ALBUM REVIEW: Pale Divine, "Pale Divine"

By: Richard Maw


Album Type: Full Length

Date Released: 23/11/2018

Label: Shadow Kingdom Records

 

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.

“Pale Divine”is available HERE

Band info: facebook

ALBUM REVIEW: Dawn of Winter, "Pray for Doom"

By: Richard Maw

Album Type: Full Length

Date Released: 30/11/2018

Label: I Hate Records

All songs are great.  All influences are present and correct. All aspects of the album are stellar. The best trad doom release of the year? Have a listen and decide for yourself.

                                                                 

“Pray for Doom” CD//DD track listing:

1. A Dream Within a Dream

2. The Thirteenth of November

3. Woodstock Child

4. The Sweet Taste of Ruin

5. Pray for Doom

6. The Orchestra Bizarre

7. Paralysed by Sleep

8. Father Winter (Sacrifice Pt. 3)

The Review: 

Germany's greatest and purest doom band return with this monolithic slab of powerful and muscular trad doom. If you've heard “The Peaceful Dead” album, then you know that this band are one of the best in the whole genre.

“Pray for Doom” is a continuation of the lofty heights the band has set themselves via their back catalogue. The sound is immense- the drums are so thick and powerful- the bottom end is as muscular as Dorian Yates back in the mid 90's, the tempos are sluggish, and the songs are well thought out and presented with maximum emotional impact courtesy of the plaintive and ultimate-in-doom voice of Gerrit P. Mutz.

The Opener “Dream Within A Dream” tells you everything you need to know about the album; if you like it, then you will like the rest of the record. If you don't like it, then you don't like doom. End of.  Highlights are genuinely hard to pick out, due to both the quality and the uniform approach of the record. The title track may be an obvious pick as it is a balladlike track, well-crafted and presented. That said, the hard rocking “The Thirteenth of November” might be more up your strasse... Either way, there is just quality all the way through this album.

In times when “doom” is sometimes just two-piece bands playing two chord riffs, Dawn Of Winter represent the best and most real deal available. All elements are doom. All songs are great.  All influences (Vitusetc) are present and correct. All aspects of the album are stellar. The best trad doom release of the year? Have a listen and decide for yourself.

“Pray for Doom” is available HERE

Band info: facebook

REVIEW & TRACK PREMIERE: Famyne, "Famyne"

 By: Richard Maw

Album Type: Full Length

Date Released: 22/09/2018

Label: Independent

it is absolutely clear that Famyne will be both leading the way for British doom in the years to come and also may well become a band apart from the genre and the “scene.” 

“Famyne” CD//DD//LP track listing:

1). Wearthless

2). Faustus

3). Slave Ship

4). Ghosts

5). Tremor

6). Dreamweaver

The Review:

The UK is the de facto home of doom- what with Black Sabbath kicking off the genre (and heavy metal in general) way back when. In recent times, though, Maryland in the US, Sweden and Germany have all had thriving scenes going on and the UK's fortunes faded with the demise of Cathedral. Not any more, though.

The UK can boast several first class doom bands- that's doom, not sludge. Famyne have placed themselves neatly into the upper echelons of the current (and the “been around for donkey's years”) crop of bands. This is traditional doom; low slow and weighty. The vocals are clean, the guitars and bass distorted, the drums pound (and drummer Jake Cook uses a fair amount of subtlety with his snare grace notes as well) and the songs sprawl and soar.

Epic opener “Wearthless” sets the tone with an impressive rhythmic foundation and no small amount of Doors inspired psychedelia in the vocal production and delivery. The band tackle the big subjects in “Faustus”- big in the realms of metal, that is- and provide appropriately big riffs to go with it. Convincingly double tracked vocals are a nice touch and the overall production job is worth noting for its weight and clarity.

“Slave Ship” utilises dynamics effectively, introducing a diversity of sound not too often found in the trad doom world. Tom Vane's vocals are a defining stamp on the band's sound- they lend it an ethereal quality. As the album progresses through “Ghosts” and “Tremor”, there are numerous influences that can be picked out here and there; maybe some AIC, maybe even some shoe-gaze type stuff? This is certainly not an average, meat and potatoes Sabbath rip off; even if the Sabs are audible in the witches brew the band have concocted.

The touches of violin, the soaring vocals and the rock solid instrumental work of all band members add up to make this record both engaging and even surprising. It is very accomplished stuff; streets ahead of most band's debut records and with a unique sound.

