Doom/Stoner Reviews

If you have or want to write a review for bands/albums in this genre, you can do so in this thread.

BLACK SABBATH - Sabotage (1975)

***** (5 out of 5 stars)

This album is nothing short of a heavy metal masterpiece, in my humble opinion. Sabbath really redefined their sound and peaked with both this and their previous release, Sabbath Bloody Sabbath. One can hear layered guitars galore and a production that gives the entire album an "otherworldly" sound (and transports the listener entirely somewhere else indeed!)

The album comes out swinging with "Hole in the Sky" which showcases all four members at the top of their craft. A classic riff by Tony along with a wonderfully dissonant double-tracked harmony guitar lead, a soaring and melodic vocal line by Ozzy, an incredibly fluid and contrasting bass line coupled with finely crafted lyrical imagery by Geezer, and thundering drumming by Bill Ward all combine to make an incredible whole that is DEFINITELY more than the sum of its parts (and this is only the FIRST TRACK!) A short, classically inspired and dissonant acoustic guitar piece by Tony follows and segues into the classic and bone crunching "Symptom of the Universe" which includes a beautiful acoustic layered and melodic outro that is just as lovely as anything the classic prog-rock bands ever did (i.e. ELP, Yes, Tull, etc). This hard/soft formula works so well for Sabbath on this album that they continue to employ it with several of the upcoming tracks. "Megalomania" takes it and reverses the order, starting out with an ambient arrangement that can only be described as "haunting". Midway through the song, the tempo changes and Sabbath pounds it home like only they can with possibly the most classic and ne'er heard riff of their career and definitely some of the most sinister vocals ever heard on tape before or since.

(Here comes side two, for all of you who first discovered this gem on VINYL.)

Just when you think it can't possibly get any better, "The Thrill of it All" comes in with an incredible start/stop riff that leaves you drooling on your fretboard! The "hard/soft" formula is again employed and the outro section is every bit as exquisite as the ones that preceded it, if not more so. Next, the Sabs take it up another notch with the awesome "Supertzar", which is an instrumental piece that uses a full choir to sing the phonetic and inspiring vocal lines. GEEZ! If only to give us a break, the next track, "Am I Going Insane (Radio)", is the "single" on the album (if there really ever was such a thing on a Sab release). Lesser in total track time, but no less weird, the protagonist of the song continually asks the listener about the state of his mental health over rhythm tracks that race probably as fast as the poor man's thoughts and sound equally dissonant as his cognitive processes. At the end, one can hear bizarre screams of agony over careless laughter which only slightly prepares you for the magnum opus which is to come. "The Writ" starts out innocuously enough with a fluid bass line that only slightly hints at the massive wall of sound to follow. Lyrically, the piece seems to lash out at the horrible management situation the Sabs had just crawled out from under. Sonically, the song is no less poignant. As if stating that the previous efforts did not quite meet their own great expectations, they go again into a melodic outro that seals this masterpiece in the annals of heaviness.

As if at this point the quivering puddle of what was once the listener on the floor really cares...

Randy Michaud - 7/29/02

BLACK SABBATH - Technical Ecstasy (1976)

***’ (3.5 stars out of 5)

"Tech Ec" is definitely the weakest of the original lineup's studio releases. There are a couple of classics on here, however. "Back Street Kids" and "All Moving Parts (Stand Still)" are probably the most finely crafted pieces here. Two additional treats are "You Won't Change Me" with it's nice and slow doom-metal pace, and Bill Ward's vocals on the ballad "It's Alright". Again, it's not up to the usual standards one would expect out of Sabbath, but if you love their creativity, this one is a must to complete the picture. This effort captures a moment in time for a band whose members were experiencing personal turmoil and seemed tired of the image they had been presenting on their previous six studio outings. I mean, it IS the original lineup, and can you really go wrong with that great chemistry? It's cool, even if only for the contrast it provides against the other works. But if you really dig the creativity that Sabbath demonstrated, check it out - but leave your preconceived notions at the door.

Randy Michaud - 7/29/02

BLACK SABBATH - Never Say Die! (1978)

**** (4 out of 5 stars)

Wake up, people! This is definitely THE most underrated Sabbath album of the Ozzy era! There are some classic moments here if one is able to just let go of the preconceived expectations of what Sabbath is "supposed" to sound like. There isn't really a bad song on this album, in my opinion. The title track, "Johnny Blade", and "Shock Wave" are all hard hitting Sabbath rockers with classic riffs to match, while "Junior's Eyes", "Air Dance", "Over to You" and "A Hard Road" are melodic and slower paced, but emotional and thought provoking numbers. The final cuts, "Breakout" (an instrumental complete with saxophone) and "Swinging the Chain" are definitely different for Sabbath, but Bill Ward handles the vocals on the latter song and how often do we really get to hear him belting out a number? The man has a passion and a rawness to his voice that definitely added another dimension to the already multidimensional Sabbath sound. This album also featured a certain air of hope and positivity that really makes it sound as fresh to me today as it did when I first heard it. Open your mind and give this one another chance. You won't be disappointed.

Randy Michaud - 7/29/02

Small reviews of the DAVID BENSON albums in order of preference:



1. DAVID BENSON/GOLIATH - David & Goliath demos

- David and Mick sounded GREAT together! Too bad they couldn't make it work. To me, these three songs represent the best sounding music either artist has ever made.




2. DAVID BENSON - Premonition of Doom

- His most consistent and doomy release. No filler on this one. Great Christian Doom with hellfire & brimstone lyrics!




3. DAVID BENSON - Purpose of the Cross

- This one really started to show that David and his band knew how to bring the doom and was a HUGE improvement over the debut. Almost the whole disc is a good listen. Only a couple of duds on here.




4. DAVID BENSON - Holy Psychotherapy

- The debut, 6 song disc. First one I ever heard and I grabbed it way back in 1997 because I heard that it sounded a lot like Ozzy. It does, but the songwriting also leaves a lot to be desired. Not bad, just not great. This is also the most rare of his releases. I actually sent a copy of this to David himself (along with the above mentioned demos) because even he didn't have a copy! )




5. DBEALITY - David's latest. A bit of a departure from the above five with less of an emphasis on the doom. This has more rock elements present and, as a result, I don't like it quite as much. It's well done (and even boasts none other than Robert Sweet on drums), but it hasn't grabbed me as hard as the David Benson releases have. It's also the one I am least familiar with at this point. But it still has a good sound (even thought David has started to move away from the Ozzy vocal sound a bit) and many of you will probably really dig it.

- Randy Michaud, March 2007

PLACE OF SKULLS - The Black is Never Far

Amazing!, April 27, 2007

Reviewer:
Brent E. Johnson "Power M. Fan" (Naches, WA) - See all my reviews
With the rise of the doom/sludge/stoner genre to prominence it seems that Place of Skulls would get more notice. Yet they seem to remain in the cult status the members former bands were in. Hardcore fans revere them but those finding bands like Wolfmother, Black Stone Cherry and others should be checking POS out to really hear the genre done right. Griffin loves the stop start effect of going heavy to light sonically and the vocals fit the overall mood perfectly. The Black Sabbath influence is extremely heavey with dashes of Trouble and even some Deep Purple moments added for variety. I wonder too, if the lyrical content is turning some off as Griffin is writing from a christian world view nowadays, albeit, mostly allegorical. I'd say any fan of aforementioned bands as well as all the ones the former members have been in will love this musically and the lyrics should not stop any fan from enjoying the high quality this band represents.
The above is a review I wrote for Amazon. Feel free to criticize or chastise at will.

Great review, man! Which album are you reviewing though?

It's the Black is Never Far. Yeah, that didn't copy from Amazon.

