ALBUM REVIEW: The Obsessed, "Gilded Sorrow"

By: Richard Maw

Album Type: Full Length
Date Released: 16^th February 2024
Label: Ripple Music  

 
“Gilded Sorrow” CD//DD//LP track listing:
 
1.Daughter of an Echo
2.It's Not OK 
3.Realize a Dream
4.Gilded Sorrow
5.Stoned Back to the Bomb Age 
6.Wellspring - Dark Sunshine
7.Jailine
8.Yen Sleep
9.Lucky Free Nice Machine
 
 
The Review:
 
The first album in well over half a decade, the first as a new four piece- Dave Sherman sadly departed this mortal coil in 2022- so we are in somewhat untested waters here. Well, to an extent; as Wino is The Obsessed in the same way that Lemmy was Motorhead.
 
He is in fine voice- it’s fully intact and not ravaged by age or touring. He sounds great. In fact, the whole album sounds great- a big beefy sounding thing with real drums and real playing. Musically, you know what to expect here: traditional doom metal and doom rock. This is the street level doom of Maryland, not the more epic variety bandied about by Candlemass or similar.
 
In that regard, The Obsessed are closer to their stateside cousins Pentagram and closer family members like Saint Vitus. It’s a style of doom I particularly like, and one I find endlessly entertaining. The opening one-two of “Daughter of an Echo” and “It’s Not Ok” set the stall out; grooves & riffs, Wino pissed off and switched on. The record is a little more cohesive than “Sacred” was- it hangs together nicely.
 
I mentioned rock as well as metal earlier. I say that as there is a distinctly classic rock vibe to the songs here, kind of like how there was with Place of Skulls and Victor Griffin’s best material. You could imagine Thin Lizzy laying down some of these riffs, or even Nazareth. It has that kind of timeless quality to it. Whether it be the mellow title track that creeps and teases out of the speakers or the more traditional doom of Stoned Back to the Bomb Age, this is very convincingly played and presented.
 
It’s not all absolute gold; a couple of song intros are a little drawn out for my liking and the record has some songs that are clearly stronger than others. But, for every “Wellspring” there is a “Jailene” and Wino’s story telling is on point throughout. The record is perfectly paced and curated at nine tracks- and closing statement “Lucky Free Nice Machine” is a minute lone instrumental. There is no need for any more than that and each track offers something different. Eight tracks was often the magic number back in the halcyon days of the 70s and so it proves today.
 
Overall, then, you get another quality album from The Obsessed, full of fire and venom as well as some pleasingly hazy vibes at times as well. Where this will sit in the band’s discography, I am not quite sure as repeated listens will bring big rewards, I think. For fans of Wino, this is essential and for fans of ‘doom’ that doesn’t have any songs, have a listen to this and enjoy some actual songwriting for a change. A still magnificent beast, refusing to toe the party line. Business as usual, then.
 
“Gilded Sorrow” is available HERE 

ALBUM REVIEW: Iron Void, "IV"

By: Richard Maw
 
Album Type: Full Length
Date Released: 27/01/2023
Label: Shadow Kingdom Records

 
“IV” CS//CD//DD//LP track listing:
 
1). Call of the Void
2). Grave Dance
3). Living on The Earth
4). Pandora’s Box
5). Blind Dead
6). She
7). Lords of This Wasteland
8). Slave One
9). Last Rites
 
The Review:

The UK’s finest exponents of trad doom return with this- their fourth (!) album. Since the last record, “Excalibur”, there has been a change of personnel- with yours truly bowing out due to family commitments and the eminently capable Scott Naylor joining the band. Sealey and Steve Wilson are still in place, so the dual vocal attack remains along with that rumbling bass and intricate solo guitar work fans of the band are familiar with.
 
This time around, there are no overarching concepts, no knights, no swords- but there are some recurring themes. The atmosphere setting guitar intro of “Call Of The Void” sets things up for a chilling doom experience, rooted often at street level rather than high fantasy.
 
The excellent “Grave Dance” is the first song proper and it is a belter. The lolloping triplet time feel coalesces into a highly critical barb against… well, I’ll let you have a listen and make up your mind about what the conspiracy of silence and lust for power while another wave comes is! Whatever your views on civil liberties, the last couple of years and/or the powers that be, this is a superb track. Wilson’s vocals and riffing are excellent. Iron Void are BACK.
 
From there, the record retains a street level and real-world approach for the most part. Sealey takes the lead vocals for the catchy and groovesome “Pandora’s Box”. The beefy mix courtesy of Chris Fielding allows these straightforward compositions to shine; it’s a great sound and that Skyhammer/Foal Studios sound is hugely weighty. The drums in particular sound massive. Good variety from Naylor on the kit and nice phrasing through the transitional fills. As a track, it wouldn’t be out of place on an Orange Goblin album- something of a throwback to some of the material on “Doomsday” in some ways.
 
