, then “Cry Witch”, the debut album by Austin based doom quarter Witchcryer, does not disappoint.
Witchcryer play a form of classic doom metal revival that owes its biggest musical debt to the bands that played doom before there was a name for it (Witchfinder General, Black Sabbath, Pentagram). Their chosen musical territory is far from uncharted by its very definition, but Witchcryerplay it with so much fire that it feels fresh regardless. The riffs are infectious, the grooves hit you right in the gut and their well written songs are accentuated by climatic dynamics and impassioned performances by all members of the band. Some highlights include brooding, psychedelic track “The Preying Kind” and the vicious, gravely stomper “For The Slaves”, but the album’s finest moment is unquestioningly its the thunderous title track. Somewhat reminiscent of early The Obsessed, “Cry Witch” is a hard-hitting doom metal track at its finest, with just enough punk rock muscle to give it its needed edge. Its main riff is also an earlier contender for the best metal riff of 2018.
“Cry Witch” is the band’s first and only release following a three-track demo titled “The Preying Kind — Demo MMXVI” from 2016. While those familiar with their demo will recognize Witchcryer’s ear for great riffs and knack for organic dynamic changes (as well new recordings of all three tracks), overall “Cry Witch” demonstrates significant growth for the band. They have grown much tighter and more confident as a unit (some of which may be due to the recent inclusion of their bassist, Marilyn) and have created something really quite special on “Cry Witch”, a debut surely worthy of addition to the doom metal cannon.
By: Richard Maw Album Type: Full Length Date Released: 20/10/2017
Label: Metal Blade Records
Fantastical, epic, dark, heavy and doomy are all words that describe the record appropriately. There are not too many doom bands ploughing this traditional furrow these days, but Sorcerer represent the very best of them. This is another excellent album by an excellent band
“The Crowning of The Fire King” CD//DD//LP track listing
01. Sirens 02. Ship Of Doom 03. Abandoned By The Gods 04. The Devils Incubus 05. Nattvaka 06. Crimson Cross 07. The Crowning Of The Fire King 08. Unbearable Sorrow
The Review:
Sweden's Sorcerer return, a mere two years after the excellent “In The Shadow Of The Inverted Cross”. In my review of that album, I noted the Dio-esque lyrical themes and stylings, the Sabbath weight and the epic nature of real doom. Well, I am able to report that all those elements are present and correct on “The Crowning...”
From the rolling drum intro, to the first riff, to the first vocal- everything you would want from a doom album is here. The sound is suitably epic, as are the song lengths. There is some excellent lead work in opener “Sirens” as well. With both the second and last track here clocking in at close to ten minutes, this is not a doom record for the casual doom fan- or the “doom” fan who thinks that sludge is doom. This is true doom for true doom heads- start with Sabbath, go to Saint Vitus, Pentagram, Trouble, Candlemassand The Obsessed and then... Sorcerer would be a logical next step.
The album is dramatic, textured (acoustic guitars shimmer here and there, melodies are plentiful, riffs are massive) and as heavy as lead. The likes of “Abandoned By The Gods” feature riffs that you would swear were from the hands of Iommi himself. Indeed, the solo backed by rhythmical bass is straight out of the Tony Martin era. An acoustic instrumental bridges the record and the final three tracks are as strong as the first three; the band save the title track for next to last, showing that the record is not front loaded.
Fantastical, epic, dark, heavy and doomy are all words that describe the record appropriately. There are not too many doom bands ploughing this traditional furrow these days, but Sorcerer represent the very best of them. This is another excellent album by an excellent band. Doom on.
It's impressive that, only a year and a bit after their debut, Beastmaker have taken their sound and improved upon it with sharper song writing and an impressive grasp of what makes music of the trad doom genre tick.
“Inside The Skull” CD//DD//LP track listing:
1. Evil One
2. Heaven To Hell
3. Now Howls The Beast
4. Of Gods Creation
5. Give Me A Sign
6 Nature Of The Damned
7. Psychic Visions
8. Inside The Skull
9. Night Bird
10. Sick Sick Demon
The Review:
One year after “Lusus Naturae”, California's Beastmakerreturn for more retro true doom. This time around, they have improved on all elements present on their debut. Mixing Pentagram, Sabbath, Danzigand a healthy dose of classic horror appreciation the band have struck on a winning formula.
Once again, the sound is raw and live sounding; the bass clanks, the drums pound and clatter and the vocals are a pleasing mixture of melodic and sinister. Right off the bat, you know what the record will be like: riffs, hooks and macabre atmosphere aplenty. “Evil One” sounds as the title implies (great solo too), “Heaven To Hell”is menacing and weighty in equal measure.
The album highlight for me is “Now Howls The Beast”, replete with werewolf atmospherics and a riff that Victor Griffin himself would be very proud of! It's impressive that, only a year and a bit after their debut, Beastmakerhave taken their sound and improved upon it with sharper song writing and an impressive grasp of what makes music of the trad doom genre tick.
