Electric Wizard - Time to Die (2014)

As one of the biggest names in doom and one of my favorite doom bands, Electric Wizard have carved a very particular niche with their hazy, thick, drug and occult-influenced sound. There is no real departure from that sound on their 8th album, but there is a bit of welcome experimentation as on the psychedelic, keyboard-driven closer "Saturn Dethroned."

Sadly though, while this album isn't at all bad, much of it feels like a rehash of older material. The first three songs: "Incense for the Damned," the title track, and the extremely evil "I Am Nothing" are the clear standouts. The rest of it feels a bit plodding and unfocused. The album's lead single, "Sadiowitch," is quite unimpressive compared to the driving, groovy stomper "Black Mass" from the previous album.

While many may praise EW for their consistency, I think that most fans see the band's age starting to show. Most of those fans will also lose interest in this album fairly quickly and want to spin the classics such as "Come My Fanatics" and "Dopethrone" rather than the albums that try to imitate them.

"Time to Die" isn't a bad album by any means. In fact, "I Am Nothing" is possibly their darkest, most evil song to date, and really stands out in their career. However, as a whole, this album feels rather formulaic. If I were in the band, I would consider branching out into more psychedelic and non-metal territory to really make the next album stand out from the rest. But all in all, this is solid addition to this great band's catalog and I'm excited to see what they do next. 

7.5/10 

 

Earth - Primitive and Deadly (2014)

Like with Yob, I've always been a passive fan, but "Primitive and Deadly" impressed me enough to consider it as a serious contender for doom album of the year. The slowed-down, bluesy repetitiveness that snakes its way through the length of the album is like the love-child of Pink Floyd, Jimi Hendrix, and Black Sabbath. The inclusion off guest vocals is what, I think, really cements "Primitive and Deadly" as Earth's best work to date. Mark Lanegan and Rabia Shaheen Qazi both have unique styles, but ones that converge on a gloomy, almost gothic common point.

Being recorded in a desert, "Primitive and Deadly" makes no secret of its emulation of the desert landscape. Take, for example, the wide open, simple chords and apocalyptic tone on standout "Rooks Across the Gate." This utterly haunting track speaks to the desert's mercilessness, sheer beauty, and glacial rate of change. One can easily imagine this as the soundtrack to the desert portions of "Fallout: New Vegas" and "Red Dead Redemption."

At the same time, despite the album's beauty, it has a steep learning curve. Ff the new Yob album is hard to get into, this album is even more challenging. There's very little in terms of dynamics here, (let alone on any other Earth album) so it requires a tremendous amount of patience to even begin to process it. Nevertheless, this is undoubtedly their finest work and one of the best drone albums (if it can be called that) I've heard.

8/10

 

Yob - Clearing the Path to Ascend (2014)

I'm a huge fan of doom metal, but this band has never done much for me until now. 2011's "Atma" was decent at best, but on "Clearing the Path to Ascend" it feels like the band have finally coalesced their sound into a clear emotional statement.

Like Pallbearer, Yob craft a very heavy, dense, psychedelic sound. The difference is that Yob are a bit more "metal" and less melodic than their doom counterparts, and they have shouted vocals akin to post-metal such as Isis and Cult of Luna.

Yob's lumbering, mammoth riffs on this album stand in extreme contrast to the introspective, Pink Floydian acoustic sections. Each of the 4 gargantuan tracks on this record perfectly matches the mood of the album cover: a journey into an unknown, exotic land lost in the mists of time. Mike Scheidt's vocals are some of the best I've heard in doom. His mournful, languid clean vocals perfectly compliment his throaty, caveman growls.

But what I consider to be the underlying strength of this album is that despite all 4 songs being over 10 minutes and quite repetitive, I rarely felt bored. Instead, I found the hazy, dark atmosphere on "Clearing the Path to Ascend" the perfect enticement to keep listening. The wait was well worth it as I reached "Marrow," my favorite track. "Marrow" is a haunting, brooding doom masterpiece that is easily the culmination of Yob's discography. "Clearing the Path to Ascend" is certainly not something that most people will get into on the first listen, but it's well worth investing time into as it's truly a doom gem. Along with the new Pallbearer record, this one gets my vote as best doom album of 2014.

