Doom comes in many shapes. There’s doom that combines elements of stoner rock and then there is doom that touches the waters of atmospheric death and black metal, such as pioneered by bands like Katatonia, Paradise Lost, Evoken, and others. The release before us ‘Latitudes Of Sorrow’ (2025) brings together two bands who pull their origins from the same year that Doomed & Stoned began: 2013.

First up are three grey clouds from SHORES OF NULL. The Roman quintet brings harsh vocals and growls contrasted with clean, melodic crooning, and this is pitted against a dark ensemble of guitar, bass, and drums. It’s the ideal time of year for this kind of sound, as it matches the gloomy weather and provides a morose commentary on the state of human existence in contemporary times.

The band provides us with a walk-through of these tracks:

“An Easy Way”

It is the song that opens the split, and it is the most straightforward of all our songs in there. It has a dual nature: on the one hand, it’s quite catchy and memorable; on the other, it retains a deep inextinguishable darkness that leaves very little room for hope. Lyrically, it deals with depression and the inner struggle, as well as the temptation to surrender when everything seems utterly bleak. It is a reflection on human frailty that can lead to self-destruction.

“The White Wound”

This song was inspired by the avalanche that struck Hotel Rigopiano on January 18, 2017, in the Central Italian region of Abruzzo, near where I grew up. Imagine 120.000 tons of snow coming down from the mountain at the speed of 100 km/h and destroying everything on its way. 29 people died and only 11 survived. Musically, it blends doom-and-gloom passages with sudden blackened blastbeats, reflecting the unpredictable violence of nature. Lyrically, the song meditates on grief, loss, and the anger over the negligence that allowed the tragedy to happen, leaving lasting emotional scars.

“The Year Without Summer”

Browsing the web for catastrophic events, I came across an unprecedented volcanic eruption that took place in 1816 in modern-day Indonesia, which triggered devastating consequences. Sunlight was obscured, temperatures plummeted, and the world faced famine, floods, and epidemics. The song captures the fear, uncertainty, and despair of that time, exploring both the material devastation and the inner turmoil of those who lived through it. It’s a meditation on fragility, loss, and the inescapable force of nature. It features MN of Convocation of growls.

The CONVOCATION side is no slouch, and everything fans of the band love about the Finish crew is here. Furious roars that seem to manifest as pure flame, plaintive guitar strains, swelling rhythms, and bewildering atmosphere that will sweep you away into its aura. “Abaddon’s Shadow” is a watery behemoth like none other and you’ll dissipate right into the molecules of “The Empty Room.”

Latitudes Of Sorrow is deeply affecting and powerful through and through. Shores of Null and Convocation are ideally paired on this release and provide a good balance to this ship adrift in nihilistic fog. Releasing on cassette and CD, in addition to digital format, on Friday, November 21st via Everlasting Spew Records (get it here).

Stick it on a playlist with Enslaved, November’s Doom, Marche Funebre, and Endonomous, along with your favorite death and funeral doom bands.

Give ear…

SOME BUZZ

Shores of Null stand out from their contemporaries with their ability to blend seemingly disparate elements into their sound, overwhelmingly heavy and soothing at the same time: blackened aggression stands alongside gothic-doom sections without either sounding out of place. Their music can be both melancholic and majestic, made of chorale-like guitar textures across the instrument’s entire range, sustained by a powerful rhythmic section and punctuated by a refined mixture of clean and growled vocals, along with extensive use of pleasing vocal harmonies which have become the band’s trademark through the years.

The Rome-based metal band has been an unwavering presence within the metal underground since their musical outset in 2013, churning out a series of impressive records: the melodic and somber Quiescence (Candlelight, 2014), the darker and more complex Black Drapes For Tomorrow (Candlelight/Spinefarm, 2017), and the ambitious Beyond The Shores (On Death And Dying) (Spikerot Records, 2020), a 38-minute long doom manifesto that sees guest appearances of the doom-titans Mikko Kotamäki (Swallow The Sun) and Thomas A.G. Jensen (Saturnus), along with the angelic voice of Elisabetta Marchetti (Inno).

