I love it when bands go for epic. With concept firm in hand, four-piece English progressive doomers GÉVAUDAN reveal a one-track 43-minute epic in ‘Umbra’ (2023), the band’s second LP following the well-received 'Iter’ (2019).

Some songs are written to get your body moving and your head banging, and so release a lot of energy in a short space of time. Other songs are written for the long-haul, supporting the unfurling narrative of a story old, grand, mysterious, and surprising.

Gévaudan’s penchant for storytelling is worthy of the baffling tale of the Beast of Gévaudan itself, a puzzling corner of history three centuries past. This epic tale seems at times to characterize a carousing beast or the sorrowful cries of its victims or the brimming rage of loved ones headed into the forest to hunt the thing that is like a wolf, yet not a wolf.

Some hints of the band’s intentions can be gleaned from the album title, umbra being the darkest place in a shadow. The piece begins with the unsettling scratch of dissonant guitar, like a cloud of electrified mist. Then comes the slow, deliberate thump-thump-thump of the drums. The first doom riff and sorrowful verse emerges:

I’m waiting in the dawn light, clawing, tongue like dirt
Bleeding wounds that unwind, nails worn through
Screaming, wordless prayer

For a voice this plaintive, you’d have to go to Rainbo from Portland, Oregon’s Purification or The Wizard from the late, great Pilgrim. There is genuine mourning here, with words reminiscent of the downcast prayers of King David. Like the Psalmist, the eyes of lyricist Adam Pirmohamed seem to lift heavenward, to the invisible, esoteric realms of God and the soul.

And I slumber, in His embrace
He cradles me to death
And I slumber, in His faith
He caresses, within my flesh

You may wonder how to take the words, just reading them at face value, but Adam has a way of convincing you of them on an intuitive level, such is the sincerity and relatability of his singing. Meanwhile, guitarist Bruce Hamilton gives release to the moment with a dazzling heavy metal solo that does some singing of its own.

When Adam returns to the mic, it is with conviction, and the vocal style becomes considerably more bold.

And I slumber, in His embrace!
And I slumber, in His faith!

There follows at 12:43 a period of the sublimest peace, with the airy ambience of pleasant dreams, free from the burdens and cares of this life. In a note from the band, they reveal that the song is about battling depression, with strong Lovecraftian themes (see below).

A third section surfaces at 18:32, with the guitar strumming a triumphant theme and the rhythm section of Andy Salt (bass) and David Himbury (drums) supplying a lofty heartbeat. Adam’s singing seems to embrace sunlight and blue skies following the sullen clouds of the first act. At 21:51 a whirling, climbing solo from Bruce, charged with grit and determination.

There is something vaguely Medieval about the riff we return to at 23:03, as though it were ruminating on past sins or future worries. Then at 23:40 bliss enters in the form of a psychedelic guitar set against noodling bass and the gentle tapping of drums and cymbals. The stern riff returns, though it seems to be right at home with its jazzier counterpart.

Then at 25:05 the mood shifts back to the depressive air of the start, and it might seem like defeat – back to the status quo of gloominess and melancholy. But something has changed. There is reflection and a sense of perspective about the state of things, and an optimistic spirit rises above the morass.

I’m waiting in the dawn light
Screaming, euphoria
Sightless woodland
Breathless blood

The presence of the synth gives it an otherworldly flare. Then at 32:52 piano, bass, and voice take us to the water’s edge for a beautiful song within a song. It might have ended there, but the full band returns at 35:53 with wailing guitar and damning chords to truly finish the piece.

Standing at my hearth, I am showered with gold
Strong foundations, I am king, I am known
Growing inside, fearless soul of mine
Brightest eyes, reflecting through mirrors

Now, as I mentioned, this is inspired by Lovecraft so there could be something stranger, more sinister afoot than I am aware of. I won’t spoil those last four lines of the song (beginning at 38:21), but they may leave you questioning whatever you believed about the whole ordeal to begin with. I love the dark, droning synth that takes us into the void at the record’s conclusion.

And with that, Gévaudan have created something unexpected and brilliant in Umbra. The album releases this weekend on vinyl, compact disc, and digital formats (pre-order here). Stick it on a playlist with Neurosis, Serpent Venom, Purification, Age of Taurus, and Pilgrim.

Give ear…

A Letter From The Band

We’re delighted to provide an exclusive stream of our second full-length album, Umbra, in partnership with Doomed & Stoned. This has been a while in the making, and we’re really excited to finally be releasing our most ambitious record to date, seeped in grandiose and epic doom.

Our new album, 'Umbra’ (2023), evolved from the depths. Through a single 43-minute concept, it explores depression through the eyes of Eldritch horror, culminating in the unrelenting shadow that’s imparted on its sufferer – a battle of light, stalked by darkness. As you may have come to expect from Gévaudan, this is monolithic, progressive, and highly emotive doom.