MY SILENT WAKE - Shadow of Sorrow

This is the latest musical incarnation of Ian Arkley. For those who don't know Mr. Arkley started in the late 80's with a band called Seventh Angel. Sounding some like a slowed down Metallica, they culminated with a drop d masterpiece called Lament For the Weary. This is a must have and not just in Christian music circles.
After an album with Paramaecium , an awesome doom band in it's own right, Arkley formed Ashen Mortality. Showing a softer side as AM mixed keyboards and some female vocals it still retained much of the drop d heaviness of Seventh Angel while moving into more of a doom/death sound.
After a few years of doing where are they now with Ian, he emerges in My Silent Wake. Trying to title the sound here may be pointless. Still retaining the heavy drop d sound at times, we get death/doom with some goth and even some folkish instrumentation. Lyrically Ian has always told tales of the dark night of the soul and the harshness of life that are then infused with the light of God's love and he does so here also. A worthy album for lovers of doomy heavy music that expresses real life with it's blisters and peelings but retaining the hope of The Morning Son.


This is my Amazon review for Shadow of Sorrows. Again, feel free to throw stones or correct mistakes. I hope my time line is right and I know I left out an obscure band or two he was in.

Thanks for the reviews, man! I added band names, titles and album art to your posts.

I appreciate that. Here in the sticks we only have dial up so adding pics is mind numbingly slow.

Terhen – Eyes Unfolded
Firebox Records



Of any of the Doom Metal records released this year, Terhen, a band from Finland, have released one of the best. Finland? Of course, Finland. That country seems to have some sort of cornered market on high quality Metal from all genres. Could be some sort of covert scientific experiment by the Finnish government to completely overtake the Metal scene in all corners of the globe…but I digress.

Terhen play a slow, dirge-filled Doom Metal with slight touches of Gothic flair. The use of low growls as opposed to clean vocals gives the record it’s dark, aggressive appeal. They’re the kind of vocals that get under your skin, in a good way, and begin to raise your blood pressure, again in a good way. In a way, they sort of energize the listener (in my case, anyway) and make one excited to be listening to it. Occasional appearances by a female vocalist only add to the atmosphere. Every other aspect of the album, sonically, is perfectly in step as well. The guitars are ungodly heavy, the keyboards add a funeral pyre air & the drums are just ambient enough without washing out. In other words, this record is HEAVY! Everything about it, every song, resonates gloom, despair & misery…5 songs totaling 53+ minutes of pure aural agony.

It simply doesn’t come any better. It’s not about breaking any new ground with Terhen, it’s about making the best Doom Metal the band can make. Fans of Shape Of Despair & Morgion take notice…Terhen needs to be on your list.

By Shawn Pelata

http://www.myspace.com/terhen

The Foreshadowing – Days Of Nothing
Candlelight Records



If you’re going to mix Gothic elements into Doom Metal it’s got to be done right. There has to be just the right balance to avoid becoming a caricature of itself. Italian sorrow-mongers The Foreshadowing have struck such a balance. Owing much to UK doomster’s Paradise Lost, they have mastered the art of grey-skied Metal music.

I mention Paradise Lost because that’s the band I am first reminded of, but that’s mainly because of the amount of melody involved here. The atmosphere in this genre is just as important as the musical dexterity & The Foreshadowing deftly blend melody & mood with thick, dense guitar tones. The keys add just enough color so as to enhance, like a sonic mist through which everything else arrives. There are also some beautifully mournful guitar lines that weep almost like an undercurrent violins. The slow tempos help to fully realize the band’s intent, which is to lure you, irresistibly so, into their deep well of grief.

Fans of My Dying Bride, Paradise Lost, & Katatonia’s slower movements will find much to enjoy about Days Of Nothing. A strong album from start to finish, some of the highlights include “Departure”, “The Wandering” & “Last Minute Train”. Seek it out and revel in the sorrow.



By Shawn Pelata

http://www.myspace.com/theforeshadowing

Winters – "Black Clouds In Twin Galaxies"
Rise Above



God bless Lee Dorian. His Rise Above Records is bringing us some very cool Doom oriented Metal these days. Winters play a Cathedral-esque, rough-around-the-edges sort of Doom Metal with a healthy dose of Indie Rock. In other words, it's heavy on the roots of Doom while having some body part (or parts) firmly entrenched in the here & now.

The tones on this record are raw and abrasive. Everything sounds big and live. This does nothing but add to the heavy vibe on the album. Doomy atmospheres ooze & crawl out of the speakers when these guys start riffing. Vocally, there is where the Indie Rock feel comes in. Paul Fyfe has an understated, very English delivery akin to Radiohead or even Pedro The Lion…or, if you will, imagine Elliot Smith dropping some guest vocals from beyond the grave on a St. Vitus record. That may sound (more than) a little out of place at first, but it actually gives the album a refreshing counter-vibe. Had Winters employed a gravelly-voiced screamer they would have run the risk of blending in a bit too much.

This is easily one of the best Doom related releases of 2007 for me. It may even find a spot in my (as well as others) Top Ten List by year's end. Not enough can be said about how cool & fresh Winters is. I have bore witness to a future legend in the genre, and it is good.

By Shawn Pelata

Litmus – "Planetfall"
Rise Above



Oh wow…where to begin. Litmus play a sort of Cosmic Stoner Rock. I hear traces of Floyd, Tull & (of course) Sabbath all throughout the Planetfall album...even hints of Steppenwolf's more trippy moments. The vocals are clean & harmonized, the guitars are wide & heavy, the synths are lush & sweeping. This album is all about mood creation & mind expansion and is most definitely made for the headphone crowd. Not those wimpy little "ear buds" all the iPod's come with. I'm talking about the big, orange, ear-covering headphones with the curly cable.

Each song, no…I can't even call them songs. Each soundscape Litmus presents us is pure, undiluted rock wrapped in velvet tapestries of spacey synthesizers & an all-encompassing, passionate vibe. You can easily picture these guys sweating on stage in a forest of shaggy hair & Gibson SG guitars (note: only one of them even has long hair, but that's beside the point). Guitar solos are delivered drenched in wah-pedal glory, and the jam passages are truly inspiring and spirited.

This is a fun, fun record to listen to, period. Fans of Space Rock & Stoner Doom have a new obsession here for sure. Planetfall offers more than enough energy, atmosphere and heaviness to enjoy for years to come. Blast off!

By Shawn Pelata

It's more a mix of doom and other genres, but the man himself said Paramaecium was a big influence.

This review is on Jesusmetal.com, written by me.

www.myspace.com/sawolmusic




Tracklist:
1. Desolate
2. Lethal State
3. Restoration


Sometimes when browsing around on forums you find bands you haven't
heard of yet, but then you listen and really like the tunes or samples.
When you're lucky they have a release out, which contains more of the
stuff you like so much. This happened to me with Sawol,
and Pekka was even that kind, that he sent me a copy to review.
Sawol is a doomdeath metal band from Finland, well technically it's more of a project than a band, as there are only 2 members
(of which one is a studio member). Pekka is known from other bands he plays in, like Sotahuuto.
He's a very talented musician,
as he clearly shows with this demo. It might only be 3 tracks long,
these 3 tracks are one of the best doomdeath I have heard in times.
It is melodic, emotional, dark and powerful. The production is top
notch for a demo, I have heard numerous full lengths with less good
production than this demo. And not only is the production great, so is
the musicianship on this release.
The first track, Desolate (which you can also here on the myspace of Sawol)
starts of with a very peaceful melody,
building up an atmosphere, one to be powered up by a distorted riff and
mighty vocals. Pekkas vocals are great, he uses mostly grunts,
yet has some growls from time to time that reach the mid-high section
too.
The drums on this demo are well executed, seems he really knew who he
could ask to drum on this release, and it might not be a double-bass
assault album, but the drums played fit the music in a great way. He
might use a bit cymbals for my taste on some places though. The songs
flow extremely well, they are all of good quality and really make me
long for more. This album is my favourite late night album of the
moment,
when I'm browsing around online at night, this is what comes out of my
headphones. If this is what he can reach with a demo, then I'm sure
that his next release, whenever that will be, will be of superb quality.
The art is simple, as is the logo, but it doesn't need to be more than that, as it all comes as 1 big package that really fits.
Fans of Paramaecium, Morphia or other doomdeath bands, be sure to check this out, if not, you're seriously missing out.