As the album progresses through the nine and a half minutes of “Dreamweaver”- no, not that “Dreamweaver”, so beloved of Crowbar and Wayne's World- it is absolutely clear that Famyne will be both leading the way for British doom in the years to come and also may well become a band apart from the genre and the “scene.”

There is no way of knowing how far the band is going to go, but if they get the right cards dealt to them it will be a lot further than opening band status. They are young, they are unique and they are undoubtedly going to give all the UK doom bands a run for their money. Sabbath are gone, Cathedral and Iron Man likewise, Pentagram are headless, Saint Vitushave lost one original member already and Wino won't be around forever. If you were placing bets on who was going to carry the torch from here... Well, check out this superb debut and hear for yourself as we stream the sublime “Faustus” below

“Famyne” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Iron Void, "Excalibur"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 25/05/2018 (Digital)

Label: Shadow Kingdom Records

"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 Kingdom Records 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.

“Excalibur” is available here

Band info: bandcamp|| facebook

ALBUM REVIEW: Apostle of Solitude, "From Gold To Ash"

By: Richard Maw

Album Type: Full Length

Date Released: 23/02/2018

Label: Cruz Del Sur Music

“From Gold To Ash” is heavy as lead and in places just as toxic, guitars are like slabs of unyielding concrete, with the bulk of the album as dark as the blackest pitch in tone and content.  From opening instrumental “Overlord” to the closing “Grey Farewell”, Apostle of Solitude stake their claim for having recorded the best doom release of 2018.”

“From Gold To Ash” CD//DD//LP track listing:

1). Overlord

2). Ruination Be Thy Name

3). Autumn Moon

4). Keeping The Lighthouse

5). My Heart is Leaving Here

6). Monochrome (discontent)

7). Grey Farewell

The Review:

Indiana has produced some of the best metal ever in the form of The Gates of Slumber, and Apostle of Solitude continue in that fine doom tradition. Chuck Brown, the original drummer for TGOSfeatures on guitar and vocals, keeping a nice link to the Indianapolis doom scene. This is a rumbling, raw, traditional slab of doom metal. From opening instrumental “Overlord” to the closing “Grey Farewell”, the band stake their claim for having recorded the best trad doom release of 2018.

It's heavy as lead and in places just as toxic- “Ruination Be Thy Name” is as dark as they come. There are moments of sweetness in the interlude “Autumn Moon”, but the bulk of the album is as dark as the blackest pitch in tone and content. The guitars are like slabs of unyielding concrete and bassist Mike Naish's bass sound and playing come from a man who has hands thick with muscle. Most full length songs here are well north of the six minute mark, with “Keeping The Lighthouse” being concise at 6.23, but the likes of “My Heart Is Leaving Here” clock up close to ten minutes of playing time.

With that in mind, this is not an album for the casual doom fan; this is surely for the faithful, the aficionado- the dedicated. There is a traditional heavy metal influence here in places, both within the vocal melodies and even the riffs (just a lot slower) but really this is true doom all the way. “Monochrome (Discontent)” is a fine example- speed it up and it becomes something akin to Angel Witch. By the time of “Grey Farewell”, the mood of the album- that of grey skies, cold days and unending despairing regrets- has firmly taken hold. This is not for the faint of heart and is instead for the bravest among the doom warriors out there. It's also a brilliant record; deep and dark.

“From Gold To Ash” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Monolith Cult - "Gospel of Despair"

By: Richard Maw

Album Type: Full Length

Date Released: 17/11/2017

Label: Transcending Records

Monolith Cult have turned in seven tracks of downbeat and downtrodden delight.

“Gospel of Despair” CD//DD track listing:

1). Disconnection Syndrome

2). The Gospel of Despair

3). Kings of All That’s Lost

4). Chothia in Memorium

5). Sympathy for the Living

6). Complicit in Your Own Abuse

7). Death Means Nothing

The Review:

Very heavy doom from Bradford, West Yorkshire, Northern England. Well, I guess you are not going to be too cheery if you live there, so why not translate that despair into some top of the range doom metal? Monolith Cult have done just that, turning in seven tracks (well six and an interlude) of downbeat and downtrodden delight.