On a general level, there is nothing to pin-point as a misstep on this album; it's uniformly heavy, sharply written and really quite catchy in places. No twenty minute drone work outs here: this is doom rock in the vein of all acts mentioned above. To make a lazy comparison, this is perhaps an American equivalent (by dint of geography, but not in total sound) of Uncle Acid and The Deadbeats. The two bands plough a similar furrow and will appeal to a similar set of fans, I suspect.
Whether it be the plodding drama of “Nature of The Damned” or the swing of “Psychic Visions”, the power trio work as a tight unit and keep things stripped down and raw- exactly as it should be. With the title track promising nine eternities in doom and the riffs making good on that promise, the album goes into the closing straight very strongly. Taking a nod from Sabbath by not going overboard on album length has allowed the band to turn in a very strong set of focused songs- all nicely uniform in terms of sound and content.
The short, sharp and sinister “Sick Sick Demon” is a very strong finish to a very strong album. If you have any interest in Sabbath and/or Pentagram, then this album will be for you. It's gritty, great and even gruesome in parts. Their satanic majesties have returned.
Quite simply, I can't find anything on this album I don't like. The best comeback of the year, without a doubt. This record will be turning up in many year end lists, without a doubt. It could even be the best album by The Obsessed, but only time will tell on that one. I can't recommend this highly enough.
“Sacred” CD//DD//LP track listing:
1.Sodden Jackal
2.Punk Crusher
3.Sacred
4.Haywire
5.Perseverance of Futility
6.It's Only Money
7.Cold Blood
8.Stranger Things
9.Razor Wire 03:32
10.My Daughter My Sons
11.Be the Night
12.Interlude
13.On So Long (Bonus Track)
14.Crossroader (Bonus Track)
The Review:
The Obsessed, or at least Wino and side men (ever changing), return after a twenty three year hiatus from releasing albums. While Saint Vitus is not Wino's band, so are discounted here, of all Wino's bands- the ones he runs- The Obsessedenjoy the greatest reputation. The rep is deserved. Their self titled, “Lunar Womb” and “The Church Within” are all classics in their own right.
To be fair, Spirit Caravan was a great band, The Hidden Hand was a great band, Wino's solo electric and acoustic records... all great! “Sacred”, though, has something more. From the moment I pressed play, I was hooked. This is a record that I find very hard to fault. The production is great; thick guitar, lots of low end, punchy drums, great mix. The songs are even better.
Kicking off with the re-recording of “Sodden Jackal” is a solid move; it sets out where the band is at these days and it also makes it clear that business as usual has resumed. It's still a powerful and creepy track after all these years. Wino's on great form vocally too. Henry Rollins once described The Obsessed as being the sound of someone getting really angry, really slowly. Indeed.
The rest of the record simply thunders by and keeps song lengths taught and toned. Those who have looked out for advance tracks will know “Punk Crusher” already. It's a great Motorhead-esque blast of rock 'n' roll. The title track is trippier in sound and scope than you might expect and nods back, as much of the album does, to 60's/70's psychedelic rock as well as Black Sabbath. The record has some crossover with Victor Griffin/Place of Skulls/Pentagram; it's doom, but doom rock as opposed to metal a lot of the time. This sensibility makes “Sacred” a very listenable album indeed. It is never heavy for heavy's sake. The song writing shines through.
There are punkier moments on offer such as “Haywire”, too. It's a trait that Wino shares with his compatriots in Saint Vitus; no one tempo runs through the album and there is more variety than you might expect. The grooves come thick and slow on “Perseverance of Futility”, with nice organ and percussion flourishes along with the drums and guitars. There are other quirks on the record too, Wino and the since departed Sherman trade lines to great effect on Thin Lizzy's “It's Only Money” and makes the song into an event (kind of like how “Step Down” sits as a curio on “Bomber” by Motorhead). As a big fan of Thin Lizzy, it's great to hear this turn up mid album on a record by a band who (on paper) are quite different.
The instrumental “Cold Blood” proves that Wino can riff with the absolute best of them (Iommi, Griffin et al) and it is a real stand out and left field highlight of the record. The solos are really good, too. There is more bluesy doom/rock to be had on “Stranger Things”, which uses a weird acoustic guitar figure to open and close and has some very strong riff passages and vocals. Another of the preview tracks, “Razor Wire”, is absolutely badass and an album highlight for me. When Wino sings “I'd rather get high, than pay the rent” I absolutely believe him. “My Daughter My Sons” is a track which is in some ways closer to Wino's acoustic output, both in lyrical content and laid back vibe.
By the time we get to “Be The Night”, dripping with biker attitude and some inspired soloing, the album proper is nearly over. I have not heard an album which clips by like this in a long while. Sweet is the sound of expectation being met, that's for sure.