Shores Of Null’s fourth album, The Loss Of Beauty, released in March 2023, was hailed as one of the best albums of the year within the genre. The band supported the release with an extensive EU/UK tour alongside Swallow The Sun, Draconian, and Avatarium, followed by standout performances at major festivals like Hellfest, Rock Imperium, and 70000 Tons Of Metal, among others, further solidifying their status as one of the rising forces in the metal scene.

In 2025, Shores of Null released Beauty over Europe, a powerful live album capturing the raw energy and emotional depth of their performances across the continent. The release serves as a testament to the band’s commanding stage presence and the resonance of their music with audiences worldwide. Looking ahead, the band is set to unveil Latitudes of Sorrow, a highly anticipated split album with Finnish funeral doom masters Convocation, promising a profound exploration of grief, atmosphere, and sonic weight.

Convocation started as a death metal project that later developed more close to darker doomish soundscapes, an outlet for really heavy and slow music with the will to experiment including synths, organs etc. This brought in 2017 the release of the 4 apocalyptic anthems comprised in “Scars Across”.

Three years later Convocation came back with the grandeur of “Ashes Coalesce”, an aural study of concepts encircling death while 2023 finally brought the third album “No Dawn For the Caliginous Night”, their most majestic and immersive release.

From Helsinki they came, bringing doom’s greetings in the waning days of autumn. This is CIMINERO and you’re about to hear their forthcoming LP, ‘Shadows Digging the Grave’ (2022). It’s their second record following Subterranean Awakening, nine tracks of traditional doom replete with occultic meaning.

Each song presents a twisted tale of human desire, ancient mysteries, and the hand of Fate. They are sung by Valentina Vigato, whose vocal approach may seem numb and sedated, but not lacking in expression, subtlety, or authority when called for.

“Invoke Me” leads the pack and her vocals have just the right touch to give the chorus a lasting impact, especially in the song’s closing moments. “Torment” opts for the slow 'n’ low approach, with lanky bass licks, guitar aflame with purpose, and a chorus that makes it one of the most memorable selections from the album.

“Ring of Perpetual Insanity” may be a reference to World of Warcraft, where we find a Ring of Perpetual Conflict. Of course, Gollum in Lord of the Rings was driven to madness by his obsession over the One Ring. One of the great ironies of life is that sometimes what we own comes to possess us in turn. The song features guitar driven melodies that are stern and lonesome, along with a stirring chorus.

“Yearning and Insurgency from the Empyrean” commands a confident stride, likely referencing that great rebellion of Lucifer against God. It’s an up-tempo number with a certain underlying agitation, for war is in the works. A third of the angels will soon take up arms against the Lord of Glory, only to be cast down to the bowels of the Earth. One of the oldest stories of doom!

Slow 'n’ low songs are notoriously difficult to pull off convincingly, but “Deep Red Forest” has a strong heartbeat, sturdy rhythm, and singing guitar leads that make it work. Here guitarist Jukka Aravirta shines as he forges a pathway through the bloody thicket. Similarly, his performance is a standout in this foggy atmosphere of “The Leaper” and the remarkably stout-hearted single, “Nettare d'Estasi.”

The rest of the band is no less remarkable. Paavo Karppinen bass is as soothing as you can ask for as “Inner Child” opens. I felt myself melting into the ambience. The mood is ponderous and downcast, a true doomer.

“Underworld Coven” feels regal and brave by contrast, even if draped in the shadows of spite and sorrow. It suggests that there is a group of underground nobodies who share precious secrets passed down from generation to generation. This knowledge, in turn, makes them paradoxically powerful outside of social castes and economic systems. Jukka Aravirta’s guitar playing carries the song, with robust riffmaking that sometimes keeps rhythm, sometimes narrates.