9/10

 

While Heaven Wept - Suspended at Aphelion (2014)

While Heaven Wept are undoubtedly one of doom metal's best kept secrets. I first became attracted to their epic doom sound with the riveting "Vast Oceans Lachrymose." While Heaven Wept are known for their beautiful, melancholic atmosphere, heavy riffs, and mournful vocals.

On this album the band decided to make a concept album and from a lyrical and aesthetic standpoint they succeed. Musically though, "Suspended at Aphelion" leaves a bit to be desired.

It starts off well enough with the gorgeous classical piece "Introspectus" which sets the tone for the whole album. Then we come to my favorite track "Icarus and I" which doesn't have any doom to speak of, but is nonetheless epic and grandiose. The last few minutes of the song make you feel as if you're soaring through the heavens just as Icarus did.

Things slow down after that with "Ardor" which repeats the last few minutes of "Icarus and I." Reprises are a common musical device, but using one right after its parent track, rather than at the end, and not making it acoustic are not very good ideas. 

The next moment of excitement comes with track 5 "Indifference Turned Paralysis" which shows the band's proficiency with translating classical musical structures into metal. A power metal band could have easily written this piece (and that's not a bad thing at all considering I'm a fan of power metal).

The album's second truly great track is "Reminiscence of Strangers" which is a beautiful ballad which builds up into the kind of epic doom melody I was hoping to hear on this album.

There are three tracks under 2 minutes on this album and that is a pet peeve of mine. Unless it's punk or grindcore, I'd prefer albums have songs at least 2 minutes long. The band would have been much better off combining the time used for those three tracks into something better.

The long and short of it is that the truly epic moments I was hoping for are few and far between. Much of this album is repetitive and not all that interesting. While Heaven Wept are clearly a talented band and I'm a big fan of theirs. However, it seems like this time they couldn't focus that talent into something really cohesive and memorable like "Vast Oceans Lachrymose." Concept albums are fine as long as each song can shine on its own. Most of the songs here, unfortunately, cannot. That said, this is still a good album and it contains creative songwriting and a couple of really good tracks that make it worth coming back to.

7.5/10

(Special thanks to Nuclear Blast to providing me a promo copy.)

The Oath - The Oath (2014)

As I mentioned in my Blues Pills review retro/stoner rock isn't exactly fashionable or original nowadays, but then there are some bands that manage to stand out. The Oath is just such a band. It's not hard to see why either.

Like Blues Pills, the most unique thing about The Oath is the vocals. Johanna Sadonis' bewitching vocals are the centerpiece of the album. They're confident, passionate and fit the lyrics quite well.

Musically, The Oath fit perfectly into Rise Above Records' roster of bands, joining such doom heavyweights as Blood Ceremony, Angel Witch, and Uncle Acid & the Deadbeats. They basic style could be said to be 60's/70's garage rock meets doom but it's obvious that they are incorporating a wide range of influences. Just some of the identifiable influences include Black Sabbath, King Diamond, Blue Cheer, Saxon, Motorhead, and Iron Maiden.

Yet, don't be fooled into thinking that this is merely a thrown-together hodgepodge of disparate influences. Rather, it's a focused, musically adept project that sounds great from start to finish. Songs such as the immediately catchy "Night Child" and the somber, psychedelic "Psalm 9" are evidence of this duo's success in cultivating their own musical identity, thus enabling them to stand out from the crowd in an over-saturated metal market.

Overall, even if it's not particularly ground-breaking, "The Oath" is a creative and thrilling album to listen to. There are plenty of killer riffs and instantly memorable choruses to keep you busy for quite a while. 

9/10

 

Pallbearer - Foundations of Burden (2014)

Pallbearer's debut album "Extinction of Sorrow" made waves throughout the metal world when it released in 2012. Critics praised the band for its innovative songwriting and the emotionality of its music.