Things get heavier with “Blind Dead” as the band sow down to a crawl. It’s the kind of occult/arcane track that the band do so well- souls, rituals, blasphemy… Templars! It’s all here. Fantastic. I can see this one being a live favourite with its slick changes in the middle and strong refrain. Also: bass wah!
The band have gone for a good variety and breadth of material on this album- it’s by no means one paced and features some excellent dynamics on “She”, along with a surprisingly catchy hook. The track is kind of a distant cousin of “The Devil’s Daughter” and is a really welcome change of vibe. Naturally, the cleaner guitars don’t last forever and there is some serious weight in the middle with some enjoyable guitar work before the original approach returns.
 
As the record progresses through “Lords of the Wasteland”, many doom fans may have this as a possible doom album of the year contender. It’s riffy, varied, well put together in all aspects and doesn’t outstay its welcome. In terms of trad doom, the old guard are going or gone- Pentagram? Saint Vitus? Trouble? They are now, for the most part, bands of the past. Cathedral are gone. Count Raven are still around, but Iron Void are possibly successors to all the bands listed. They’ve got a unique and identifiable sound, well written songs and well produced records. The crown is there for them, surely.
 
“Slave One” is another album highlight- again, thematically it’s in keeping with other musings on the album- despite utilising a kind of science fiction motif… or is it science fact?! It is viciously delivered, certainly.  It’ll get heads banging and its cautionary tale of robot death for you and I feels, at the least, prescient and plausible. It’s Sealey’s best vocal performance on the record, I think- with real venom and spite in the delivery.
 
The record concludes with “Last Rites”- a romp through the doom graveyard of quiet and loud dynamics and with that the band is over and out.  Overall, “IV” is the record the band needed to make: straightforward but varied, heavy but with lighter elements here and there. This is excellent doom metal and stands shoulder to shoulder with the band’s other albums. Support the underground, support real bands and support real doom metal. Buy this album!

“IV” is available HERE 

Band info: bandcamp || facebook

ALBUM REVIEW: Gargantuan Blade, "Gargantuan Blade"

By: Richard Maw
 
Album Type: Full Length
Date Released: 04/09/2022
Label: Independent
 

“Gargantuan Blade” DD track listing:
 
1). Necromancer’s Blood
2). Black Lotus
3). Dungeon Lord
4). Spectral Pillagers
 
The Review:
 
Well, this is a pleasant surprise! This is 35mins of pure traditional doom metal from these Finnish defenders of the faith. This is not stoner and it does not have death metal inflections. If the cover art makes you think this might be a trad-metal fest or an old school DM outing, think again. This is, simply, doom metal.
 
Looking at the song lengths and titles, it’s clear that the spirit of The Gates of Slumber is alive and well; “Necromancer’s Blood”, “Black Lotus”, “Dungeon Lord”, “Spectral Pillagers”… that’s the track list and the vibe. Conan infused, Robert E Howard worshipping doom!
 
The sound is of course epic, maudlin and mournful. You get the massive and drawn-out riffs of huge weight; you get the faster passages (see “Necromancer’s Blood” and “Black Lotus” for the up tempo coda trick) and solos. This is a perfect crystallisation of how the genre should work and how it should sound- massive, raw and epic.
 
The four-piece line up makes for a satisfyingly thick sound- two guitarists mean that the solos are backed by rhythm playing which bulks things out and allows for a little interplay elsewhere. The sound and production is good- well suited to what is on offer. Even the bass can be heard correctly (as it should be in doom). The vocals of Samuel Wormius hit the right sorrowful notes while the mountainous beats of Rex Torr again capture the true spirit of the genre. They hit the right epic note again and again- “Dungeon Lord” has a touch of “Dark Avenger” about it- excellent.
 
If the above makes it seem that Gargantuan Blade are wholly derivative, that would be a little disingenuous to the band. Yes, this is doom metal- and only doom metal. However, this is not a pastiche or homage: it is doom in the purest form. When a genre is done so well and with such sincerity, issues such as originality are very much secondary compared to the quality of what is on offer. Quite simply, this is a perfect example of what traditional doom is and what it should always be. Highly recommended.
 