Doom brings me a strange kind of comfort that’s hard to put into words. If you feel similarly, then may indeed find consolation in Shadows Digging the Grave. Releasing Friday, November 25th, on Argonauta Records (get it here). Stick it on a playlist with Reverend Bizarre, Pilgrim, and Lord Vicar.

This is the Doomed & Stoned world premiere.

Give ear…

SOME BUZZ

Following their much acclaimed, 2019-debut Subterranean Awakening, recorded just five months after the band’s first rehearsal, Helsinki-based Ciminero reveal full details of their anticipated new album 'Shadows Digging the Grave’ (2022). Ciminero play a heavy mixture of doom and occult rock, delivered with captivating melodies and psychedelic moments.

The band is a unique potion of Italian mysticism and finnish heaviness: a descendant born from the unholy covenant of Blood Ceremony and Cathedral, whose journey has been long without forgetting the origins.

The second album 'Shadows Digging the Grave’ unveils the elements heard on their debut, in a more cultivated way without locking into strict genre boundaries. The listener will be hypnotized into a world in-between divine mysteries and human psychology, tarot symbolism and manifestation of healing.

Last year, Doomed & Stoned published a compilation focused on two-piece bands. Of course, that 39-tracker just focused on the Latin American scene. Were we to widen our scope, I think you’d be surprised at how many duos there are around the world – from well-known acts like Black Cobra to some of my favs: Swamp Ritual, Cave of Swimmers, and Hymn. Even more so that your preconceived notions will be shattered when it comes to imagining what just two band members can do when they bump heads together.

The latest case in point, Finland’s DESOLATE REALM, formed by talented vocalist Matias Nastolin of Decaying and Altar of Betelgeuze (a band I’ve long championed, whose past singer Otu went on to form the mighty Kaiser) and fierce drummer Olli Törrönen Chalice and Decaying. The two are well-matched, with a large presence, bravura, and plenty of fire to melt what remians of winter.

Helsinki’s Desolate Realm, the press clippings tell us, “combine the epic grandeur of doom-metal acts like Candlemass and Solitude Aeturnus with classic heavy-metal of Savatage and Metal Church and the mighty groove of Black Sabbath – with epic melodies and gripping, heavy riffs.”

The hype is right. As I listened to their forthcoming full-length debut (follow-up to the 2020 EP Unleash The Storm), I found myself in full agreement. I’ve been blasting these eight songs over and again, and after repeated listens even found myself starting to sing along.

“This is doom-metal that leans on old-school and classic influences,” the band says, “so you won’t find fuzz or psychedelic textures here, instead, the epic melodies, heavy riffs and belting vocals are the driving force of this album.”

“Spire” is the opening number from ‘Desolate Realm’ (2021), out April 23rd (pre-order here). The vocals remind me so much of Morgoth, especially the Feel Sorry for the Fanatic era, when I first fell in love with the band. Right now, there aren’t a lot of vocalists with this kind of heft, tone, and range, so Matias stands out entirely from the pack, especially in the doom metal scene – as does Olli’s full-bodied, red-blooded drumming.

While “Spire” is more up-tempo than many doomers have come to expect from “traditional doom,” there is plenty to please fans of Grand Magus, The Gates of Slumber, and Solitude Aeturnus alike on the new record. All in all, Desolate Realm presents a fierce, but well-balanced record brimming with the spirit of trve metal and the icy atmosphere of the Finnish heavy music scene.

Give ear…

Last week, Doomed & Stoned received a scrambled communication from Helsinki supernauts DÖ, who were deep into their seven-year long exploration of the vast void of space.

Beamed from their last identifiable coordinates on the edges of our solar system, Dö’s trajectory is rumored to be taking them right on a mind-expanding journey far beyond the known universe.

Thus, in the interest of full transparency and the public good, editor in chief Billy Goate has authorized this organ to publish the full and complete transmission sent to us.

