ALBUM REVIEW: Shrine of the Serpent, "Entropic Disillusion"

By: Mark Ambrose

Album Type: Full Length

Date Released:23/04/2018

Label: Memento Mori Records

Whether cranking out a moldering dirge like the introductory, instrumental “Descend into Dusk” or the chugging progressions of “Hope’s Aspersion”, Shrine of the Serpent deliver the perfect mix of nauseating terror so often characterized by the best death doom bands

“Entropic Disillusion” CD//DD track listing

1. Descend into Dusk

2. Hailing the Enshrined

3. Hope’s Aspersion

4. Desecrated Tomb

5. Returning

6. Epoch of Annihilation

7. Rending the Psychic Void

The Review:

I love the menacing crackle of lo-fi death metal in all its permutations: classic, grind, blackened, death doom.  There’s a muddy, horrific vein running through those crusty recordings that instantly invoke twilight drives through swamps and decrepit woods, all-night gore flick marathons, and seedy exploitation VHS rentals that just sets my monster kid heart all aflutter.  Combined with the gruesome, sometimes nauseating artwork that typifies the genre (even the borderline incompetent shit), even the rawest demo tape can turn me into an easy mark for bands who can thrash out a competent slab of death.  It helps when they manage to back up their swagger with some real bona fides, and the trio behind Shrine of the Serpent have some real chops on display, bolstered by haunting cover artwork by Mariusz Lewandowski & Vladimir Chebakov. 

Whether cranking out a moldering dirge like the introductory, instrumental “Descend into Dusk”, or the chugging progressions of “Hope’s Aspersion”, Shrine of the Serpent has one unifying characteristic: VOLUME.  The vibrating bass tones and the shrieking crackle of guitar leads are fuzzy, dirty, and punishing.  Often, this hits that perfect mix of nauseating terror that characterizes the best death doom bands.  Todd Janeczek’s inhuman growls are multitracked and layered in several different registers, imbuing tracks like “Desecrated Tomb” with the sense that there’s a whole host of ghoulish, unholy narrators.  Chuck Watkins’ drum performance is that subtle balance of technical skill and instinctual barbarism that the best death drummers can pull off effortlessly.  And Adam De Prez’s multi-duty efforts are formidable, especially his unholy bass tone.

Unfortunately, there’s a lack of balance in the mix that quashes some stellar intricacy.  The left channel in particular is just too damn jacked into the red zone, so you get clipping on many of the guitar tracks.  And frankly the punishing volume can be unpleasant and diminish moments like the volume shift in “Epoch of Annihilation” that should be chilling but instead sounds strange.  This volume escalation is an issue that plagued even the best death metal bands, as well as modern superstars (Metallica and Rush have both fallen victim to “volume wars” in recent years).  For a band so solid in every sense of the term – rhythmically, technically, and vocally – a steadier touch at the mixing board next time may produce a genuine masterpiece.  For now, with “Entropic Disillusion”, Shrine of the Serpent embraces both the pinnacles, and pitfalls, that decades of death metal have traversed, while showing promise for exciting work ahead.

“Entropic Disillusion” is available here

Band info: bandcamp|| facebook

ALBUM REVIEW: Lowered, "Lowered"

By: Mark Ambrose

Album Type: Full Length

Date Released: 01/02/2018 | TBC

Label: Indpendent |

Throne Records (LP)

"There’s a progressive element running through this self-titled debut, but it’s not full on prog metal, and while there are lurching, sludgy, doom inflected passages, the overall style skews closer to black metal with strong melodic overtones.  

“Lowered” DD//LP track listing

1. Semaphore

2. Unreal

3. Blame the Hunger for the Throat

4. Call of the Moon

The Review:        

               

Describing hybrid metal genres may be the ultimate cringe activity.  Whenever “gaze” or “blackened” or “symphonic” or “melodic” gets appended to some agreed upon metal genre, all the trve kvlt tryhards come out to “WELL ACTUALLY” all over the description (often throwing in a smattering of homophobic slurs).  It’s the shallow, reddit redpill subculture of modern metal, but there is a case for staking out new descriptions, especially when black, groove, and death metal have been so amalgamated that there are few “pure” modern examples that don’t consciously push for “throwback” status. 

There was a brief period where “Extreme Metal” was slapped on bands as disparate as Cradle of Filth, Napalm Death, Gojira, and Behemoth – I blame Kerrang and the other trashy UK metal mags of the era.  Frankly it sounds a little too late 90s/early 2000s limited edition Mountain Dew flavor to me.  I’ve heard the term “dark metal” bandied about recently, and maybe that’s the best modifier for a group like Lowered.  There’s a progressive element running through their self-titled debut, but it’s not full on prog metal, and while there are lurching, sludgy, doom inflected passages, the overall style skews closer to black metal with strong melodic overtones.  Regardless of how the album FITS into a glutted field, there is no doubt that Lowered is one of those rare genre mashup debuts that feels assured, distinct, and never gimmicky.