Review by Matt (January 21 - 2008)

Wow... Listening to this now.. I am loving it!!!

Great music. I like the vocals too.. kind of reminds me of Ian Arkley

yeah, when I found them I was surprised by the quality of it.

Mar De Grises
Draining the Waterheart (Firebox Records)




Chilean Gothic Doom Metal. This is the simplest, most concise description of Mar De Grises’ (Sea Of Gray) music. All the requisite elements are present to warrant this description as well. Within the 64 minute release, we find plenty of slow tempos, sad, depressing melodies, Death Metal vocals & an overall darkly romantic vibe.

Now, depending on your taste this is the kind of album that will either bore one to tears or drive them there with its passion & conviction. Some purveyors of the genre will love this album for its pure rendition of the style, others will hate it for being more of the same when they crave something new. I’ll say that if you are one of the latter then you’d best be on your way. Draining The Waterheart stays true to its chosen genre and does a fine job and flying said flag. 2 of the 8 tracks here are sung in Spanish which, with these vocals, is nearly impossible to decipher let alone recognize. But, follow along with the lyric sheet and improve your bilingual skills. There are plenty of free online translators to help. The English lyrics are the usual poetic fare and fit the vibe of the music nicely.

Some bands seek to innovate while some bands just want to make the best music they can in the genre of their choosing. Mar De Grises plays good, strong, heavy music and fans of the style will find more to love inside this band’s dark embrace. Fans of Shape Of Despair, Draconian, My Dying Bride & the like take note.
[Visit the band's website]
Written by Shawn Pelata
April 22nd, 2008

Dead Man
Euphoria (Meteor City Records)




Hailing from Sweden, Dead Man also sounds like it hails from about 3 decades ago. Taking its cues from Psychedelic bands like Jefferson Airplane and, to a certain extent, Pink Floyd while also flirting with a darker ambience (think Black Sabbath’s “Planet Caravan”), Dead Man have crafted an album that is as much of a head trip as it is a solid dose of Rock.

“The Wheel” finds the band at its most Floyd-like with a spooky, swirling intro diving into a subtle, subdued groove. Opening track “Today” kicks off the album by easing the listener into the atmosphere of the album as a whole, as opposed to hitting them over the head with noise. I hear hints of Santana in this one. “High Or Low” finds the band jumping into a sort of tribal groove as the vocalist does his best Jim Morrison impressions. I think you get the idea.

Overall, I think fans of bands like the ones I mentioned already, as well as fans of Psychedelic/Stoner Rock in general will get a kick out of this record. It’s a record that’s all about vibe, and that’s never really a bad thing. Turn on, tune in, drop out.

[Visit the band's website]
Written by Shawn Pelata
April 22nd, 2008

http://www.doom-metal.com/reviews.php?r=947

Memory Garden - Carnage Carnival
2008 Vic Records



Memory Garden has been cranking out its own brand of Traditional Doom Metal (laced with Power Metal) for well over 10 years now. With its fifth release (and first since 2000) 'Carnage Carnival', the band proves itself to be a lasting force in the Metal scene. It’s easy to expect great things when the band sports former members of Memento Mori, Nightingale and Abstrakt Algebra, and 'Carnage Carnival' doesn’t disappoint.

The guitars are dense and tight, the tempos are mid-paced to slow with good doses of double-kick drumming and the vocals, provided by one Stafan Berglund, are melodic and powerful. The title track opens the album with a strong combination of riff and melody. 'Dominion' drops a strong Melodic Doom riff and has a good, catchy chorus. They crank up the Power Metal influence and double-kick tempos on 'Another Night' while still retaining a dark atmosphere. The same can be said for 'The Beast Within' with its ultra-melodic, twin guitar opening lick and head-banging tempo. The nearly 7-minute closer 'Nameless' brings back a little more Doom with an angry riff and dark, brooding melodies. Overall, the sound reminds me of a cross between mid-era Candlemass and later Tad Morose... I think I hear hints of Morgana Lefay in there as well.

This time around, Memory Garden brings the Doom more in atmosphere with an all around ominous, brooding vibe despite the lack of snail-paced tempos. Honestly, it’s about as far to the edges of the Doom genre as a band can be and still be included. Regardless, 'Carnage Carnival' is a fine offering of dark, menacing Metal music. Put it on your list.

ETHEREAL DIRGE - Warm The Globe
http://www.doom-metal.com/reviews.php?r=958

THE WANDERING MIDGET - The Serpent Coven
http://www.doom-metal.com/reviews.php?r=959

THE WOUNDED KINGS - Embrace Of The Narrow House
http://www.doom-metal.com/reviews.php?r=976

MY SILENT WAKE - A Garland Of Tears
http://teethofthedivine.com/site/reviews/my-silent-wake-a-garland-of-tears/

Hey, Shawn, just read your review of OCEAN - Pantheon of the Lesser on dm.com - excellent review!! They are one of my favorites, and it's nice to see them getting heaped with accolades (including yours, which was very well written )... helps me to know I'm not biased just because they're from my town...

Seems like no one ever reads my blogs so I thought I would post this here since maybe not EVERYONE knows of Solitude,I will accept nothing less than global recognition


INTO THE OAKEN HALLS- Epic Doom Reviews
Category: Music


As the sun fades to black,the weeping sky sheds its tears of acid rain-a sorrow made by the hate and greed of man.Thus....the apocalypse begins.This, the third epic by Solitude,is the prelude to destruction and contains some of their darkest work yet.Possessing an ancient mythic quality not unlike Black Sabbath(who inadvertently began doom metal) and Candlemass(who refined it in the 80's),Solitude stands as one of the genre's most talented bands.Slow but not boring,Solitude achieves an almost hypnotic heaviness with cuts like"Haunting" and "Eternal."Another new classic,"Pawns Of Anger",tells the fate of fools driven by selfish ambition-fools who use and are used,all set to a heavy rhythm with a vintage Solitude feel.Revealing a more experimental side,"9th Day Awakening" contains a sitar solo that gives the song a Middle Eastern flavor and provides an interesting bridge to the return of the doom."In the misty morning,on the edge of time,we've lost the rising sun......" Sabbath's "Children Of The Sea"

Sabbath Steve

This is my original Solitude Aeturnus review for "Through The Darkest Hour" with only slight editing,it was and still is one of my favorites !

Does the word Sabbath appear too much in the review .......nah...

Stained Glass Flames wrote:

Hey, Shawn, just read your review of OCEAN - Pantheon of the Lesser on dm.com - excellent review!! They are one of my favorites, and it's nice to see them getting heaped with accolades (including yours, which was very well written )... helps me to know I'm not biased just because they're from my town...

Thanks...it's good stuff.

ELDER - Elder
http://teethofthedivine.com/site/reviews/elder-elder/

OCEAN - Pantheon Of The Lesser
http://www.doom-metal.com/reviews.php?r=999

MILLS OF GOD - Call Of The Eastern Moon
http://www.doom-metal.com/reviews.php?r=998

APOSTLE OF SOLITUDE - Sincerest Misery
http://www.doom-metal.com/reviews.php?r=981

Hey this is waaay cool - I'm gonna hafta check out some of these bands!!

Thanks!