"Foundations of Burden" takes Pallbearer's brand of melodic doom a step further with better production, better vocals, and overall better songs. This is an album brimming with atmosphere and emotion, yet at the same time it's absolutely crushing. Some negative reviews I've come across of this album deem the music "doom-lite," a claim I don't find any merit in.

Right from the get-go on the first track "Worlds Apart" Pallbearer are channeling such venerated doom bands as Katatonia, Warning, Paradise Lost, and Candlemass. The riffs are monstrous and thick, and the melodies are mournful and utterly captivating.

That said, it can be hard to connect with the songs as a whole given their length, relative sameyness complexity. The only real moment of diversity on the album is the gorgeous piano-driven interlude "Ashes." But diversity isn't something Pallbearer is, or necessarily should be, interested in. It's clear they want to tell a musical story in their own distinctive style without conforming to outside pressure. Therefore, those hoping for a significant change from the debut album will be disappointed. All they've really done here is to improve their already excellent craft.

"Foundations of Burden" takes you on a journey through vast, exotic landscapes but it's fairly easy to get lost along the way if you're not patient in dealing with the twists and turns. In other words, this is an album that requires multiple listens to gain a "bigger picture" view. Nevertheless, I'm very pleased with this record and consider it one of the year's best in the doom department.

8.5/10

 

Blues Pills - Blues Pills (2014)

Retro-stoner rock bands imitating 60's and 70's psychedelic music seem to be a dime-a-dozen these days with many bands simply failing to add anything distinctive or original to the mix. Blues Pills, on the other hand, are the clear exception to the rule. Rather than simply pay homage to the greats (Led Zep, Cream, Hendrix) etc., they channel these influences into something grandiose, elegant, and positively captivating.

It's not only the singer's incredible Janis Joplin-esque voice or the infectious grooves that make this album so enjoyable. Above all, it's the band's unbridled musical enthusiasm and passion that seeps through every song. This is a band that is unafraid to push limits and challenge themselves; in fact they enjoy doing it.

Whether it's the over-the-top quality of "Devil Man" or the haunting ballad "River"the band operate very much as a tight unit, with the rhythm section perfectly complementing Elin Larsson's soulful vocals. As for guitarist Dorian Sorriaux, he absolutely excels on this album, conjuring the ghost of Hendrix letting it drive him to make stomping riffs and fiery solos.

Some songs could be a bit more differentiated, but overall there is a very good deal of diversity and at no point during my numerous listens did I feel bored with this incredibly talented band's stellar debut album. Simply put, this album is one of the finest in the blues rock/psychedelic/stoner/call-it-what-you-want genre. This band can safely be added into Sweden's vast pantheon of exceptionally talented artists.

9.5/10

Agalloch - The Serpent and the Sphere (2014)

When I heard Agalloch were trying out a space theme rather than their traditional nature/winter theme, I was very excited. "Marrow of the Spirit" was great but it showed signs of a band aging and starting to run out of ideas. A change was indeed in order. Unfortunately though, it seems Agalloch's musical abilities were not up to par for this change. Much of this album feels tedious, repetitive, and downright boring. Take the opener "Birth and Death of the Pillars of Creation" for example. It's probably the first time they've Agalloch have attempted a straight-up doom metal song and I have to applaud them for that but it could have been so much stronger by either cutting it in half or adding more variation. The song kinda plods along and I find it difficult to emotionally connect with it in any way. The same goes for "Plateau of the Ages." It's 12.5 minute long metal instrumental whose most interesting feature is perhaps the cool drum beat. Every time I listen to it I think about Agalloch's other metal instrumental, "The Hawthorne Passage,"and how much better it is. Then take "Dark Matter Gods." That song has so much potential but it far too repetitive and unnecessarily long to stand anywhere near Agalloch's best songs. On the plus side, you have "Vales Beyond Dimensions" which features an excellent dark, doomy lead melody that fits the space theme perfectly. Then there's the lead single "Celestial Effigy" which is the most dynamic, progressive track on the album. It's the kind of song that keeps your attention throughout. "Astral Dialogue" is not only one of the most aggressive songs Agalloch have penned, but it's also my favorite song on the album. It's a perfect blend of doom and black metal, and it features the unique songwriting the band are famous for, something sorely lacking elsewhere on "The Serpent and the Sphere." Another positive feature is the lyrics which are fantastic as ever. As for the acoustic interludes, they unfortunately all sound basically the same and are very stale and uninteresting. There is absolutely no comparison between them and the songs on "The White" EP or the glorious "Odal" on "The Mantle." Simply put, this is Agalloch's weakest album but it certainly does have a number of redeeming factors that make it worth listening to. You can hear the seeds of better songs throughout, but those better songs never materialize. If you're expecting something on the level of the first three albums then prepare to be disappointed. I suspect though that this one's a grower so my opinion might very well change later on.
7.5/10