There are two bonus tracks on offer here, “On So Long” is over nine minutes of doomy goodness, while “Crossroader” is a very catchy nod to Steppenwolf/Hendrix era rock. Quite simply, I can't find anything on this album I don't like. The best comeback of the year, without a doubt. This record will be turning up in many year end lists, without a doubt. It could even be the best album by The Obsessed, but only time will tell on that one. I can't recommend this highly enough.
Iron Void are the UK's leading exponents of traditional doom: doom with singing, doom with riffs, doom with... songs?! Their lineage is not hard to trace: try Sabbath as a starting point. Having put out a stellar EP and two full length albums, Iron Void are preparing to play The Asylum2in Birminghamon Saturday 15th October as a celebration for the vinyl release of album number two: “Doomsday”, which is out now on Fear Me! Music.
Today as part of a two part article with Iron Void, bassist, Jonathan “Sealey” Seale chooses his top five albums from their band's chosen genre. Read on for a trip into the arcane and mysterious world of doom...and expect part II featuring guitarist Steve Wilson in the coming weeks ahead. In the meantime, turn the dial all the way to 11, “Because 11 is one louder”
1.Black Sabbath – ‘Master of Reality’ (1971)
Masters of the art! I had to mention Sabbath, it goes without saying doesn’t it? They invented not only Heavy Metal but Doom Metal too. The self-titled song, ‘Black Sabbath’ from their debut is THE Doom Metal blueprint; thunder and rain, heavy riffs, softer passages and the up-tempo build-up in the middle which concludes the song. A classic formula, repeated many times since by a lot of bands, ourselves included! It’s so difficult to pick a favourite Sabbathalbum as I love all eras of the band. The Ozzy and Dio eras are definitely my favourites though. If I had to pick one album, it would be this one. It’s definitely the heaviest Sabbathrecord in my opinion and also the most ‘stoned’ sounding one if you catch my drift? They tuned down for the first time on this record (the first 2 were in Standard tuning) which made for a darker atmosphere and I love the contrast of the acoustic tracks, ‘Embryo’ and ‘Orchid’ with heavier numbers such as ‘Lord of This World’ and ‘Into The Void’, the dynamics work perfectly.
2.Saint Vitus – ‘Born Too Late’ (1986)
Sabbath invented Doom in the 70’s, but it was the bands who followed in their wake such as Saint Vitus, Pentagram and Troublewho defined Doom Metal as a genre in the 80’s. Again, it’s very hard to pick one particular album from a band I love so much but this is as classic as it gets. Stand out songs for me are ‘Dying Inside’, which is a stark warning about the dangers of alcoholism and the title track, a Doom anthem with lyrics every Doom fan can relate to. I also love the Scott Reagers fronted Vitus and the Lord Chritus era too but Wino is one of my all-time favourite singers and guitarists so this album is as perfect as it gets for me. If I had more choices I would also probably have included an album fromThe Obsessed in this list, maybe ‘The Church Within"
3.Pentagram – ‘Relentless’ (1985)
Another stone-cold classic and the first record I heard by them. This album is just killer from start to finish. Victor Griffin’s guitar tone sounds like a buzz saw (in a good way!), Bobby is genuinely sinister in his vocal delivery and Joe Hasselvander pounds the hell out of the drum kit throughout while Martin Swaney holds down the low end. So many classic songs too! There’s no filler on this album at all, every song just slays. You’ve got to love the cow-bell in the middle of ‘Sinister’too! A close second choice to this album would be ‘Be Forewarned’ (1994) but I adore everything they have released. It was a real honour and pleasure to play with them at Day of DoomBarcelona in 2015, a dream come true.
4.Trouble – ‘Trouble’ (1990)
Most True Doom heads would probably pick ‘Psalm 9’ or ‘The Skull’ over this but I got into Trouble via ‘Manic Frustration’ in the early 90’s then worked my way backwards. I just really like the vibe of this album. The lyrics, riffs and solos are exceptional. Bruce Franklin and Rick Wartell are one of the best twin guitar teams in the business. I’ve seen them live several times with different line-ups and they don’t miss a note, they’re so tight! It’s cool nowadays that we have both Troublewith Kyle Thomas on vocals and The Skull but I do sometimes wish this line-up (minus Barry Stern, R.I.P.) would get back together for a few shows, that would be ace!
5.Sleep – ‘Sleep’s HolyMountain’ (1992)
Some would argue that Sleep aren’t really ‘Trad Doom’. Although they kick started the whole ‘Stoner Doom’ genre I still consider this to be a trad Doom album, heavily influenced by Sabbath’s early albums and copious amounts of weed! Most Sleep fans bang on about ‘Jerusalem’ (AKA ‘Dopesmoker’) as the best record but I disagree. ‘Jerusalem’ has its charms but ‘Sleep’s HolyMountain’is where it’s at! When I first heard it I thought it was so heavy, the bass is just off the scale! This was one of the first Doom albums I ever heard and I still listen to it regularly now. I would also highly recommend their debut, ‘Volume One’.
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