TrogDawn wrote:

BLACK SABBATH - Sabotage (1975)

***** (5 out of 5 stars)

This album is nothing short of a heavy metal masterpiece, in my humble opinion. Sabbath really redefined their sound and peaked with both this and their previous release, Sabbath Bloody Sabbath. One can hear layered guitars galore and a production that gives the entire album an "otherworldly" sound (and transports the listener entirely somewhere else indeed!)

The album comes out swinging with "Hole in the Sky" which showcases all four members at the top of their craft. A classic riff by Tony along with a wonderfully dissonant double-tracked harmony guitar lead, a soaring and melodic vocal line by Ozzy, an incredibly fluid and contrasting bass line coupled with finely crafted lyrical imagery by Geezer, and thundering drumming by Bill Ward all combine to make an incredible whole that is DEFINITELY more than the sum of its parts (and this is only the FIRST TRACK!) A short, classically inspired and dissonant acoustic guitar piece by Tony follows and segues into the classic and bone crunching "Symptom of the Universe" which includes a beautiful acoustic layered and melodic outro that is just as lovely as anything the classic prog-rock bands ever did (i.e. ELP, Yes, Tull, etc). This hard/soft formula works so well for Sabbath on this album that they continue to employ it with several of the upcoming tracks. "Megalomania" takes it and reverses the order, starting out with an ambient arrangement that can only be described as "haunting". Midway through the song, the tempo changes and Sabbath pounds it home like only they can with possibly the most classic and ne'er heard riff of their career and definitely some of the most sinister vocals ever heard on tape before or since.

(Here comes side two, for all of you who first discovered this gem on VINYL.)

Just when you think it can't possibly get any better, "The Thrill of it All" comes in with an incredible start/stop riff that leaves you drooling on your fretboard! The "hard/soft" formula is again employed and the outro section is every bit as exquisite as the ones that preceded it, if not more so. Next, the Sabs take it up another notch with the awesome "Supertzar", which is an instrumental piece that uses a full choir to sing the phonetic and inspiring vocal lines. GEEZ! If only to give us a break, the next track, "Am I Going Insane (Radio)", is the "single" on the album (if there really ever was such a thing on a Sab release). Lesser in total track time, but no less weird, the protagonist of the song continually asks the listener about the state of his mental health over rhythm tracks that race probably as fast as the poor man's thoughts and sound equally dissonant as his cognitive processes. At the end, one can hear bizarre screams of agony over careless laughter which only slightly prepares you for the magnum opus which is to come. "The Writ" starts out innocuously enough with a fluid bass line that only slightly hints at the massive wall of sound to follow. Lyrically, the piece seems to lash out at the horrible management situation the Sabs had just crawled out from under. Sonically, the song is no less poignant. As if stating that the previous efforts did not quite meet their own great expectations, they go again into a melodic outro that seals this masterpiece in the annals of heaviness.

As if at this point the quivering puddle of what was once the listener on the floor really cares...

Randy Michaud - 7/29/02

This has always been my favorite Sabbath album, they were at their peak at this point.

Doomraiser - Erasing The Remembrance

Italy's "Doomraiser" first came on the scene back in 2004 with the demo "Heavy Drunken Doom". At the time it was a little hard to see them as serious contenders for any sort of Doom Throne because their image as a bunch of drunken Metal Heads.Man,have times changed because this album delivers the goods in every department.This is my kind of Doom Metal rock,they take all the best elements from the Maryland Doom Scene and mix it up with sounds ranging from Sabbath,Captain Beyond and other underground 70's proto Metal to guitar riffs and musical passages that remind me of early "Celtic Frost". Although there is nothing original about what they do,what they do is some infectious and full of so much groove.Its a real talent and strength to put together 7,9,10 and even 15 minute tracks and not once does it seem the tunes are long.They are structured with just the right amount of tempo and mood changes that nothing outstays its welcome.There is no low points to this release and highlights are plenty including "Another Black Day" that has one of the coolest mid-tempo headbanging sections heard in a long time."The Raven" and album closer "Rotten River" just reek of pure classic Doom with some unforgettable passages that are instantly accessible to mind of a Doom Metal fan like myself.Even the 15 minute "Vanitas" has so many twists and turns it never seems like 15 minutes has even passed by the end of this masterpiece.They released their first album "Lords Of Mercy" a couple of years back and while that was a good release,this really blows it out of the water.There is so many moods on here,reflective,aggression and even sometimes somber the arrangements are beautifully put together. This is engaging and convincing, thanks mostly to a mature songwriting and excellent production.Like i mentioned before most of this sounds like a Maryland Doom Act and bands like "Orodruin" and "Blood Farmers" spring to mind while listening to this but "Doomraiser" have got their place in the top of the Doom Metal pile and with a album as good as this it seems they will be there for a long time.Also i must mention this is available on a 2 LP set with bonus tracks.This is a essential purchase.

Ol Scratch - the sunless citadel

Virginia’s Ol’ Scratch has had its fair share of line up changes over the years but this band seems to get better and better.The latest album proves that point more than anything else,this is a powerhouse monster of a recording that left pinned against the wall when i first heard it.Ever been to a live show where everything is so loud and heavy you felt like you wanted to vomit ?That's what this CD can do to you if you cranked it up,the bass sound on this is the driving force.I have to say its the best bass sound i have heard in years.Ol Scratch are know for being a loud band but on this album they pushed their sound to a new level of power especially in the bass department.The album kicks off a intro piece before unleashing some Sabbath inspired Sludge that pummels your brain in the form of a track called “Infernal Judgement”.This is like Buzzoven but with a even more viscous attack,i mention the bass sound before and i must warned you i hope your stereo can handle this.My sub-woofer shit itself not long after listening to this album,i am not blaming Ol Scratch for it but it wouldn't surprise me if they are ones that did the damage.While the bass sound is so thick,you have a guitar sound that compliments the bass perfectly.It cuts,slices and tears its way through most of the tracks while the bass simply bulldozer's its way through.Most of the riffs on this album combine two things,cranked to the max Sludge Metal and dirty Doomed Out Southern Rock.There hasn't been a album released this year so far in my opinion that combines these elements and manages to keep it interesting for a entire album.Tracks like “Draconian March and Bottom Basement” which blend together like most of the tracks do on this album have a filthy groove about them.Guitarists Steve and Willy trade licks and split up solo's with demented abandon and the vocals howl and growl.One thing that comes shining through is you can tell the guys have worked their butts off on this,slightly ambitious and a totally complete album.“Brink of the Maelstrom” is another major highlight,a twisted riff monster that leave you hitting the repeat button over and over again.There is also “Redneck Deity” where the band becomes slightly (shock-horror) a little catchy and heads more towards a Doomed out C.O.C sound.There is a couple of quieter moments where the band moves into Swamp-Blues Mood but they pull that off so well it just add another dimension to the album.The closing 17+ minutes of “Wizard Smoke and Goatbridge”,the band manages to combine everything the band has played on the album so far and construct into a epic piece of Sludge/Doom Heaven.It has the Electric Wizard drugged up riffage but also with some psychedelic breaks before ending with a wall of noise effect.There is also the Sludged Up Boogie of “Last Charge of a Dying Race”,yes the band covers a lot of ground on this album.If there is any weak point at all its the drum sound which seems to get buried a little at times under the monstrous bass sound.Normally that would hurt the rating but with the songs being so good and solid it doesn't affect the overall listening experience of this CD.Conclusion - this is my favorite CD of the year so far,a release so good that i don't know if this band will ever top it.Its out on Oppresive Sound System and the artwork and package is pretty damn good also.I hope everyone into Sludge and Doom check this mutha out.Essential.... 10/10

The Divinity Of Oceans is the second album from German Funeral Doom Metal band Ahab, following their acclaimed debut album The Call Of The Wretched Sea, released in 2006. The Call Of The Wretched Sea was a concept album based on Herman Melville’s classic novel Moby Dick, and The Divinity Of Oceans follows in its wake. The album’s cover art is taken from Théodore Géricault’s famous painting of 1819, The Raft Of The Medusa. Now you may think two albums about whaling maybe stretching things a bit but at least it makes a change from the usual Doom Metal subject matter. The Divinity Of Oceans contains seven tracks taking up a hefty 67 minutes of what is rather minimalistic Funeral Doom at times but Ahab are one of the few bands that can do it and keep it interesting. The first track "Yet Another Raft Of The Medusa (Pollard's Weakness)" opens with melodic strummed guitar before launching into the trademarks of the Ahab sound. Deep guttural vocals, pondering drums, bass heavy guitars and a lead guitar playing eloquent tones of misery and woe. The riffs of Hector and Droste are as heavy and ponderously crushing as a the ocean itself, and the haunting leads are gloomy and obscure. The keyboards are kept to a subtle level and do just enough to complement the melodies. The vocal work of Daniel Droste has improved, adding some mournful clean vocal work and choruses to his Gregorian-like chants. The rhythm section of Wandernoth and Althammer is huge as always as they add layers of sound to fill out the song.

