Blackened death/doom innovators 1914 have dropped the new video for “Pillars Of Fire (The Battle Of Messines),” the second single off their forthcoming record Where Fear and Weapons Meet (Napalm Records) on October 22nd, 2021. The brutal animated music video can be seen below.Continue reading →
It’s been over thirty years since Liverpudlian grindcore bastards Carcass left people gagging to the gloriously gory cover of debut album Reek of Putrefaction (Earache) and reeling to the twenty-two charmingly immature blasts of vomitous noise dripping inside. Symphonies of Sickness delivered improved musicianship and longer songs, Necroticism – Descanting the Insalubrious and its divisive follow up, Heartwork, continued that trend but the run ended in 1996 with the rather lacklustre Swansong. Rebooted and reinvigorated (but sadly minus drummer Ken Owen due to health issues), Carcass returned with a bang in 2013 with Surgical Steel (Nuclear Blast Records) and now, after a gap of eight years, they’re back. Again.
Witchcryer’s second full-length album comes with a noticeably broader scope in comparison to their 2018 debut. In contrast to the more groove-friendly approach to Doom Metal seen on Cry Witch, the song lengths on When Their Gods Come For You (Ripple Music) run longer with a greater emphasis on atmosphere and methodical structuring. The lyrics also work to give the album a more palpable sense of purpose, running the gamut of underworld and death figures from various world mythologies.
A lot has changed since Hour of 13’s last album, 333, came out in 2012. The project is now a one-man affair with bandleader/multi-instrumentalist Chad Davis playing all the parts himself, including vocals with Phil Swanson long out of the picture. That nine-year gap also saw a minor genre tug ‘o’ war take place as singles and EPs were torn between the Traditional Doom of albums past and Samhain-style Deathrock, often determined by whether the 13 was retained as a number or spelled out. With this somewhat convoluted frame in mind, it’s a relief to see the former style win out on their fourth full-length, Black Magick Rites (Shadow Kingdom Records).
Mourn The Light offers Traditional Doom Metal with a few twists on their first full-length album. It doesn’t quite hit the full operatic scope of Epic Doom or reach the speeds of Classic Metal, but influences from both at work throughout Suffer, Then We’re Gone(Argonauta Records). The riffs and song structures are in line with the busy nature of Psalm 9-era Trouble while the vocals offer a husky but theatrical bellow, drawing further comparisons to groups like Altar Of Oblivion and Argus.Continue reading →
While Legacy Of The Anointed (Argonauta Records) may be Spiral Grave’s full-length debut, it’s easy to also think of it as the sixth Iron Man album under a different name. After all, the musicians involved were part of that band’s last active lineup with guitarist Willy Rivera in place of the tragically passed on bandmate, Al Morris III. The style also bares a superficial resemblance to the Doom Metal approach last seen on 2013’s South Of The Earth. However, there’s a distinction between the two entities and Spiral Grave uses that connection as a springboard for their own identity.
Like the previous installment, the third chapter in Ripple Music’s Turned to Stone series is framed as a challenge between two contenders for Stoner Doom supremacy. But while Chapter II saw Howling Giant and Sergeant Thunderhoof put forth their competition as a battle of wits between mythic swordsmen, Chapter III is the culmination of an ongoing meme war between Merlin and Wizzerd. It also operates on a similar template as each band is given a full epic track to put their best foot forward.
Late 2020, the somber Seattle slayers of Sun Crow released their debut album, Quest For Oblivion. Though Ghost Cult missed the initial release, we’re happily taking advantage of the album’s re-release on Ripple Music. It’s no surprise the record topped doom charts, as it’s a perfect showcase of doom and gloom mastery.
Iconic British Doom Metal band Orange Goblin has announced the departure of founding member and bassist Martyn Millard, a founding member and bass player for the past 26 years. He played his last shows with Orange Goblin last weekend in London as part of their special 25th Anniversary celebration shows. Replacing him in the lineup is Harry Armstrong, frontman of Blind River and formerly of Decomposed, Hangnail, Earls of Mars, End of Level Boss. Harry’s first show with the band will now be at The Yard in Cornwall on Saturday 31st July.
Well, that was quite the trip, but in like, a good way. There wasn’t some breakthrough moment of introspective self-discovery or anything of the sort for me but making it through Asclepius (Southern Lord) does feel nice. Where these songs written well ahead of time or were they discovered and jammed out through the recording process? Don’t know and don’t quite care. Iceburn somehow made it work and sound natural.