Included is forty-nine minutes and fifty-seven seconds of audio. Scientists do not yet know how to interpret these strange sounds and are not yet certain of the risk involved in laymen auditing them. Therefore, we strongly advise each listener to take caution before proceeding.

At the end of September 2020, a mysterious signal was detected all around the world. The source of the signal was revealed to be the astral death cult DÖ.

The content of the signal was a live performance recording called “Transmissiön from the Cult Vessel”. It includes songs from various releases and a brand new eerie song called “Gravity Sacrifice”, one of the three songs that will be unleashed on an EP called Black Hole Mass later in 2020.

Setlist:

1. Cosmic Communion (0:58)
2. Kylmä (7:09)
3. For the Worms (14:54)
4. Atmosfear (22:31)
5. Astral Death (29:29)
6. Gravity Sacrifice (*song premiere) (36:27)
7. Beyond the Cosmic Horizon (43:58)

Wormhole to site: astraldeathcult.com

*** End of Transmissiön ***

A spokesman for the band told Doomed & Stoned, “The EP will be a passage ritual to a new level of consciousness, as we have begun to gravitate towards more evolved expression with this new lineup.”

Having listened to the recording that follows, we advise you to strap in tight should you decide to fly along with DÖ. This is going to be one wild and crazy riff trip!

Give ear…

CARDINALS FOLLY belong to the Reverend Bizarre school of doom, but also takes its cues from ‘80s Gothic rock. In this way, Cardinals Folly (who started life as The Coven in 2004) and Lord Vicar were among the first to pioneer a sound that soon caught on with other bands like Acolytes of Moros, Caskets Open, and Weird Tales, to name a few. Their style makes for a transfixing listening experience and I’ve been enamored of the band since discovering their first LP, “Such Power Is Dangerous!’ (2011). Who would have dreamed then that the trio from Helsinki would one day be playing Doomed & Stoned Festival?

It’s also hard to believe that the doomed crew of Count Karnstein (bass, vox), Nordic Wrath (guitar), and Battle Ram (drums) are now on album number five, with two EPs and two splits also under their belt. As prolific as Cardinals Folly seem, they don’t seem to have lost their edge on 'Defying The Righteous Way’ (2020). After all, this far into an artist’s discography I’m used to picking up on notes of lethargy, with some bands having to really stretch the definition of a "song” just to get another album out there (usually under contractual obligation). When you do what you do for the love of music, the compositional pen flows freely.

Let’s start with the title. Defying The Righteous Way is an obvious dig at one of the Norseman’s truest adversaries: Christianity. When the religion of Jesus came to Finland it was an aggressive ideology of conquest co-opted by the Catholic Church. The Northern Crusades saw to it that one way or another the Skandanavian people were converts, even if in name only. Before metal, there was still a heavy underground, so to speak, comprised of resisters who may have given lip service to The Cloth, but a very pagan connection to the earth.

The modality of Cardinals Folly quite often marries doom with ancient mannerisms of song, illustrated in the stately Medieval rhythm and the chanting chorus of “The Great Santur.” I think it is this aspect of the band’s output I’ve enjoyed the most, as it feels like they’re somehow bridging a connection to the past, when resentments simmered for clergy and king alike.

For newer listeners, Defying The Righteous Way makes as good an introduction as any to the band’s characteristic sound and style portfolio. Cardinals Folly toggles between fast-trotting songs like “Witchfinders,” mid-tempo stompers like “Last House On The Left,” and the more traditional slow burners like “Stars Align Again.” In this way, they call to mind Saint Vitus (especially the Scott Reagers-era) out of all the Fathers of Doom.