               

Opener “Semaphore”rides on absolutely sickening low end bass tones sprawled across a doomy soundscape – it had me thinking of Celtic Frost, until the band slams into double time, chugging blackened rhythms.  Vocalist Anna Vo is an expert metal screamer – pushing her voice to extremes but remaining somewhat comprehensible.  I could make out a good deal of the words even without a lyric sheet, and that doesn’t diminish her inhuman capacity.  Most importantly, she shows dynamic range on the record, pushing out low death growls and piercing screams with aplomb.  Nate McCleary, who handles all guitars and basswork on the record, is a surprisingly virtuosic shredder, and his brief forays into tech wizardry put a unique stamp on Lowered’s sound that never feels forced.

               

Drummer Ian Makau owns the second track, “Unreal”, sprinting through marathon blast beats and throwing in little rhythmic twists that show true mastery of the kit.  The tribal shift in the mid-song bridge is a stroke of genius, while the doom coda is soul-crushing.  “Blame the Hunger for the Throat” is a slab of blackened death that continues to pummel, and is only slightly less interesting than the other tracks on the record.  Vo’s delivery is the best feature of the song – it’s a truly gut-wrenching performance.

               

“Call of the Moon” is the apotheosis of Lowered’s capacities.  McCleary’s eastern-tinged open guitar chords and shrill riffs are hypnotic, especially over Makau’s militaristic pounding.  There's a particular beauty in the guitar dynamics on this track, with soaring harmonies and deft solo work.  The abruptly sludgy bridge is a great twist on the tightly controlled black metal precision, especially as the track moves toward a stirring crescendo.  The broken-sounding coda seemed like overkill at first, but with subsequent listens I’ve found it especially stirring.  Lowered achieves a rare feat for most groups who never write tracks below the 6 minute mark: they had me clamoring for more.  I hope this debut carries them toward further output, further experimentation, and greater exposure – they’ve certainly earned it.

“Lowered” is available here

Band info: bandcamp

TRACK PREMIERE: Portland hxc/sludge/crust band Year of the Coyote share "State of Nature"

Inspired by acts like Seven Sisters of Sleep, His Hero Is Gone, Torch Runner, and Coalesce, Year of The Coyote is a 3-piece DIY outfit from Portland, OR making music that's as visceral and grinding as it is lurching and rhythmic. On Feb 16^th the band are set to release their debut album “Siege” and today you can check out the track “State of Nature”below.  

Band info: facebook || bandcamp

ALBUM REVIEW: R.I.P. - "Street Reaper"

By: Richard Maw

Album Type: Full Length

Date Released: 13/10/2017

Label: Riding Easy Records

I don't expect it to usurp the likes of “Born Too Late” or Pentagram “Relentless” in my list of best all time doom albums, but if you want a modern doom rock album with lots of attitude and overdrive, then this is one you should check out.

“Street Reaper “CD//DD//LP track listing:

1). Unmarked Grave

2). Street Reaper

3). Mother Road

4). The Dark

5). The Other Side

6). Shadows Fool

7). Brimstone

8). The Cross

9). The Casket

10). Die in Vain

The Review:

Portland's R.I.P. unleashed their debut on an unsuspecting public back in 2016. Since then, the press seem to have latched on to the quartet's “street doom” label as something new in the doom sphere. Truthfully, it is not. Street doom is as old as Saint Vitus and The Obsessed... maybe even as old as Sabbath! Any doom head knows the difference- fantasy vs reality, heroes vs heroin and so on.  Regardless of what genre tag has been ascribed, “In The Wind” was an enjoyable slice of Saint Vitus meeting Fu Manchu. With “Street Reaper”, the band have progressed their sound on by focussing it and tightening up the arrangements.

The one minor criticism I levelled at their debut was that it was a little on the long side. Well, the ten tracks here have solved that problem and the band have really delivered a muscular set of songs. Once again, the influences are there: Pentagram, The Stooges, Saint Vitus, Sabbath... and the aforementioned Fu Manchu. The spectre of the Californian state looms large in the sound and vibe, and gives the band a little something extra, a little uniqueness. A little of the desert and a little of the imagery shown on the album cover- four hirsute dudes rolling in a low-rider. It is clear that these guys are not from Barnsley, that's for sure!

The music is direct and punchy, featuring over-driven bass and fuzzed up guitars again. The riffs are simple and groovy and this really does have the feel of street level music. From the opening chug of “Unmarked Grave”, through the title track and beyond; this will get your head nodding. As noted first time around, it is great to hear a band with a singer and actual riffs. This isn't about playing really slow or being massively heavy but is instead more about the vibe and the flow of the record. There are nods to the gods via instrumental interludes like “The Cross”, grooving slabs of riffage such as “Shadows Folds” and even some more melodic playing here and there (the intro of “The Dark”, for instance, and the closing “Die in Vain”).