Triptykon - Melana Chasmata (2014)

Coming on the heels of 2010's critically acclaimed "Eparistera Daimones," Triptykon, fronted by Tom G. Warrior of Hellhammer and Celtic Frost fame, have returned with another dark, brooding monster of an album in "Melana Chasmata." The oft-repeated phrase "don't judge a book by its cover" certainly doesn't apply to this album as the sick, twisted art of H.R. Giger perfectly matches the music. And the album doesn't waste any time revealing its sinister nature to the listener. Right from the opening of "Tree of Suffocating Souls" with its heavier-than-lead thrash attack and Warrior's trademark commanding grunts through the hauntingly beautiful "Waiting", "Melana Chasmata" is truly a beast of an album that hearkens back to the old days of Celtic Frost. The real genius of the album is its ability to seamlessly weave black, doom, thrash, death, heavy, and avant-garde metal into a singular, monolithic package that almost goes beyond genre classification. In that sense, Triptykon still hold firmly to the pattern established by Celtic Frost on such albums as "Morbid Tales" and "To Mega Therion" which influenced an incredibly wide range of bands and even spawned entire genres. The difference here is that Triptykon, especially on this album, have taken the classic Frost sound and expanded it into the territory of avant-garde with a heaping dose of dissonance and drawn-out, hypnotic tracks that make me think of such nightmarish things as Inferno by Dante. Indeed, the whole album is a trip through hell. "Altar of Deceit" is perhaps the heaviest track on the album, and perhaps the most violent part of the trip through hell, and features gargantuan riffs that sound like Black Sabbath on steroids. Another highlight for me is "In the Sleep of Death" which features some truly demented, almost psychopathic vocals that just plain creep me out (in a good way though). It is also worth mentioning bassist Vanja Slajh's beautiful, siren-esque singing which complements Warrior's fierce growls perfectly. And of course let's not forget Warrior's morbid lyrics which, as usual, fit the music like a glove. While I enjoy this album more than its predecessor, it's not perfect. "Black Snow" is probably my least favorite track here as it goes on for far too long than it should. Otherwise, "Melana Chasmata" is a fantastic achievement that shows not only shows Warrior/Triptykon's relevancy in the incredibly crowded world of modern metal, but also stands out as a uniquely dark and, in a very odd way, beautiful artistic statement.
9/10

(Special thanks to Century Media records for sending me a promo copy.)

Kuolemanlaakso - Tulijoutsen (2014)

Featuring Miko Kotamaki of one of my favorite doom bands, Swallow the Sun, Kuolemanlaakso is death/doom band whose lyrics are entirely in Finnish and are based on the poetry of Eino Leino. Not surprisingly, the music is pretty close in style to that of StS, if not a little more stripped down, and while I do prefer StS there are some pretty interesting bits on this album that make it a worthwhile listen. There are quite a few great riffs and Kotamaki's excellent vocals, consisting of banshee-esque rasps and demonic growls, are my highlight of the album. It's pretty much standard death/doom fare except for "Glastonburyn Lehto" which is an odd folky/psychedelic number featuring clean vocals and guitars. All in all, this album is quite good and should be enough to tide StS fans over until the next release.
8/10