If I have any complaint, it’s simply that there isn’t enough sadness on the album for my taste, with the exception of “Last House On The Left,” which has some very effective moments of melancholia in its second half. Maybe it’s because Mikko Kääriäinen’s vocals have always hinted of sorrow for me, but they’re mostly used to express gravity. I suppose “Strange Conflict” does come closer to scratching my depressive itch. By the way, I do love its Joy Division-esque pulse during the six-minute mark.

While the songs may not pop out immediately in a sing-along sense, the collective vibe does grow on you. There’s an undeniable energy about Defying The Righteous Way that reveals a band with finely tuned musical instincts and a damning fire within, still longing to Burn The Priest.

Give ear…

Doomed & Stoned recently asked Mikko Kääriäinen (aka Count Karnstein) if he would illuminate the new Cardinal’s Folly album, 'Defying The Righteous Way’ (2020). He responded by giving us this in-depth track-by-track breakdown, which fans of the band will surely relish.

STARS ALIGN AGAIN

DERANGING THE PRIEST

Once the Deranged Pagan Sons have been let loose, things can’t be stopped anymore. Second track unleashes NWOBHM-influenced galloping dirty heavy metal goodness with anti-religious statement and fury. Continuing on the path set by the previous album and it’s title track indeed, “Deranging the Priest” unleashes even more wrath upon the tyranny created by righteous men. This song is traditional doom’s own church burner.

WITCHFINDERS

Vicious metal riffs combined with the pathos of a psychotic witchfinder, a modern day Matthew Hopkins who sets out to punish evil witches in his own right. Disappointment in women was probably a major fuel in this fire, heh! This is maybe my favorite from the album. What’s funny is that we almost dropped it. Right before the studio we had this and another song with our finger on the trigger, we needed to drop either of them to cut the album down to 45 minutes. Luckily we chose right, because on our recent German tour, this became an instant live hit as well.

THE GREAT SANTUR

Originally meant as the album-closer track, “The Great Santur” again demonstrates our own take on nordic mysticism and it’s epicness from the opening bell, and never lets it go. I love playing this song, because it’s so ceremonial, and the chorus fills my mind with epic visions each time I sing it. The intro sample again is a throwback from the past, reminding us of “Secret of the Runes” from the previous album “Deranged Pagan Sons” (2017) and “Walvater Proclaimed!” from the Lucifer’s Fall split (2019). I’m hearing a lot of Bathory, Summoning and even very early Amorphis in this one! We ended up choosing this as the A side closer, because it’s slightly shorter than “Strange Conflict”, and we nowadays plan all album structures with the vinyl format in mind, so it’s divided in two halves.

THE LIVING DEAD

“The Living Dead” opens the second half of the album, which is an introduction to the B side, if you’re listening to the vinyl version. It works the same way on any format, providing a brief séance and another visit to the bizarre horror classic “Psychomania” (1971), that we already tributed a track to on our third album “Holocaust of Ecstasy & Freedom” (2016)…

ULTRA-VIOLENCE

…which brings us to “Ultra-Violence”, or more like throws it suddenly straight into our face. A fierce punk-doomer that deals with A Clockwork Orange and energy to stomp down a bunch of devotchkas after a hazy night in the korova milk bar. Slight doom part in the middle calms it down before the final attack. Music and lyrics for this one came from me already in 2016 before the previous album, but it was just waiting to boil up a bit. Definitely our most punky song so far. Anthony Burgess and Stanley Kubrick rule.

LAST HOUSE ON THE LEFT

Doom, horror films and bloodlust definitely dominate the majority of the B-side of this album, and thus this song dedicated to Wes Craven’s best film grabs the torch from its equally disturbing predecessor honorably, travelling through suburbs with Krug’s horny and homicidal gang. It’s grooviness is definitely one of the malicious and deadly kinds. As life escapes from the girls of this story, so does the groovy rockiness transform slowly into screams of horror, dirges of melancholy and hopelessness, and finally into a slow final riff draining our life into an uncertain death…