The wheel is not being reinvented here, but that isn't the point. R.I.P. bring a slightly more youthful swagger to the game- it's welcome as most of the really big players are knocking on a  bit now, to say the least. By the time of the seventh track “The Casket”, you will have made up your mind about the album. Personally, I like it. I don't expect it to usurp the likes of “Born Too Late”or Pentagram “Relentless” in my list of best all time doom albums, but if you want a modern doom rock album with lots of attitude and overdrive, then this is one you should check out.

With the last three tracks clocking in at around four and a half minutes apiece, the band close the show consistently, albeit using different tempos and approaches as they go- relatively up tempo, slower dinosaur riffing and melodic- respectively. The yowling vocals are more Reagersthan Wino, the sound is never less or more than over-driven and fuzzy and the whole thing works well. It is an improvement on their debut and sets the band up very well for album number three and a possible rise through the ranks of doom. When are they coming to the UK?!

“Street Reaper”is available here

Band info:  Facebook||Instagram || Bandcamp

ALBUM REVIEW: Usnea - "Portals Into Futility"

By: Ernesto Aguilar

Album Type: Full length

Date Released: 05/09/2017

Label: Relapse Records

The guitars are thoroughly dissonant and murky, the bass is husky and drums voluminous. Then there are the vocals, which feel like they're being delivered with the sort of urgency of someone trapped at the bottom of a deep well. The whole composition of the record is just magnificent for doom fans.

“Portals into Futility” CD//DD//LP track listing

1. Eidolons and the Increate

2. Lathe of Heaven

3. Demon Haunted World

4. Pyrrhic Victory

5. A Crown of Desolation

The Review:

Portland's Usnea is known and loved for a few things. These include its unique doom metal sound, ambitious concepts and sprawling music. Its 2014 four-song recording, "Random Cosmic Violence," clocked in at about an hour. Its self-titled 2013 debut contained two tracks on vinyl, with download code for two songs comprising 25 more minutes. And although the genre is rather renowned for its density, with "Portals into Futility"ticking in at just under an hour, Usnea demonstrates aptitude for music with a rare depth.

After its release, there were murmurs that "Random Cosmic Violence" did not deliver the oomph of Usnea's debut. Some of that clatter could well be chalked up to what follows promising acts that go from independent labels to big independents like Relapse. Critics pointed to a wilder vocal style in the debut sliding into a two-vocalist approach that could be seen as formulaic at turns. Exciting moments there were, but subtle questions amped up some of the tension.

"Portals into Futility" is a solid return to form for a young band widely expected to do great things. There are also hints of maturation for its songsmithing. Along with the longer tracks – two songs compose about half the playing time here – that allow this imaginative group some musical space  and are cuts that seem indicative of a crew that is open to test itself and the genre itself. Such courage is rather exhilarating, and makes for quite a frenzied trip.

Usnea's return starts with "Eidolons and the Increate,"for which there is likely a fantastic backstory or other mythology. Heavy of the sludge, you may also notice some post-punk and funeral doom influences herein. Joel Williams and Justin Cory are back on vocal duties, and they seem far sharper this time around. They manage to keep the opener – at 12 minutes in length, you might ponder the wisdom of this kind of beginning – very dynamic. Usnea's bass and drums are a stand out early too. Credit the tight arrangement and what seems to be an evolution of Usnea's performance. Such advancement is to be expected for a group that sticks together after a few years. You similarly hear this progression in this next track, "Lathe of Heaven," a compact song that is a good example of why many have seen so much potential in Usnea. From a relaxed build with an almost Americana or desert vibe, Usneaplunges you into a far less hospitable place just before the three-minute mark. The guitars are thoroughly dissonant and murky, the bass is husky and drums voluminous. Then there are the vocals, which feel like they're being delivered with the sort of urgency of someone trapped at the bottom of a deep well. The whole composition is just magnificent for doom fans.

The terror continues with "Demon Haunted World" then to "Pyrrhic Victory," where the vocals alternate between Williams and Cory. If you enjoyed them together on "Random Cosmic Violence," you will most assuredly find their work on the latest leaps and bounds better. The vocal pairing feels more clearly formed and executed on the latest. If you did not love it last time, you may well be won over by Usnea's growth. The production on "Portals of Futility" is flawless across the board, and lyrically and vocally there is no exception. This is top-shelf doom metal sure to excite fans.