It was late 2020 when the first riffs for Umbra appeared in the studio. We felt we’d really found our niche through our debut, ‘Iter’ (2019), and made a conscious decision that our next record was going to take some of the more epic elements even further. Since our inception in 2013, we’d had a strong desire to write a concept album - something vast and atmospheric. It felt like the appropriate time to embark on the piece and see how our sound would translate onto a 40+ minute canvas for the next album.

Our writing process took on a far more live and collaborative approach. Whilst riff-master-general, Bruce, continued to bring riffs into the studio which we adopted, refined, and worked into fully formed ideas. We also took more time to jam and evolve parts, and created more in the room collaboratively. This helped to fully shape the progression and tonal shifts we wanted to achieve.

Lyricist and vocalist Adam has always taken the lead on the thematics. When thinking of concepts for the album, we wanted to take a different approach than usual. We’ve covered a lot of fantasy, history, and the occult; and whilst we didn’t want to stray too far from that, we wanted to write something with more of a personal and relatable element.

At the time, Adam was managing a bout of depression and kind of fell naturally into writing about how they were feeling – almost an indescribable and ominous feeling, a sense of something looming. From that feeling it felt instinctive to use themes and ideas of Eldritch Horror as an allegory for depression and distress, and it was rewarding to write about a relatable topic whilst still staying true to our known themes and tones.

An important part of our evolution on this album is the introduction of piano and synth. They have extended the layers and palettes we can play with and have allowed us to explore different textures and writing approaches.

As part of the completely immersive concept approach, the cover art was another key ingredient. The impressive cover artwork has been developed by Erskine Designs. Conceptually and tonally, it’s the perfect accompaniment of the aforementioned themes.

The dynamics of our song writing have always been a key ingredient to our musical approach, and we were fortunate to have the opportunity to work with producer and engineer Mike Exeter in the studio again.

Finally, we’re really excited to be working with Meuse Music Records on this release. They have been incredibly supportive in bringing our vision to life on physical formats, and are a really great team to be collaborating with.

Please sit back, lower the lights, and crank up the volume to indulge in this epic musical journey.

We fought through the sickness, haze, and malaise of 2022 to bring you a brand new compilation before year’s end. This 48-band survey features acts from across England, a follow-up to our 2019 smasher! Big thanks to longtime Doomed & Stoned contributor Reek of STOOM for compiling and curating this powerful listening experience.

By way of introduction, he writes:

Re-emerging from the grim isolation of pandemic and lockdown, the latest incarnation of English bands express the freedom and ambition of the post-COVID age. Striving ever onwards and upwards, The English Underground scene is as vibrant and vital as ever!

As with all our compilations, this is a free download. Our intention is to give you a current snapshot of the scene with a spectrum of heavy sounds to move you and grove you. If you dig a track, click “info” to follow the band and get their music!

Give ear…

MONDAY

Monday morning coughs and splutters into life: wobbly head, even wobblier legs, minimal motivation. A dredge through the murky waters of my inbox unearths this new gem from legendary UK psych lords DEVIL’S WITCHES and suddenly the day perks up! ‘Suck My Hex’ (2019) is a five-track feast of treats, from the de rigeur horror flick sample at the onset, through gloom-dripping psychedelic darkness and twisted surf/jazz juxtapositions to the closing acoustic come-down of “Ghostsmoker.” As the lady says: “You’re all shook up, aren’t ya, baby?”

TUESDAY

Yesterday’s hunt found a treasure I’d been meaning to give proper attention to: ‘Moozoonsii’ (2019) by MOOZOONSII, an instrumental heavy psych/stoner outfit from Nantes, France. Seven highly-developed, passionately played boneshakers with massive riffs and grooves that linger in the mind long after the voyage ends. A very impressive debut, “Moozoonsii” will appeal to fans of SFTS, Opium Warlock, and Void Tripper.

WEDNESDAY

Wednesday’s child is full of woe. Well, this one was until he sought bleary-eyed refuge in the welcoming bosom of British newcomers YUNG DRUID’s self-titled debut – and ample sanctuary it was, too. Towering, swirling, and mesmerising through six deeply drawn bong hits, Yung Druid’s modern doom-tinged psych with acid flashbacks is an excellent way to limber up a limp mind.

THURSDAY

Another morning and I’m reminded of Robert Smith’s immortal line: “Thursday doesn’t even start…” Resisting the urge to crawl back to the pail, I succumbed to the dark lure of “Iter,” the brand new tome from English doom exponents GÉVAUDAN. A dark, dystopian yet hauntingly beautiful album that plummets into stark crevices, scales sheer drops of despair and wallows in drowning pools of bleak introspection. Masterful and moving.