STRANGE CONFLICT

I guess it’s an unwritten rule that every Cardinals Folly album should carry within itself some sort of homage to the “Prince of Thriller Writers”, the late Dennis Wheatley (1877-1977). The title reminds us of the early works compilation we released through Shadow Kingdom Records back in 2013, yet it pays tribute to Wheatley’s 1940 WWII black magic novel, where the nazis are determining the routes of the secret British atlantic convoys by using a witch doctor in Haiti, leading into an epic white magic/black magic battle. Musically it travels from epic doom to Iron Maiden-ish heavy metal takeoff, which boils down to the final slow doomed hypnotic dirge of the album, that floats us again towards uncharted seas and uncertain fates..

Being a metalhead can be tough. Sure, to those erudite music critics watching from the wings of normalcy, the whole scene can look like one big comical struggle. Year after year they witness those legions of long-haired heshers fight tooth and nail to keep their beloved noise on life support. All despite dwindling record sales and a genre-wide aversion to good business sense.

Looking on from above, those condescendingly benevolent literati of the non-metal world extol the virtuous sense of community and kinship we in the metal scene enjoy (in much the same way you’d praise a chimpanzee for its ingenuity in using a twig to fish out termites).

To be fair, the leather n’ long-hairs have and always will be there to keep some lifesblood pumping around. But set aside the pros of belonging to a passionate scene and you see metal fans locked in an eternal struggle with the realities of being part of an achingly niche pursuit; realities which include, among plenty of other hurdles, a lack of good venues and hosts of hard-pressed bands that always seem one calamitous tour away from imploding or facing the dreaded “one original member” line-up.

But we metalheads have long since found peace with the trials of the metal scene. Many of us are even aware of certain advantages we frequently enjoy that seldom emerge in less rabid (and, dare I say, weaker-spirited) scenes. One such boon is the ability many of our bands have to continue creating incredible album after incredible album, resulting in a quality of output that just gets better as the artists age and become more skilled in their craft.

Call it an accumulation of experience, the osmosis of inspiration and wisdom into musical form, a calcification of the spirit against the tide of human misery that the years subject us to. Whatever the reason, extreme metal is replete with bands that just seem to release more and more increasingly incredible works as they age. Think Carcass. Think Death. Think Godflesh. (Don’t think Cynic.)

Yes, these bands are still the exception and not the rule. Yes, it’s not a uniformly-upwards curve even for the bands mentioned, and nor is this exclusive to metal alone (Swans, anyone?). But the fact is for metaldom it’s not uncommon to find some half-decomposed extreme metal act of yesteryear emerging from their musical sepulchre, casually discharging some of the best material of their careers. Stop. Take a breath.

So just what does all this have to do with ORANSSI PAZUZU? Listen and learn…

On the rare occasion I have the time to write a review these days, it always seems to open with some wider statement. See the 400+ words above for reference. Yet this isn’t without function, because it’s important to note how wider patterns are instrumental to understanding the context of an album, and therefore to understanding the music within. And on that note, let’s all bear in mind that ‘Mestarin Kynsi’ (2020) by Oranssi Pazuzu is the band’s fifth full-length release in their 13 years as a band.

To a certain kind of metalhead, Oranssi Pazuzu are an enthroned deity representing a high water mark in what cutting edge extreme metal is artistically capable of. They’re a shining beacon lighting up the untreaded territory metal has the potential to explore – a north star to guide us amid the miasma of formless dust clouds that is the wider metal scene.

Sure, they’re certainly not the first. Mestarin Kynsi doesn’t push the musical boundaries as Obscura did back in 1998, and nor does it put the scalpel to the limbic system like Coil’s The Ape of Naples still does to this day. But what it does do is offer an end-of-year-list-topping example of what happens when you combine solid songcraft with a deep-rooted desire for genre-devouring musical adventurism, all loosely put through the prism of black metal and Pitchfork-friendly levels of artistry.