 

Earthless - From the Ages (2013)

When it comes to stoner jam bands, these guys are absolutely some of the best. While I loved their previous two records, I feel that "From the Ages" is Earthless' most accomplished and accessible record to date. While an album with a 36 minute song on it may not sound that accessible, it's so easy to get lost in the psychedelic haze that the time just drifts right on by while you're listening to it. The whole album flows incredibly well and it's chock full of catchy riffs and soaring, bluesy solos. Equally top-notch are the bass playing and drumming which, of course, are key elements in stoner rock. This is just a fun record that's a great substitute for drugs (not that I've ever taken any!). If you're looking for some mind-blowing instrumental music then this should be right up your alley.
9/10

 

Avatarium - Avatarium (2013)

And here, ladies and gents, is my doom album of the year. When doom guitarist extraordinaire Leif Edling closed up shop on Candlemass last year, I was very disappointed, especially after the excellent "Psalms for the Dead" but much to my relief Edling formed a new project that put out something even better. "Avatarium" is a doom masterpiece that takes a strong influence from psychedelic rock and classic rock in general. Evident of this is vocalist Jennie-Ann Smith's epic, powerful performance that is, at times, very reminiscent of Dio. The riffs are amazing and are used brilliantly. The songs are very dynamic, memorable and flow extremely well. It's just an utterly epic, grandiose and beautiful album that is one of the most memorable doom releases in recent memory. I can't recommend this one enough.
9.5/10

 

Windhand - Soma (2013)

For those waiting for the next Electric Wizard album, this should do quite nicely to tide you over. This is an absolute monster of an album. With bone crushing riffs, an extremely hazy atmosphere, and beautifully distant vocals, this is definitely one of the best doom albums of the year and one that takes the original Black Sabbath sound to far darker places than Iommi and co. could ever have imagined. Simply put, "Soma" is HEAVY. The gargantuan half-hour track "Boleskine" alone is one of the punishingly heavy things ever recorded. It's very repetitive, as a lot of doom is, but the repetitiveness creates this eerie, ritualistic atmosphere that is the real charm for me about this album. And this charm extends into acoustic territory on the gorgeous track "Evergreen" which reminds me a lot of Hexvessel. I think "Soma" is a bit of a step-up from the self-titled debut album since the vocals are a bit catchier but both are amazing slabs of doom that no doom fan should miss out on.

9/10

 

Vinum Sabbatum - Bacchanale Premiere (2012)

Somehow I missed this absolute gem of a stoner album when it came out last year. Thankfully, I just discovered and listened to it and was pretty blown away. The riffs are great, the melodies are catchy, and, most importantly, it has that vintage production that I'm an absolute sucker for. In fact, there aren't many other bands I've heard that capture the classic psychedelic sounds of the 60's and 70's quite like this band does. Go check out this unique band.
9/10

Inter Arma - Sky Burial (2013)

After hearing a lot about this album, I decided to check it out and I have to say I'm pretty impressed. It's a really diverse, interesting record that sways back and forth between feelings of utter bleakness and despair, and consolation and resignation. What I really love is how the record is so all-over-the-place in terms of influences (black metal, Neurosis, High on Fire, Earth, Mastodon etc.) yet it feels so coherent and flows so naturally. Another noteworthy talent this band possesses (and this kinda goes for all good post-metal bands) is the ability to forge a close connection between the lyrics and the music. The lyrics evoke a post-apocalyptic landscape and the music perfectly follows suit. The vocal style is one of the key elements here that not only helps bring to life this landscape in the listener's imagination, but also help give the band a unique identity. The lo-fi, black metal-esque vocals really help make the music all the more desolate and inhuman while simultaneously bringing the issues raised in the lyrics to the forefront and dealing with them in a direct, uncompromising fashion. If you still aren't convinced that 2013 is a renaissance year for post-metal then I highly suggest you check out this dark masterpiece.
9.25/10