The rest of the album follows in a similar vein, no surprises there except there is a couple of moments where they mix things up a bit. "Tombstone Carousel" has a more energetic, chugging pace with double bass drum work, crushing doom riffs and even somewhat surprisingly melodic interludes. Here the band shows they have some versatility and its not all pure depressing bleakness.In "O Father Sea" and "Redemption Lost", their sound has some cleaner doom moments that at times flirt with a sound of Solitude Aeturnus. The album’s title track is another multi-dimensional highlight, but the whole album maintains an impressively high standard. The album plays like a true concept album, the songs tend to flow into each other and if you are not paying attention it is easy to lose track of what song you are listening to. The songs are real long with the shortest track being 7 minutes but its somewhat more easily digestible and varied at the same time compared with their debut album but without giving up on the dark atmosphere. The music is very lyrical but unfortunately the booklet doesn't contain the lyrics but you can find the lyrics on several lyric websites. Its worth searching the words out as they are truly well written and a excellent piece of intelligent story-telling.

I think that that Ahab have released possibly the most captivating Funeral Doom Metal of 2009 and it shows some solid progression from The Call Of The Wretched Sea. This album has much more variation, such as more changes in tempo but only slightly, this album still crawls along but there is more chugging riffs and less minimalistic structures that show the band has matured considerably since their debut album and may grow to be even more intricate in years to come. Maybe the best Funeral Doom album of the year for me and i am sorry i am so late reviewing this album. 9/10

Its been a hell of a few months for Canadian Doom and Sludge and here is another CD to add to the ever growing list of killer Canadian releases. "Dopethrone" in March 2008 as a completely D.I.Y. project but quickly formed into a fully fledged band, the band members are Vincent on guitar and vocals, Thomas on drums and Vyk playing bass guitar. With a name like "Dopethrone", they don't win any points for originally and the music itself is very much in the vein of Bongzilla, Weedeater and Sleep but there is a big difference. Where as Bongzilla battered your brains out with long repetitive riffing, Dopethrone actually keep the songs pretty short and have a almost catchy appeal. Obviously the band are a pack of weed-worshiping maniacs and like Bongzilla, they use a few spoken word samples to drive that point home but its the riffs, the great sound and concise song arrangement that make this such a great release. From the opening title track "Demonsmoke" with the spoken word sample about a woman buying some "Colombian", you pretty much know what you are in for but don't ride them off as just another rip-off stoner band because they have the riffs and more. The riffing has a hazy, old school groove that is more 70's than the likes of the other bands i previously mentioned. There is where the catchy element comes in, yes the sound is fat and heavy but there is a instant hook that comes with every track on here.

"Wizard's Sleeve" changes between big stoner grooves and some almost blue-grass style picking and the start/stop arrangement is very effective and pulverizing. "Spirit Ruiner" is filled with more thick grooves and more spoken word samples and the vocals are spewed forth in a typical Mike "Muleboy" Makela style but vocalist Vincent delivers it with a touch more demonic malice. Track four "Abraxas" is the odd tune of the bunch, a great tune in its own right but it sounds a little different from the rest of the album. "Psychic Vampire" and "Blood Boiler" are two of the best tracks on the album, the former is actually the longest track on the album at 5 minutes. It might sound funny but i find to listen to songs so short these days seeing as most Doom/Sludge bands do tend to drag things out as long as possible. This hurts the album a little in my opinion because a good riff deserves to be played over and over again, sometimes on this album you feel ripped off by the fact that songs end too quickly. "Power Violence Forever" strikes as being the weakest track on Demonsmoke but its in and out in just a couple of minutes. The album ends with "Legalize Murder", more thick heavy grooves are in abundance and its a fine way to finish what is a really short album that is more like a ep than a full length album.

Rating this album is difficult, its not original at all but still it kills with great grooves and a excellent production. The songs are great but at the same time seem too short and a little un-finished, the vocals are awesome but they have been done many times before. It would be so easy to say fuck it and give this a 10 but that wouldn't be too accurate in judging the album as a whole. Having made that observation, it must be said that if riffs make a album then this is one of the best albums released this year. Seeing as this band is fairly new, they have a incredible amount of potential to be a monster within the Stoner Doom Sludge scene if they can established a sound more of their own. Load your bong and give them a listen. 8.5/10

This year i got one of my best Christmas presents ever, the new re-release of this Iron Claw Compilation. They have had compilations released before but this one is the best in terms of sound and in packaging. Iron Claw were one of the earliest purveyors of thunderously heavy proto-metal with a early doom vibe. These guys could play with the best of them, laying down heavy riffs with enough intensity to make Mr. Iommi take note and a bleak beat that predates sludge metal by a number of decades. People still think that "Dismorphophobia" is a actual Iron Claw release but in fact its just a compilation. Iron Claw crushed everything in their path across the UK from 1969 until 1974. Yet during this time, after recording at many stages throughout their career, they never officially released a single album. Luckily through tape-trading, the band's name was kept alive throughout the 70's up to now where you can get high quality recordings on CD.

Rockadrome has lovingly put together a knock-out package, laying down once and for all a proper homage to a band that never got the justice they deserved during their lifetime. Complete with liner notes from founding member Alex Wilson, a complete band line-up roster, artist quotes on each song, tons of photos, and, most importantly, 16 giant slabs of heavy early masterpieces of dirty doom influenced metal before doom metal even existed, this is a can't miss package for all fans of heavy psych, proto-metal and the early days of doom rock. While everyone claims to have found a band as heavy as Sabbath, not many if any bands really come close but Iron Claw are pretty close to the heaviness of Iommi,Butler,Ward and Osbourne. Like most bands from the period, its only the cheap production and poor management that stopped them from being on the same level as Sabbath.

They formed after Alex witnessed Zeppelin playing on their first tour of Britain, the band finally found their direction after hearing Sabbath perform at the Dumfries Youth Club in 1969. Initially, the band was so enamored with Sabbath that their live set was the entire first Black Sabbath LP plus a couple original tunes! Then slowly, they began to write more of their own material and the real talent of Iron Claw began to emerge. Featuring a guitar player, Jimmy Ronnie who at 15 already had the riffs, the band career's was full of seriously mind alternating, devastatingly heavy psychedelic blues that was put down on tape in only a few recording sessions.