The krautrock comparisons Oranssi Pazuzu receive are neither new nor ill-founded, but it’s worth remembering these are often comparisons rooted in attitude rather than sound. It’s an attitude that keeps them krauty despite the absence of motoric beats, safeguarding them against the dreaded “jam band” sound despite their music often bearing many of the same hallmarks.

Yet while krautrock was a movement borne of opposition rather than direction, one gets the sense that Oranssi Pazuzu are truly happy to just ignore everything else and keep busy exploring their own weird little corner of the musical cosmos. It’s a galaxy that isn’t all so unfamiliar when you get down to it. A lump of black metal here, a sizable portion of psychedelia there, a dash of noise rock and the odd bit of prog right where you want it.

Yes, we’ve come across all these building blocks before, but it’s the combination of these parts and the actual execution that makes the end result so special. It’s the fact that five albums in they’re still crafting song after song of adventurous and labyrinthine wonder that no other band seems capable of coming close to in quality or scope.

With this in mind, you almost begin to worry when you see that Nuclear Blast logo attached to the credits on Mestarin Kynsi. Yes, Nuclear Blast - that home of such main-stage fixtures as Epica and Lamb of God, put out this album. But thankfully Mestarin Kynsi hasn’t been spoiled by some of the company it finds itself in. Speaking honestly, it carries all the artistic hallmarks of a self-released album in every aspect save those delicious high-quality production values.

It would be easy to go through each part of the album formulaically, dissecting the ebb and flow of song structures, looking at lyrics, comparing Mestarin Kynsi to prior efforts, and talking about guitar tone ad nauseum. But…no. Because despite the musical literacy and measured artistry that clearly informs their music, Oranssi Pazuzu are for me simply about the experience of diving into the world they create and being consumed by the overwhelming chaos and wonder that saturates every second of their material. It’s cerebral music that somehow still carries a profound sense of feeling, a collection of dissonant sounds that somehow remains emotive and vitalises one’s spirit.

Five albums, two EPs, a split and one live album in, Oranssi Pazuzu still show no signs of creative slowdown. After 13 years of largely brilliant output, Mestarin Kynsi is yet another crowning achievement that keeps the band atop their throne as the kings of forward-thinking extreme metal in 2020.

“Hail Cosmos! We’re all Döömed!” Those are the words that greet us at the end of “Atmosfear,” the new single from Helsinki’s DÖ. As Big Dog cranks out the rhythmic dirge of its opening riff, Deaf Hank’s vocals echo in sinister whispers about some forbidden astro-ritual. His bass joins Joe E. Deliverance’s drums and we’re officially at blast off.

To call them a cult may seem pretentious, a gimmick, perhaps. That is, until you become absorbed by the all that is DÖ. Fans of Ufomammut, Amenra, and Magmakammer will find much to love here. Now, to kick off your weekend, Doomed & Stoned is presenting the second track from the forthcoming album, ‘Astral Death Cult’ (2019), from the Finish doomers.

“Atmosfear is a song about vastness,“ explains the band. "The nothingness of man. The lack of humbleness. And how the children of the stars will eventually fade out. The video is scripted, directed and edited by the one and only Joe E. Deliverance, our very own video wizard.”

Look for its release on September 20th via Lay Bare Recordings (vinyl) and Mercyful Tapes (cassette).

Give ear…

Some Buzz

This vicious death cult feeds on dark astral energy and compresses it into what they call “döömer” – a unique Northern mix of stoner, doom, sludge, and psychedelic elements with hints of death / black metal. The lyrical themes have evolved from mysticism, misanthropy, and anti-religiousness towards saluting the great forces of nature and the void that surrounds us. DÖ has slowly but steadily grown the global congregation of döömernauts through a series of independent releases and by touring around Finland and the Baltics, receiving praise from both fans and media.