“Gargantuan Blade” is available HERE

Band info: bandcamp

ALBUM REVIEW: Sorcerer, "Lamenting of the Innocent"

By: Richard Maw

Album Type: Full Length

Date Released: 29/05/2020

Label: Metal Blade Records

“Lamenting of the Innocent” CD//DD//LP track listing:

1. Persecution (intro)
2. The Hammer of Witches
3. Lamenting of the Innocent
4. Institoris
5. Where Spirits Die
6. Deliverance
7. Age of the Damned
8. Condemned
9. Dance with the Devil
10. Path To Perdition
11. Hellfire (Bonus Track – only available on Digipak CD)

The Review:

Nordic doomsters Sorcerer return with their third full length album. As eagle eyed readers of the blog will know, I'm a fan of the first two records, which I reviewed glowingly. Can the band strike gold (figuratively and not in terms of sales, sadly) again?

First impressions are good- a minute long intro reveals an excellent sound and mix. First track proper, “The Hammer of Witches”, is the business- triplet pacing and a real headbanger of a track. Trad doom like this is always best when it doesn't actually stray that far from trad metal and “Lamenting of the Innocent” does not disappoint in that regard.

From the epically lengthy title track to the acoustic “Deliverance”, the album is like a lengthy trad metal album in terms of structure and content; some tracks rock hard, some up the slow and low content. It's dark and epic in equal measure. At ten tracks it is arguably a little long (and yes, there is an intro and an acoustic track in that number) as many of the songs push past the seven and eight minute mark- certainly, listening to this in full requires a serious time investment. That said, what would you rather have? More music or less music?!

Even on tracks such as “Age of the Damned”- which I would count as a little weaker than some others- there are good melodies and catchy vocal lines which lift it far above plodding status. The fact of the matter is that there is nothing bad on here and the majority of the material is good/great. The histrionics of “Dance With The Devil” would fit right onto any Tony Martin-era Sabbath album (a big compliment) and the band really finish in true grandstanding style with “Path To Perdition”; a really epic doom track.

Such is the length and scope of the album it's hard to assess it against their previous two records- the true detail of the album can only be revealed with repeated listening, I think. This is of course recommended for all fans of trad doom and particularly those who like the epic feel of the genre. It's massive and crushing.

“Lamenting of the Innocent” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Cirith Ungol, "Forever Black"

By: Richard Maw

Album Type: Full Length

Date Released: 24/04/2020

Label: Metal Blade Records

“Forever Black” CD//DD//LP track listing:

1.The Call
2. Legions Arise
3. The Frost Monstreme
4. The Fire Divine
5. Stormbringer
6. Fractus Promissum
7. Nightmare
8. Before Tomorrow
9. Forever Black

The Review:

Cirith Ungol are, against all odds, back. Drums, guitars and vocals are handled by the band members who played on the classic albums. Second guitar is handled by a member from the band's later period while only the bassist is a newcomer. The line up matters, as really this is as close as it is possible to get to a fully reformed band. Cirith Ungol's influence and reputation really cannot be overstated- they featured Elric (from Michael Moorcock's books) on their album covers and thus brought the fantasy/sword and sorcery element to metal, treading a path that the likes of Led Zeppelin and Ronnie James Dio had trod before them. They made one of the first trad doom albums in “King of The Dead”. They are a true underground cult band with a devoted following.

After several decades of no music, can the band still cut it?! The answer, pleasingly for everyone is YES. This album is a wonderful thing. It sounds warm and natural with an organic production. Tim Baker's voice remains intact and as idiosyncratic as ever. The songs are there. After a minute long intro, “Legions Arise” serves as a call to arms for the Ungol faithful and it is a joy to behold with excellent guitar passages and great performances.

The quality control does not let up over the course of the following seven tracks (along with the intro, there are nine tracks total). It's really hard to pick highlights; “The Frost Monstreme”, “The Fire Divine”- they are just quality compositions full of the real, old school Cirith Ungol vibe. “Stormbringer” (Elric again) closes the first half/side one of the record and it is an atmospheric epic. It's almost so good, I can scarcely believe it.

Musically, the band are still mixing classic hard rock with heavy metal and doom, with liberal use of a cowbell to be heard on several tracks. The guitar work is excellent throughout and the bass work of Jarvis Leatherby also stands out- seamless continuity from their previous releases, essentially. The likes of “Fractus Promissum” and “Nightmare” groove really convincingly.

Cirith Ungol have always been a pretty concise band- there is nothing beyond six minutes in run time here, so nothing is wasted. The writing is consistently good- well laid out song structures with enough recognisable hooks and changes to keep the modern day metaller interested. Of the remaining songs, “Before Tomorrow” is doomy and dark, whilst the title track is full of menacing riffage and drama. If they don't manage to make another album, for whatever reason, then this one will more than suffice. It's better than fans could have hoped for.