The opener, “Disconnection Syndrome”, swings a fair bit more than might be expected, but the material is still as heavy as lead. The title track goes down the same path- very heavy, surprisingly groovy and thick with, as the band say, “The Gospel of Despair”. There is no small amount of Paradise Lostto be heard at certain points of the album- “Kings Of All That's Lost” being a good example of tar thick depressive doom favoured by men of metal from Yorkshire. The band don't put a foot wrong over the latter half of the record either- “Sympathy For The Living” has a nice line in time changes and riffs, whilst the vocal performance of Bry Outlaw ("it's my real fucking name") is a great example of doom melodrama.

The final two tracks are the heaviest- “Complicit In Your Own Abuse” is a fantastic eight minutes.  “Death Means Nothing” is as downcast as you would expect. If failure is not an option, but all you've ever known: this album is for you. We're all doomed and Monolith Cultare providing the ultimate soundtrack.

“Gospel of Despair”is available here

Band info: facebook

ALBUM REVIEW: Hooded Priest - "The Hour Be None"

By: Richard Maw

Album Type: Full Length

Date Released: 01/12/2017

Label: I Hate Records

This is doom metal that will appeal to anyone with a sense of theatre and anyone who wants to bang their head as well; there is some great metal on offer here. Huge and sprawling in its ambition, “The Hour Be None” is a doom tour de force and I recommend it highly.

“The Hour Be None” CD//DD track listing:

1). Dolen – Exiting The Real

2). Call for the Hearse

3). These Skies Must Break

4). Herod Again

5). Locust Reaper

6). Mother of Plagues

The Review:

Dutch doomsters Hooded Priest return with their second full length album and now with the backing of the I Hate label. There is no need for a full track by track breakdown here: this is epic trad doom. If Candlemass is your thing, Hooded Priest will be too. If you are looking for the more street end of the trad doom spectrum (The Obsessed, Saint Vitus, R.I.P) then this may be too far towards history and fantasy for your liking- but that said, the music here is top notch so why not give it a go anyway?!

Six tracks of epic scope and sound are on offer, one track well over ten minutes and two well over nine! There are huge riffs here too- “Mother of Plagues” is just massive, with an expansive sound. My stand out track would be “Herod Again”- great riffs, themes and performances of biblical proportions- top quality doom with just a measure of traditional metal thrown in. Every track is a winner, the sound is suitably massive and the vocal performance is perfectly matched to the musical ideas. There are time changes aplenty as well; it keeps the tracks interesting and allows the song lengths to be worthwhile exercises in quality as well as quantity.

This is doom metal that will appeal to anyone with a sense of theatre and anyone who wants to bang their head as well; there is some great metal on offer here. Huge and sprawling in its ambition, “The Hour Be None” is a doom tour de force and I recommend it highly. 

“The Hour Be None” is available here

Band info: facebook|| bandcamp

ALBUM REVIEW: Sorcerer - "The Crowning of the Fire King"

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.

“The Crowning of the Fire King” is available here

Band info: bandcamp|| facebook

ALBUM REVIEW: Procession - "Doom Decimation"

By: Richard Maw

Album Type: Full Length
Date Released: 31/10/2017
Label: High Roller Records

Procession carry a torch for the purest of doom- dark monolithic and emotional. It carries true weight and truly the band are at the top of their chosen field.  There are huge riffs, the performances from all band members are fantastic and the songs are well crafted. No trend, just doom. Procession deliver the goods yet again.

“Doom Decimation” CD//DD//LP track listing:

01. The Warning
02. When Doomsday Has Come
03. Lonely Are The Ways Of The Stranger
04. Amidst The Bowels Of Earth
05. Democide
06. All Descending Suns
07. As They Reached The Womb
08. One By One They Died

The Review:

Procession keep on keeping on with their true doom style. The Chilean (by way of Scandinavia) band unleash another slab of granite hewn doom here. They kick off with a muscular instrumental and then continue things with the fairly high tempo (for doom) “When Doomsday Has Come”. The vocals remain melodramatic and perfectly pitched for this type of epic sound. The production is again of good quality- it feels like they have really planned things out prior to recording as they deliver a classic sound- reverb in the right amount, big drums and a solid twin guitar sound. There are epic tracks here- “Lonely Are The Ways of the Stranger” being the first of these and a couple of tracks stretch well beyond seven and even eight minutes.