The CD presents, roughly chronologically, the bulk of Iron Claw's recorded output, and it's a fascinating study of one band's development and perseverance. The first 5 tracks come from what is known as Mark I of the band, featuring the original line-up. This is by far the most Sabbath derived period of the band but the band didn't rip off Sabbath, they had their own sound as these tracks show. The tracks are low-fi, 4-track recordings that adds an endearing, garage quality to their early brand of doom that is truly ahead of its time. The track called "Clawstrophobia," is just what the title suggests, a monstrous heavy riff-fest, this is the most Sabbath-esque track on the disc, eerie as anything done by the masters, and worthy of appearing next to "The Wizard," or "Black Sabbath." This is amazing track when you consider just how young the band were at this time, they were all still teenagers. "Mist Eye," is another Sabbath-y proto-metal riff, with a strong vocals and some savage guitar playing that some bands are still trying to master right up to this day.

"Sabotage," has a kind of jazz intro before launching into a monster of a distorted blues riff, "Crossrocker," is a full-on fuzzed doom assault, while "Skullcrusher," does exactly that. Each of these are prime examples of the burgeoning heavy metal sound and each stands as a testament to the worthiness of this band as one of the heaviest outfits in their day. Worth buying for these five tracks alone, but the best is yet to come.

Having laid down these mighty platters of raw heaviness, Iron Claw finally met Sabbath, but rather that being embraced as fellow heavy metal pioneers, they were instead hit with a veiled threat of litigation if their early tapes were ever released. That shows you how much Sabbath was threatened by this young still unknown band. But it also marked the demise of Mark I of the band, the singer leaving in 1971. The band reformed with a new singer and extra guitarist and launched head-long into Mark II of their existence, which quickly morphed to Mark III when that guitarist was asked to leave. This period, Mark III, heralds the real glory days for the band. Keeping the inherent heaviness in their groove, but lightening up the affair a touch with more blues base, the boys had grown, learned their instruments, and concentrated on songwriting. "Rock Band Blues," charges like some amphetamine-fueled Deep Purple outtake. New singer Willie Davidson adds a more soul to the band's sound than before. Ronnie once again proves to be one of the most unheralded, unheard guitarists of his time. His tone and phrasing on his jams here are knock-out mind-boggling! "Pavement Artist," follows a weird version of a drum solo intro into another killer catchy blues riffing tune. Echoes of Free reside here, or some proto-version of early Whitesnake, this can also be found in "Strait Jacket," "Gonna Be Free," and the band's one and only attempt at a ballad "All I Really Need." Its this period of the band that should have been recorded and released at the time, if so i am sure we would be talking about Iron Claw in the same way we talk about Sabbath, Purple and Zeppelin. The Mark III version vanished when original drummer Ian McDougall quit. The new version of the band adopted a more experimental, free form jam sound producing interesting cuts with "Winter," and "Devils" but the original magic was lost and the writing was on the wall that the band would split. Much praise must go out to Rockadrome for keeping these bands alive, there was so much underrated music in the early 70's that went un-noticed while big name bands stole all the attention. That has always been one of the biggest crimes in heavy rock history because while the likes of Sabbath,Purple and Zeppelin deserve their place as hard rock kings there was many bands who on their day were just as good.

Moloken's "Our Astral Circle" has been one of the hardest albums for me to review in the last year. Trying to sum their sound in a few words is difficult because they don't seem to fit into any particular genre of metal. Some people may see this as a bonus but for me it left me somewhat confused. They are described as a mixture of doom and death metal in the early 90s style, British epic progressive rock, and ambient hardcore but i don't hear much hardcore at all in this. They have many doom elements in their sound but its not like traditional doom metal like Candlemass or the more stoner doom sound of Electric Wizard. Moloken's sound is more sludge driven but with a progressive rock edge. Opening track "Molten Pantheon" has a thick sounding riff and the vocal roar of Nicklas Bäckström knocks you back in your chair at first, he has a tortured vocal sound. The music is very bass heavy but with some strong melodic lead breaks inserted to add some real contrasting sounds. At first i was thinking Cult of Luna meets Swallow the Sun but after repeated spins i keep hearing something different again. There is also some hypnotic rhythms with melodic drumming that you don't hear too often within a metal band. By the time you get to the third track called "Die Fear Will" you get a almost "Mastodon" type feeling about the band. The mixture of pure power chords and sonic ambiance is well done but just to confuse you even more, there is a almost "Neurosis" influence that shines through in songs like "Followers". The main feature of the band's songwriting is the use of dynamics, loud and quiet sections mingle together and melancholic leads blend with thundering sludge sections. The quieter sections seem to work best as in the moody intro to "Untitled I", another highlight is "My Enemy" which is a savage slab of metal but for doom fans "11"12" stands out as being the closet thing to pure doom.

Just to confuse you even more about this band, i must say there is a kind of looseness to the recordings on here even though the band is incredibly tight. This is a achivement on their part, to be able to record some real tight musical interplay but to also keep a live in the studio vibe. Elsewhere on the album you will more good tracks, there is no real filler material but the tracks i already mentioned do stand out as being the high points on the album. Musically Moloken wont re-define the doom/sludge genre but the crossover sound they have may point to a emerging trend with the doom metal style. Its not doom enough to be a pure doom album and not deathly enough to be death metal but this is still one hell of a heavy release. The production is excellent and the packaging is equally as impressive but the music contained within may take a few spins to get used to. As good as this album is, i personally think their best work is still to come. To me this is the sound of a band trying to figure out which road to take musically speaking and i mean no offense to anyone with that statement. This is a big step up from their debut "We all face the dark alone" and the band has the musical chops to create something really special next time around. Till then, my friend! 8/10

At this point in time i am traveling around California in a rental car with the family and it is times like this you need some good driving music, Nightstalker are a band that seems to fit that need for the most part even though this seems more spacy and psychedelic than previous efforts. One thing that is amazing about Nightstalker is the band has been together for a staggering 20 years and really haven't change their style that much considering how long they have been trying to make a name for themselves. The band did gain a good reputation in the underground Greek scene mainly due to their live performances as early on as 1991 and that still continues to this day. One of the problems the band has faced over the years is their scattered recording history, "Superfreak" is only their third full length release which is pretty disappointing considering how long they have been playing but the fact they are still firmly hooked into the stoner rock sound shows they must really believe in what they are doing. The band doesn't play anything new or innovative, so stay clear of this album if that is what you are looking for. The album is however full of easily accessible,catchy choruses and memorable hooks but also play in a straight-forward style, every song has the same verse-chorus-verse progression so it is easy to get tired of the sound pretty quickly.

The album gets into gear with a chilling intro called "The Science Of Magic" before cranking it up for the first real track named "Enough Is Not Enough". From the get go it is obvious what this band is about, this is riff-rock fueled by weed and alcohol and it stays that way for the duration of the entire CD. Best songs would be "Baby, God Is Dead" despite the repeated vocal lines which are a bit overdone, "Superfreak" that is real simple in one way but also has a great riff played with real precision."Heavy Mental" and "Stain" are other standout tracks but really all the tracks on here have such a similar to one or another, it is real hard to separate one track from the next. A special mention must go to bass player Andreas who has a Geezer Butler type quality to his playing, some of the bass lines are awesome and its all helped along by some excellent production. Tolis is a great guitar playing also that while he is playing a style that has been done a million times before, you have to remember how long this band has been together, that pretty much makes them originators even though not many bands (if any) quote Nightstalker as a influence. The weak point for me has always been the vocalist Argy, this will upset you Nightstalker fans out there but his voice has never really cut it for me. He sounds like a cross between Ozzy Osbourne and Dave Wyndorf but without really mastering either approach to singing. At times he just seems to be moaning as opposed to singing and it just gets on my nerves after a few songs.