FRIDAY

Friday’s ever-giving new releases proffered up several noteworthy cuts, Kal-El’s new album ‘Witches of Mars’ (2019) flailing my Muse into life with a review posted here earlier. Just sat back with coffee and a Jaffa cake when blow me, another Norwegian nuke happens along. SAINT KARLOFF’s 40-minute opus, ‘Interstellar Voodoo’ (2019) dragged me off on an epic quest of crumbling empires, ancient battles, and dope-filled alien worlds with their trademark fuzz wizardry. By the end of it, I’m spent, my jaw’s hanging, and the Jaffa cake broke off into the coffee. An outstanding romp through the gamut of Underground sound!

SATURDAY

A cruel Saturday sun maces my eyes with stark dispassion. Slumped over a morning curry and skipping through playlists I’m snagged on the barbs of the latest from German noise psychonauts, NAP. “Ausgeklingt” is a throttle-wringing, Uranium-powered blast off into sonic space. Dizzying guitar pyrotechnics over a tight, tenacious drum/bass symbiosis, off-kilter stoner struts, and strident krautrock freakouts, “Ausgeklingt” delivers impressive, vibrant heavy psych. Space Slavery and ZQKMDGZ fans will be on this like crust on a fester.

SUNDAY

The church bells split the calm of Sunday morning as unwelcome as in-laws. Bristling with chagrin, I search for something loud and nasty in revenge and pin my ears to 'Ouroboros’ (2019), the new platter from Japanese heavy fuzz trio LOOPRIDER. Loud, thick, sludgy riffage and baked desert overtones evaporate the mood instantly! Kyuss meets Jane’s jamming Pink Fairies and suddenly it’s game on. Fizzling and frothing over ten trippy, trashy anthems of air-punching delight, Looprider light the cordite and blast your worries back to the Stone Age. What a week!

The Hertfordshire based doom metallers Gévaudan have a new album looming on the not so distant horizon. The album in question, called ‘Iter’ (2019), will be out on CD and digital formats starting October 4th.

Gévaudan delivers “a balanced blend of story-telling, heavy riffs, Iommi-esque solos and dynamic songwriting,” their bio tells us, as the band continue “to carve their own unique niche within the genre, drawing on influences that include black metal and '70s psychedelia. 'Iter,’ taken from the latin meaning "The Journey,” considers the passage into and out of existence and tells of interactions between gods and mortals during this time. The album delivers five songs heavily traditional doom led with wider influences, including psychedelic and black metal.“

These tracks are all breaking the ten-minute mark, a length which can sometimes get boring if the songs aren’t crafted properly. For me, the time flew by so quickly that I was bummed when the song ended. This is especially true of "The Great Heathen Army,” which we’ll be discussing shortly.

A beautiful arpeggiated guitar section opens up the album, accompanied by a subtle, yet very effective bassline. The song is called “Dawntreader” and is one of my favorite songs on Iter. When the vocals of Adam Pirmohamed begin, the song takes on a haunting vibe, yet retains the beauty of the instrumentation perfectly.

When the guitars become distorted the track takes on a dirge-like quality. This section brings to mind Candlemass and is a great dynamic shift, before settling back into that first part once again. At about the eight-and-a-half minute mark, the energy picks up and the vocals get a little heavier. I think this was a fantastic way to end the track, and it left me wanting more.

My personal favorite is song number three, “The Great Heathen Army.” As a follower of the Norse mythology, this one caught my attention before even hearing it. Lyrically, it tells the tale of how the sons of Ragnar sought vengeance against Kings Ælla and Ecgberht – both for their hands in Ragnar’s death in a pit of snakes.

Musically, this is heavy, slow, and just plain excellent. Included within are the traditional doom stylings this band is known for, some psychedelic influences, and some fantastic guitar riffs. Even if the lyrics weren’t about something I have a lot of interest in, this would still be my favorite due to its musical approach.

In between the two songs we’ve already discussed is one called “Maelstrom,” and it’s another killer track. One of the things I love about this track, and the genre itself, is the slower tempos matched with thunderous drumming. Riffs come in and stay before changing over, and the tempo really gives you the opportunity to truly feel the power of the riff and appreciate its intricacies.

The bass intro with the psychedelic feel is very cool and it returns at the end of the song. The psychedlia is subtle, but there just enough to be noticed. The bulk of this one is based off some heavier guitar parts, and the vocals are performed extremely well, too. I really love how that intro comes back around so smoothly at the end. It’s a fantastic transition out of that heavier section that precedes it.

Iter is bad-ass album full of catchy melodies, heavy riff crafting, and one of the best drum sounds you’ll hear, which isn’t normally something I pick up on. It’s definitely worth a pre-order before the fall release date. I hope you guys enjoy it as much as I did!