Now, your capacity for this type of doom may dictate how much you enjoy the slower passages, but there is plenty of sharp riffage to go with the murk- just check out “Amidst The Bowels Of Earth” for proof. Again, fans of Candlemass will definitely find what they are after here- fans of doom that is a little more concise may find the drawn out intro of “Democide” a little much- not to mention the following few minutes of purely instrumental riffs and solos.

Interestingly, writing this having just listened to R.I.P.'s new album and “Doom Decimation” back to back, it really struck me just how much of a broad genre doom is becoming- or perhaps has always been. After all, Sabbathhad everything from instrumentals to ballads, to up tempo rockers to the slowest of crawls- sometimes even in one song!

Procession carry a torch for the purest of doom- dark monolithic and emotional. It carries true weight and truly the band are at the top of their chosen field. When they do decide to press the pedal to the metal with more urgent riffs, they work just as well- and still sound like the same band- “All Descending Suns” being a good example of this.

“As They Reached The Womb” and the epic “One By One They Died” close the album with sixteen minutes of dramatic doom metal. The record is not for the casual doom fan; it is for those souls who enjoy the genre in its essence, in its purest form. There are huge riffs here, the performances from all band members are fantastic and the songs are well crafted. No trend, just doom. Processiondeliver the goods yet again.

“Doom Decimation” is available here

Band info: facebook

ALBUM REVIEW: Blackfinger - "When Colors Fade Away"

By: Richard Maw


Album Type: Full Length

Date Released: 15/09/2017

Label: M-Theory Audio

 

I cannot find anything to fault here. Blackfinger have delivered nine tracks of trad doom with style and finesse. Eric Wagner has put his name to another excellent doom album and this is recommended to any fans of Trouble, The Skull, Saint Vitus, The Obsessed and so on out there

“When Colors Fade Away” CD//DD//LP track listing:

1). When Colors Fade Away

2). Can I Get A Witness

3). All My SorrowType O

4). My Old Soul

5). After-now

6). Crossing The River

7). Beside Still Water

8). Waiting for the Sun

9). Till We Meet Again

The Review:

Blackfinger's second album once again has Eric Wagner at the helm on vocals and comes three years after their self titled debut.  The band is split between Illinois and Pennsylvaniaand certainly brings the Autumnal melancholy that one associates with those states. The first album was a mixture of doom and classic rock influences and reminded me of Type O Negative in some ways. This second offering, to my ears has ramped up the doom leanings.

The title track is up first and makes an effective statement of intent- it delivers downbeat and downcast doom in the Sabbath vein, while “Can I Get A Witness” also has the blood of Iommi running through its veins. The nine tracks here all sounds great; the drums are boomy and big sounding, the bass rumbles, the guitars suitably thick. Wagner is on good form as ever (when is he not?!) and he keeps his plaintive wail pitched just right- both in terms of lyrics and technical singing. References to obscure darkness, the illusion of choice and so on abound. The nursery rhyme reference in “My Old Soul” works, surprisingly, but it is the atmosphere of the album which really makes for more than the sum of its parts.

Even when the band grooves, as it does on “Afternow”, there is still an undercurrent of menace and despair- which is exactly as a doom record should be! The track is a great example of a slow groove, it features a cowbell and the solo, which is excellent. With none of the tracks exceeding six minutes and most around the four minute mark, the band has their style of arrangements down. This is not epic doom, but it is doom in the most traditional form- please note, sludge is NOT doom.

From the crawling likes of ”Crossing The River Turmoil” to the more creepy “Beside Still Water” the record does cover a fair bit of ground- but only within the sphere of trad doom. This is not a heavy metal record, it does not feature thrash inflections and has stripped away the classic rock feel of the self titled album.

By the time of the melodic “Waiting For The Sun”, the album is most definitely set in stone- melancholy vibe in terms of clean sections, lyrics and vocals, riffs that are thick and heavy with emotional weight rather than aggression. Only on the closing “Till We Meet Again” does the band press the pedal slightly closer to the metal and a fine groove it is too. Really, I cannot find anything to fault here. Blackfinger have delivered nine tracks of trad doom with style and finesse. Eric Wagner has put his name to another excellent doom album and this is recommended to any fans of Trouble, The Skull, Saint Vitus, The Obsessed and so on out there. Try to get hold of it before winter really hits as it suits the atmosphere of Autumn perfectly.

“When Colors Fade Away” is available here

Band info: bandcamp|| facebook