In conclusion, i must say if Nightstalker was a band from the USA then they would be a big well known band and a major influence. They play with passion and obviously have a real love for the style of music that they play. This comes out in their songs which are real strong despite their sometimes simplistic approach to arrangement. This will appeal to fans of everyone from Sabbath, Motorhead to Clutch and early Monster Magnet. Don't worry about what i said about the vocal style of Argy because i am sure a lot of people will dig his vocal sound, that is just a personal gripe with me. This is Nightstalker's strongest release so far but it is unlikely to win them any new fans but its "Raw Rock 'n Roll simplicity" made to be played loud with a few beers in the belly. 7/10

Revelation started up in the 80s in Baltimore, Maryland releasing what is considered their debut album, Salvation’s Answer in 1991 although earlier this year saw the overdue release of the S/T album that was to have preceded the Salvation’s Answer album. The band has a rich history leading up to 1995 when they released the great Yet So Far CD. They have remained a largely a cult band even though they should be considered one of the greats of the genre. You must keep in mind the same line-up have released a staggering 11 albums under the name Against Nature. This album is the classic line up of Revelation with John Brenner on guitar and vocals, Bert Hall on bass and Steve Branagan on drums. The Release album was a fine return to the Doom scene when it was released last year and this album carries on with the same high quality standard that Release had but this album maybe a little better. "A Matter of Days" kicks the album off in pure Doom Metal fashion with smoking riff work and searing solo work that this band should be famous for. The guitar work is fits in well the adventurous bass work that is wandering in a different direction it seems but they not only make it work, it also sounds fresh although they are on a very traditional Doom Metal path. The band specializes in the pentatonic blues based riff rather than the sustained notes that so many Doom bands focus on these days. Second track "Offset" simply smokes but like most of this album, the track has a kind of restrained vibe but the guitar/bass and drum work serves the songs in magnificent fashion. A lot of bands would really complicate things but Revelation have the knack of finding the perfect groove and vibe for each track.

Brenner has always been a great vocalist and a bit different than your usual doom metal singer with his high and sometimes nasally voice but it is just perfect for carrying the strong melodies, particularly on the epic "Canyons". At nearly 10 minutes long, this track is a stand out piece of old school Doom Rock. The unique about Revelation is they don't follow the Doom Metal rule book too closely and "Canyons" is a classic example of what can be done if you have some finesse and imagination. The song is basically a extended jam highlighted by Brenner’s exciting soloing that is riveting to listen to. "On A Promontory" is more up-tempo than most of the material on here and "The Whisper Stream" shows the band are not afraid to be a little eccentric with their song-writing. This tune heads into a almost "Rush-Like" song but still with old school Doom Metal tendencies. "Vigil" brings the band back into pure Doom Metal style both musically and lyrically, all the elements are there on this one. Haunting melody, interesting and original arrangements and of course a emotional filled vocal. The album ends with the title track "For the Sake of No One" and its delivered with the same power and passion as the rest of the album. A fitting end to a very complete piece of work from the masters.

While this has a very 70’s style of playing, they add a freshness to it which is a pleasure to hear in 2009. A special mention must go to the guitar work that combines simplicity with some exciting open chord flourishes that gives each and every track some serious depth. I did read once that Brenner was described as a cross between Alex Lifeson and Tony Iommi and that is pretty accurate, the guitar work is heavy but extremely colorful at the same time. As usual with this band the lyrics are highly expressive and thoughtful and delivered from a very personal point of view. The interplay between bass and drum work on this album are not to be missed either, the album has many layers and with all good albums like this, a new layer is discovered every time you give it a spin. The only negative aspect of this album is the recording that is well produced but also extremely quiet, you will need to crank your volume up to fully experience the power this band has. I strongly encourage people to buy this CD or head to the Bland Hand Records site and you’ll find the entire Revelation discography available for download as high quality mp3s. The downloads are on a donation based system, pay a few bucks and help the band out. This is proof of what experience and great songwriting brings to a band and Revelation has all that and more. 9/10

See It Burn's debut album "Desolation Overture" is i believe to be a self-release from the band and its a 4 part seething, crawling slab of Ambient, Atmospheric Doom with a Industrial edge. The album is split in four sections titled from Act I to Act IV, the two piece band made up of John Hoskison-Parkin and Glenn Boddice have created something not what you would call unique but this is incredibly heavy stuff. They have thick down tuned sludge guitars mixed with atmospheric sounds all back up by industrial sounding percussion. What is a bit different is the range of influences on display here, you can everything from Electric Wizard, Earth, Sunn O))), Godflesh to Pink Floyd and Jethro Tull. "Act I" begins with with a haunting intro before the real doom is unleashed with a bellowing groan, the heavy - laden sludge filled riff comes and then you get some industrial percussive noises that sound like machine gun fire. The crawling track is now on its way, but moving at a snail pace of course. Sort of like a soundtrack to your worst nightmare, this track is truly creepy and at times makes your flesh crawl. The guitar work is of the drone variety with huge chords that ring out inducing a hypnotic like state for the listener. The track comes to sudden stop after 13 plus minutes of droning doom that leaves you feeling kind of claustrophobic. "Act II" wont excatly lift your spirits either, the same mood and vibe continues. Its a little one - dimensional but the haunting atmosphere is something that will either leave you in a trance or make you feel somewhat on edge.

"Act III" adds a medieval folk twist to the album with a spoken word intro and the slight change in atmosphere is a welcome one. Keeping the same mood going for a entire album would be overkill and thankfully "See It Burn" saw that by adding in something that is still total crawling,seething droning doom but it takes the album in a slightly different direction. The main feature of this piece is the almost chanting growling vocal sound heard in the background. Creepy as hell but also very effective in making a sound that is both atmospheric but also more musical than the previous two tracks. By the time you get to "Act IV" you will either be digging the heavy tonal qualities of this band or you will be climbing the walls. This track has more of the signature droning, repetitive riffing that these type's of noise merchants always have, no real variation and certainly no change in tempo.
Like all the tracks there is some great background noises to create even more tension, "Act IV" has a sound like marching feet at one point which put the image of Nazi German soldiers in my head. You know the deal that you get with these droning doom bands by now, there is no headbanging riffs, no lead solos, no real vocals and happiness to be found within the music but that is the way its meant to be. Darkness and despair rules within the drone sound scape and this album is a perfect example of that type of musical misery. Love it or hate it but don't expect anything different than 100's of other mostly project bands indulging in this musical cacophony. I personally found this album to be engaging and a thoughtful slab of drone - doom, played in the finest tradition of the genre. 9/10

Yidhra's 4 track promo ep is out and at only $5 it is a essential pick up for you doomsters who love traditional doom played with a sense of freshness. Even though they are playing a very traditional style of doom, the combination of a vocalist that doesn't really sound like anyone else and a rich full guitar sound with catchy riffs makes this ep irresistible. The CD opens with "The Lament Of Longinus" which some of you might have heard on the new Doom Metal Alliance sampler that is making the rounds at the moment. This song is in the vein of Saint Vitus at their very best, a slow intro section starts off the track in a haunting fashion before launching a huge riff. The guitar is thick but has a clean biting sound with the just right amount of fuzz. The track has a repetitive riff but at the halfway point in changes down a gear to a even slower tempo with some demented soloing that is twisted and eerie at the same time. The track then returns to the main riff to finish out the track. "Witch Queen" is up next, a Sabbath inspired doom riff kicks the track into pure doom and gloom atmosphere but the track really gets into gear when a the mid tempo section comes in. A stomping, head snapping power-metal riff to be sure but it shifts back and forth from that to total doom. The solo at around the 5 minute mark wails before they take it back to doomsville with that killer opening riff to round of a great track. "Ancient Ones" is more Saint Vitus style doom with a creeping riff line and spoken word type of singing before he returns to his bellowing vocals during the chorus. I really dig this dood's voice and like i mentioned before he somehow manages to sound original even though is vocal technique is a much used one. The guitar crunch is really on display on this track especially at 4 minutes into the song where there is a extra heavy emphasis on the guitar sound. Like all the tracks on here, production is real good and polished. Maybe the catchiest song on here is the last track "Conquest For Nova", the opening riff is instantly infectious and the rest of the song just grooves. Special mention must go again to the production and mix of this baby, everything is clear and powerful and even the drum sound pounds. A lot of drums tend to get buried in the mix of promo CD's but on here, they are right where they should be in the mix. The solo on "Conquest For Nova" is one of the highlights of the album, full of soaring melody and feeling. If they can get a sound like this on a promo EP, then a full length album should be on everyone's wanted list. I have heard dozens of promos this year and there has been some good ones and some shockers but this is the best promo released this year. In fact calling it a "promo" really doesn't do it justice, they are the best new band for 2009 in my opinion and that's a big call because this year has been a great year for doom but there is a freshness about this band that makes for repeated spins of the CD. Check them and this Ep out. 10/10