 

Purson - The Circle and the Blue Door (2013)

Along with many other genres, psychedelic music has been seeing a sustained revival in recent years. Purson is a newcomer to this revival and they're one of the best best I've heard. Everything you love about classic bands such as Jefferson Airplane, The Doors, The Beatles, Deep Purple etc. is here plus Purson's unique twist. The hazy, seductive vocals, swirling guitars, gorgeous keys, and catchy, theatrical melodies all make for an engrossing listen that is sure to appeal to fans of vintage music (such as myself). The closest modern comparison I can make with this album is to Blood Ceremony although Purson focus more on psychedelia than heaviness and have much more limited folk elements. This is undoubtedly one of the best psychedelic records to come out in recent times. Lovers of all things classic will most thoroughly enjoy this album as I did.
9.5/10

 

Enshine - Origin (2013)

And now for what will probably be my death/doom album of the year. Enshine differentiate themselves by adding in ambient electronic electronics to complement the heavy riffs and beautiful melodies. The atmospherics are simply some of the best I've heard in the death/doom genre, and the production is crystal clear. If you're a fan of Daylight Dies, Swallow the Sun etc., then by all means give this album a shot. You most likely won't be disappointed.
9.5/10

 

Jex Thoth - Blood Moon Rise (2013)

Like Blood Ceremony, Jex Thoth have a deep appreciation for all that is vintage, psychedelic, and doomy. Their main talent lies in creating hypnotizing, engrossing songs whose magical keyboards, leaden riffs, and seductive, haunting vocals all combine to create some very powerful, trance-inducing music. Another noteworthy feature of Jex Thoth is their keen sense of just how heavy to make a song and thus perfectly balance the riffs with the melodies, atmospherics, and emotions. "Blood Moon Rise" is a perfect example of retro-doom done tastefully in terms of having a sound that is both influenced by older bands and original. It will certainly make my list of top doom albums at the end of the year.
9.5/10

 

Blood Ceremony - Living With the Ancients (2011)

Since I haven't had a chance yet to review their latest album and since I just got into this band via this record, I figured I'd give it a review. Wow. Just wow. I don't think an album has blown me away like this in quite some time. What this band represents is the perfect blending of Black Sabbath and Electric Wizard's doom onslaught, Jethro Tull's frenzied flute playing, and the psychedelic keys of The Doors. Some might say that wearing their influences so blatantly on their sleeves makes Blood Ceremony an unoriginal band, but I think that the blending of these influences plus the inclusion of a female singer makes for some of the most original and awe-inspiring music in the stoner/retro-doom scene. The flute and keys on this album are absolutely breathtaking in their ability to evoke nostalgic sentiments. The singer has a subdued, rather eerie voice that perfectly matches the music. The occult/pagan lyrics and imagery are a brilliant touch. Finally, the riffs and solos are great, yet not too heavy as would be expected of a vintage-sounding band. This is one of those rare albums that you pretty much instantly fall in love with. I'm already kicking myself for not discovering this sooner and I absolutely can't wait to listen to and review their new one (as well as their debut).
10/10

Pagan Altar - Mythical and Magical (2006)

And now for another little gem I discovered: Pagan Altar may not be the most famous NWOBHM band of the 80's, but they are certainly one of the most unique. Their keen sense of melody, a hallmark of the NWOBHM sound, in addition to their penchant for atmospheric doom and incorporation of folk (reflecting the pagan motif of their band name) all make for a highly rewarding and engaging listen. It has a distinct vintage, proto-metal feel to it even though it's most definitely a metal album. If there's anything that drags the album down, it's Terry Jones' vocals which take some time getting used to after which they seem to fit the music. Minor complaints aside, this is a really strong, even addictive record that hearkens back to 80's metal while subtly incorporating the style of Black Sabbath. Not only is it an intriguing musical experiment, but it's also a great record that metal fans of all stripes should hear.
9.25/10