Without question, this will be the comeback album of the year. It sits proudly alongside anything else the band have done and is a credit to those involved that they can still do this after nearly five decades. This is unique rock/metal/doom from the original masters. A dramatic and fulfilling return.

“Forever Black” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: SuuM, "Cryptomass"

By: Jesse Edwards

Album Type: Full Length

Date Released: 14/02/2020

Label: Seeing Red Records

“Cryptomass” CD//DD track listing:

1). Cryptomass

2). The Silence of Agony

3). Creatures from the Vault

4). Funeral Circle

5). Burial at Night

6). The Failure of Creation

7). Mass in the Catacomb

8). Claws of Evil

9). Reaper Looks in Your Eyes

The Review:

SuuM hail from Rome, Italy, and are described as playing ‘traditional doom metal’.

As an ardent fan of the genre, I’ve been on the look-out for bands to fill the cavernous void left by my beloved Reverend Bizarre, who committed themselves to the earth back in 2007. 13 years on, and I was convinced that those darn Finn’s had taken the entire genre down with them. (So long, suckers, indeed!)

So when “Cryptomass” came up for review, my interest was immediately piqued with the trad-doom categorisation. Yes, the cover art looks a bit crude, but luckily, I was obliged to listen to the album, and to my absolute delight—I found traditional doom metal of the highest order!

Much of the band’s sound harks back to the Scandinavian revival of the early 2000’s, with bands like Reverend Bizarre, Spiritus Mortis, and Griftegard clearly being heavily influential, but SuuM are able to inject enough of their own ideas to prevent things from becoming clichéd. The album stays firmly rooted in the traditional doom style, yet there’s enough variety within the songs to keep things interesting throughout this fine selection of graveyard soirees. I thought the song writing on “Cryptomass” was exceedingly well done, with the band conjuring ominous atmospheres and melancholic imagery, whilst drawing a nice balance between the funeral dirge and a foot-tapping rhythm.

The vocals were a particular high point for me: harrowingly operatic, whilst at times wild and unhinged; lead vocalist, Mark Wolf, is certainly fundamental in giving this band its unique sound. The guitar tone is heavy, but maintains a certain clarity to allow for the dynamics of guitarist Painkiller’s playing to be clearly heard amongst the cacophony. The bass is prominent in the mix, with just enough distortion to make for a fabulously heavy sound, and the drum work harnesses the traditional ‘less-is-more’ approach before a thorough reverb-soaking makes for the kind of echo you would only find in the most sinister of Ceremonial Halls.

One of the album’s highlights was certainly the title track ‘Cryptomass’, which takes the listener for an 8-minute retrospective through the catacombs of doom metal past. Others include ‘Claws of Evil’, with its fabulous Sabbathian styled riffs; ‘Mass in the Catacomb’ then serves as a nod to Black Sabbath’s ‘Orchid’; and ‘Creatures of the Vault’, which boasts a gloriously triumphant outro as it soars high into the night.

Make no mistake! “Cryptomass” is one of the finest displays of traditional doom metal for many years, and I would certainly place SuuM amongst the best doom bands to have emerged in recent times.  While some say doom metal may be dead… something still stirs in the heart of the Mediterranean.

“Cryptomass” is available HERE

Band info: bandcamp || facebook

TRACK PREMIERE: SUUM, "Creatures From the Vault"

“Cryptomass” is the follow-up album to SUUM's debut, “Buried Into the Grave”, and expertly combines the spirit of the bands influences with their own unique brand of haunting Italian Doom. Although more immersed in the traditional doom sound, the band do not lack in the sheer heaviness department. Also notable, the vocals add a very ghastly and spectral atmosphere which I find quite appealing and distinctive. Turn up your stereo and watch your speakers die as we debut a brand new track 'Creatures From the Vault' which you can check out below, as well as a quote about the track from the band

"We think this song is the perfect soundtrack for a nocturnal stroll through the cemetery. This song embodies 100% of SUUM's style - all our influences are contained within this track. Heavy Sabbath-ian riffs with epic/dramatic vocals. It is probably the most defining piece of the record."

Band info: bandcamp || facebook

ALBUM REVIEW: Magic Circle, “Departed Souls”

By: Richard Maw


Album Type: Full Length
Date Released: 29/03/2019
Label: 20 Buck Spin

For those looking for a true retro sound, this will not disappoint.  70's to early 80's style doom rock- akin to Sabbath, early Pentagram, Witchfinder General and Pagan Altar, It's a quality release and one worthy of checking out.