*** RECENT REVIEW LIST ***

Tortured Spirit - Arkham Sanitarium
Ava Inferi - Blood of Bacchus
Dark Theory - Every Kind Of Filth / Digust For Humanity
Leeches Of Lore - S/T
Apostle Of Solitude - Last Sunrise
Deathbeds - No Funeral 7"
Sasquatch - Sasquatch III
Anima Morte - Face The Sea Of Darkness
Skullflower - Strange Keys to Untune Gods Firmament
Unperishable Fall - A Letter From Perish To Suicide
Las Cruces - Dusk
Asteroid - Asteroid II
Centurions Ghost - Blessed & Cursed In Equal Measure
Virulence – If This Isn’t a Dream… 1985-1989
The Resurrection Sorrow - Hour of the Wolf
Whitebuzz - Book Of Whyte
Seamount - Light II Truth
Longing for Dawn - Between Elation and Despair
Bring Me The Head Of Orion - Courting Leviathan
Wiht - S/T EP
When The Deadbolt Breaks - The Last Day Of Sun
The Wounded Kings - The Shadow Over Atlantis
Surtr - S/T Demo
Cephalophore - Ghosts
Monkeypriest - Defending the Tree
Griftegard - Solemn · Sacred · Severe
Colosseum - Chapter 2: Numquam
While Heaven Wept - Vast Oceans Lachrymose
DKH - S/t Ep
Across Tundras - Western Sky Ride
Forest Stream - The Crown Of Winter
Buzzoven - Violence From The Vault
Desolate Anguish - Trainwreck Sessions Demo 2009
Wizardrone - The Witchfork
Cardinals Folly - Orthodox Faces
The Midnight Ghost Train - S/T
Black Iron - EP
Buddha Sentenza - Mode 0909
See It Burn - Desolation Overture
Beheaded Zombie - Happiness For All
Orchid - Through The Devil's Doorway
Moloken - Our Astral Circle
Acid Witch - Witch House
Wicked King Wicker - God Is Busy...Save Yourself
Nightstalker - Superfreak
Raven Head - Catharsis
Planet Gemini - Wicked
Iron Claw - S/T Compilation
Truckfighters - Mania
Ahab - The Divinity of Oceans
Skeletal Spectre - Tomb Coven
Revelation - For the Sake of No One
Dopethrone - Demonsmoke
Huata – Open the Gates of Shambala EP
The Wizar'd - Infernal Wizardry
Funeral Circle - Sinister Sacrilege
Skanska Mord - The Last Supper
Elsewhere - Promo EP
Dark Covenant - Promo EP
Clagg - Lord Of The Deep
Megasus - S/T
Black Wreath - A Pyre of Lost Dreams
Yidhra - Promo Ep
Dark Trance - Beyond The Gates Of Insanity
Silver Devil (2) - Demo 2009
Cortisol - Meat
Spiritus Mortis - The God Behind the God
Raventale - Mortal Aspirations
V/A - Rising Of Yog - Sothoth - Tribute To Thergothen
Nox Aurea - Via Gnosis
The Morningside - Moving Crosscurrent of Time
Kauan - Aava tuulen maa
Bong - S/T & Bethmoora
Samsara Blues Experiment - Long Distance Trip
Trouble - Live In Los Angeles
Semtex - Pot Secret
Dali's Llama - Raw Is Real
Bone Parade - Vollmondlieder
Highgate - S/T
The Company Corvette - The Company Meeting
Goat River - Demo 2009
Eggnogg - S/T
Jacknife Holiday - Demo / Promo 2009
Baroness - Blue Record
Domes Of Silence - Temple Of The Wasp
Diathra - My Endless Sorrow
Folkearth - Fatherland
Evoke Thy Lords - Escape To The Dreamlands
Shroud Eater - Demo 2009
Earthen Grave - Dismal Times
The 11th Hour - Burden Of Grief
Green & Wood - S/T
Sesta Marconi - Where The Devil Dances
V/A - The Sound Of The Catacombs
Houdini - Roatation Of the Elements
Swallow The Sun - New Moon
Autumnia - O'Funeralia
Revelations Of Rain - s/t
Heavy Lord - The Holy Grail
Trippy Wicked & The Cosmic Children Of The Knight - Movin On
Obiat - Eyes Tree Pi
Mose - Halfway To Nowhere
Ea - II
Wine From Tears - Through The Eyes Of A Mad
Wizard Smoke - Live Rock In Hell
Alunah / Queen Elephantine Split 7"
Atolah - Relics
Ichabod - 2012
Futility - S/T
Cathedral - The Etheral Mirror re-issue
Arkham Witch - Demo 2009
Ravenhelm - Through Pagan Mist
Abstract Spirit - 2 album review
Dopefight - Demo 2009
Let The Night Roar - Demo 2009
Blue Aside - demo
Downtrodden - dark september
Raving Season - the brightness of my darkness
Children Of Doom - Demo
Sinister Realm - s/t
Silver Devil - Demo
Fu Manchu - Signs Of Infindite Power
Argus - s/t
Culted - Below The Thunders Of The Upper Deep
Pomanero Sundown - stonerized
Castero - sounds like a plan
Grifter - the simplicity of the riff is key EP
Hedra - 3 inch DIY doom
Arise Within - the season of the locust
Armaga - in the ruins
Swtichblade - s/t
Pyramido - sand
The Whorehouse Massacre - end of days and time
The Lamp Of Thoth - sing as you slay
Mourning Dawn - for the fallen
Echoes Of Yul - s/t
Horisont - tva sidor av horisonten
Ocean Chief - Den Forste
Flood - Native
Behold! The Monolith - s/t
Shrinebuilder - s/t
Labyrintheory - in memoriam demo
Gnaw Thier Tongues - all the dread ....
Count Raven - mammon's war
Pombagira - black axis abraxas
Stone Axe - S/t
Pasi Koivu - speaking in riddles
Eternal Elysium - within the triad
The Gates Of Slumber - hymns of blood and thunder
Reverend Bizarre - death is glory
XXX Maniak/Coffins - cracks of doom split EP
Earthless - live at roadburn
Om - god is good
Ancestors - of sound mind
Sihr - beneath the twelve mile zone
Spice And The RJ Band - The Will
Fraility - Lost Lifeless Nights
Mala Suerte - The Shadow Tradition

+ 250 going back to 2008 check them out.

Read Them Here
http://www.myspace.com/doommetalunion
http://www.myspace.com/earthdogpromotions
http://earthdogsvisionsofdoom.blogspot.com/
http://napalmdrones.niceboard.org/forum.htm
http://pestwebzine.ucoz.com/
http://brutalism.com/

Also affiliated with the following:
http://sludgeswamp.blogspot.com/
https://thecave.niceboard.com/forum.htm
http://www.wormwoodchronicles.com/
http://www.stonerrock.com/
http://www.hellridemusic.com/

Also check out my personal site:
http://www.myspace.com/aussierocka

Doommantia is now at http://www.doommantia.com/ quickly approaching 200,000 views