The album's closing, "A Crown of Desolation," is arguably the best, and the most perplexing, cut. The folk-flecked chords hurl the listener headlong into a thick wall of guitar. As noted, Usnea is not afraid to test itself, and this song breaks away from its characteristic vocals to offer ghostly choruses and ultraheavy bass lines that press hard on your mind. Over the track's 19-plus minutes, you will catch the aforementioned folk chords and choruses again, and more of what makes the quartet so good, and a few departures from what you've heard throughout. Finishing with a standard doom track with slow guitars and howling vocals might have been a perfectly satisfying way to wrap. Instead you get a song befitting its place at the conclusion of the recording.

"Portals of Futility" is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Atriarch - "Dead As Truth"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 11/08/2017

Label: Relapse Records

There is so much to enjoy about the new Atriarch release. You have heavier cuts like "Dead" and "Devolver" to mix among the more pensive songs. The songwriting is superior. And, best of all, you have a talented group back for a release that is sure to remind you why you enjoyed its brutal sound when they debuted.

“Dead As Truth” CD//DD//LP track listing

1. Inferno

2. Dead

3. Devolver

4. Void

5. Repent

6. Hopeless

The Review:

Atriarch are one of those bands that cuts across a ton of subgenres. For many outfits, that can go lots of ways, for better or worse. There are more than a few examples of times this does not work. Too many metal performers trying to be too much to too many people, and it can be exasperating. Similarly, in this Portland-based group, you can hear hard rock, gothic, post-punk, black metal and doom, but it is altogether better than all that sounds.

On their fourth full-length recording, "Dead As Truth," Atriarch does so famously because its members build upon a series of well-received releases with a sound that, for all it is advertised as, does the core parts so remarkably.

Atriarch bills itself as classic death rock, but there is a good chance you will hear tinges of old-school death metal here. From haunting singing to touches of dirge and, in truth, a lot of heavy, sludgy guitar, you will catch the screams of some of death metal's originators in Atriarch's blast. Instead of the screeching, indecipherable C-list material you can find anywhere, though, Atriarch paints some ghastly images without the nonsensical bombast. "Dead As Truth" continues the growth of the group's sound and, in many ways, makes it far more intimidating because it is more cerebral than most.

Fans of the band's past recordings may believe this new package sounds toned down compared to past collections. Such an observation is largely true, but rather than chill, this one feels like a more sophisticated entry. The restraint you hear from the opener, "Inferno,"to the closer, "Hopeless,"is used to support savage storytelling. "Void"taps a similar lyrical delivery, until it unleashes the full bore of anguish on the listener.

There is so much to enjoy about the new Atriarch release. You have heavier cuts like "Dead"and "Devolver" to mix among the more pensive songs. The songwriting is superior. And, best of all, you have a talented group back for a release that is sure to remind you why you enjoyed its brutal sound when they debuted.

"Dead As Truth" is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Mursa - "Ectopic"

By: Charlie Butler

Album Type: Full Length

Date Released: 17/03/2017

Label: Independent

Imagine a combination of Yob’s epic psychedelic doom and Sumac’s post-metal infused noise rock and you get an idea of the crushing cacophony the band conjure up here.   “Ectopic” is a huge final statement from Mursa that demonstrates they had the power to go toe-to-toe with the worlds doom elite.

“Ectopic” DD track listing:

1). Ectopic

2). Crass Life

3). The Worming, Pt. II

The Review:

Portland heavyweights Mursa have already passed on to riff Valhalla ahead of the release of their new album “Ectopic”. It is fortunate they managed to commit these final tracks to tape before their demise but it is a tragedy they will not be able to capitalise on their impact on the heavy underground.

The bulk of “Ectopic” is taken up by the monstrous twenty minute title track. In between the sweetly ominous opening chords and the squall of white noise that brings proceedings to a close, Mursa embark on a compelling journey through a warped riffscape. Imagine a combination of Yob’s epic psychedelic doom and Sumac’s post-metal infused noise rock and you get an idea of the crushing cacophony the band conjure up here. Vocals are deployed sparingly to great effect but for the most part Mursa let the riffs do the talking, either in the form of sweeping slow-motion doom or relentless, razor-edged locked grooves. As the track reaches its climax, the band hone in on one particularly punishing riff and ride it for all it’s worth, grinding the tempo slower and slower as waves of harsh static engulf everything in their wake.

“Crass Life” is a brief acoustic interlude that allows the dust to settle before Mursa launch into the “The Worming, Pt. II”. The majority of the track finds the band focused on the doomier end of the spectrum to create an atmospheric world of lumbering riffs and dark melody. Events take a left turn when an icy blast of feral black metal shatters the mood and leads into an intense pummelling finale.

“Ectopic” is a huge final statement from Mursa that demonstrates they had the power to go toe-to-toe with the worlds doom elite. This release is currently available as a name your price download on bandcamp so let this slab of otherworldly heaviness into your world right now.

“Ectopic” is available here

Band info: bandcamp || facebook