 

“Departed Souls” CD//DD//LP track listing:

1. Departed Souls

2. I've Found My Way To Die

3. Valley of the Lepers

4. A Day Will Dawn Without Nightmares

5. Nightland

6. Gone Again

7. Bird City Blues

8. Hypnotized

The Review:

Magic Circle are on their second full length here; 70's to early 80's style doom rock- akin to Sabbath, early Pentagram, Witchfinder General and Pagan Altar. Vocalist Brendan Radigan is the current vocalist for Pagan Altar, so the reference point is a close one.

This reeks of old school through the sound, bass lines, delivery and production. For those looking for a true retro sound, this will not disappoint. The melodies in the title track opener and “I've found My Way To Die” are strong and will burrow their way into your psyche for sure. The album takes in 70's influences beyond metal; Jethro Tull and Wishbone Ash can be heard in the textures of the album, with softer tracks such as “A Day Will Dawn Without Nightmares” being a fine example of this broader pallet (see also Led Zeppelin in their quieter moments).

The more straightforward hard rock of “Nightland” also pays off and highlights the band's US origins (you could be forgiven for mistaking this outfit for geezers from England... but, no). Over the course of eight tracks, the band do experiment with both instrumentation, structure and dynamics. Magic Circle are not just a one trick pony, as “Gone Again” demonstrates with its shades of Coverdale era Deep Purple and Rainbow. The final three tracks (well, two and one interlude) are similarly varied and successful.

This is backwards looking retro proto doom/metal. It's a quality release and one worthy of checking out. It won't change your life, or replace your Pagan Altar albums, but it is good stuff nonetheless.

“Departed Souls” is available HERE

ALBUM REVIEW: Pale Divine, "Pale Divine"

By: Richard Maw


Album Type: Full Length

Date Released: 23/11/2018

Label: Shadow Kingdom Records

 

Undoubtedly, this is one of the best US doom releases of the year and sits alongside The Skull and Apostle of Solitude as one of the best albums in the genre for 2018.

 

“Pale Divine” CD//CS//DD//LP track listing:

1. Spinning Wheel
2. Bleeding Soul
3. Chemical Decline
4. So Low
5. Curse the Shadows
6. Shades of Blue
7. Silver tongue
8. Ship of Fools

The Review

Pale Divine have been playing this music for two and a half decades and it shows- in terms of quality and experience. This record is doom/stoner doom in the traditional sense. Think The Obsessed, Pentagram, Trouble and throw in a heavy dose of Sabbath and The Sword and that gives you a fair idea of what is on offer here. The band also have some trad metal in their veins too (some Maiden-esque passages here and there) and that melting pot makes for a very satisfying listening experience.

The vibe is pure doom and comparable to the dark and powerful atmosphere that Iron Man conjured up on their “South of the Earth” album. “Spinning Wheel” and “So Low” both have heavy doses of Maryland Doom within their structures and the sound is pleasingly raw and live. It's melodramatic, downcast and features superb riffing with twists and turns that Sabbath circa “Vol. 4” would be proud of.

The bass work is fantastic- very Geezer. The drums are rock solid and tastefully done; nice fills here and there, good groove and good dynamic use of the kit. The guitar work is very Griffin/Iommi esque and therefore superb. The vocals are of course actual singing- rough edged and smoky and thus another huge plus for the record. In fact... there is nothing about this that I don't like.

With songs like “Ship of Fools” and the closing doom blues of “Shades of Blue” extending to the seven and eight minute territory, there is the possibility for the record to drag, but the playing time of around 45 minutes (or so, I am looking at the MP3 song lengths here and adding up) means that the record clips by at quite a rate and feels solid front to back. There are riffs and substances to die for in “Chemical Decline” as well as archetypal Sabbathian “fast bits”. “Bleeding Soul” manages an epic feel with a sub five minute running time- quite a feat.

If anything, the record builds up a head of steam as it goes; the back stretch providing some of the most satisfying music of the album. “Silver Tongues” is a grooving delight that fits alongside the best of US doom/stoner material. Conversely, “Curse the Shadows” strays a lot closer to proto doom/70's rock territory and is a nice change for the record.

The aforementioned “Shades of Blue” is a bassy and bluesy beast and closes the record in some style; large in sound and scope with a laid back feel to the grooves and delivery. Undoubtedly, this is one of the best US doom releases of the year and sits alongside The Skull and Apostle of Solitude as one of the best albums in the genre for 2018. It may well be that the Europeans have ruled the doom roost this year with superlative records from Dawn of Winter, Witchsorrow, Iron Void (cough!), Conan and Barbarian Hermit but this record is truly excellent and I have enjoyed reviewing it almost as much as I have enjoyed listening to it. Doom on, gentlemen, doom on.

“Pale Divine” is available HERE

Band info: facebook