Ahead of the release the band have unveiled the official video for the track "Atmosfear,” a crushing blend of slow-motion blackened doom and swirling cosmic psychedelia. 'Astral Death Cult’ (2019) releases on 20th September on vinyl (Lay Bare Recordings), cassette (Mercyful Tapes) and all digital platforms.

I’ve been spending the better part of the early morning dawn jamming out to DÖ and it feels like my mind is on another plane. Of course, it helps that my sleep is a little off and I’ve been up since 3AM, but that’s besides the point. I’ve been following the Finland crew since the release of their 2014 EP. Den soon followed and then the excellent Tuho, culminating in Astral: Death/Birth in 2017. The intervening years have found the band pounding away at a new starship to reach even deeper into the blackness of space, joining the likes of Space Witch and Ufomammut, who like DÖ specialize in a sound as big as the cosmos.

Today, Doomed & Stoned is presenting the North American debut of “Cosmic Communion” from the forthcoming LP on Lay Bare Recordings and Mercyful Tapes: ‘Astral Death Cult’ (2019). Like it’s predecessors, it is a hypnotic blend of spacey psychedelia led by the gravity of doom into unknown reaches. It’s all so easy to get lost in and this weekend, I think I need that.

Give ear…

Some Buzz

Astral Death Cult is the second full-length album from DÖ, a riff-praising, cosmos-worshipping trio from Helsinki, Finland. This vicious death cult lead by Big Dog (guitar), Joe E. Deliverance (drums) and Deaf Hank (vox & bass) feeds on dark astral energy and compresses it into what they call “döömer” – a unique northern mix of stoner, doom, sludge, and psychedelic elements with hints of death/black metal. The lyrical themes the album have evolved from mysticism,misanthropy, and anti-religiousness towards saluting the great forces of nature and the void that surrounds us. Astral Death Cult releases on the 20th September 2019 on vinyl via Lay Bare Recordings and cassette via Mercyful Tapes as well as all digital platforms.

DÖ has slowly but steadily grown the global congregation of döömernauts through a series of independent releases and by touring around Finland and the Baltics, receiving praise from both fans and media all around the world.

Including the bands EP’s, Astral Death Cult is their 5th release in total, as with the previous productions, drums, guitar and bass were recorded live to get the genuine dynamics of the trio on each track. The result is an album that collides earthy northern tone, riffs heavy as a neutron star and lyrics that praise the great cosmic forces. Hail Cosmos! We’re all döömed!

There are many euphemisms for death: departing, passing away, resting in peace, kicking the bucket, meeting your end, giving up the ghost, and the not-so-delicate taking a dirt nap. A band in Finland has another way of thinking about death, and it is embodied in their name: GRAVE SIESTA.

That wicked shriek you heard off in the distance? It’s doom-struck heavy metal from the tombs of Finland. The rotting corpses of the dearly beloved have arisen with a fifth of whiskey in hand and they’re having a royal ruckus in the cemetery. Wanna join in? Grave Siesta bids us welcome with their third album, ‘Voidward Spin’ (2019), following the well-received 'Piss & Vinegar’ (2015) and the excellent debut, 'Grave Siesta’ (2011).

“Vacant Throne” plunges us right into the melee with an arpeggiated riff that falls like lightning from the sky, accompanied by the gnarly vox of Taito Halonen. The lyrics, while at times obscure, are clear enough about one thing: we’re at war this time 'round.

Ad libitum
regina inferorum
absolutum dominium
para bellum
libidine ardens

Curiously, there is one place and only one place in the album when the lyrics revert from English to this ancient tongue. It’s been a long time since I studied Latin (I mean a loooong time), but I’m pretty sure it says something about a bloodthirsty Hell Queen out for absolute dominion of the “lower world,” summoning her minions for a brutal battle.

Repeating droughts
and locust swarms
monarchies toppled
one by one
defaced rulers stripped from grace
someone else to take your place

The song titles also clue us into the fact that the new album is all about the struggle that comes before victory, not the celebration itself. From “Intolerance” and “Weakness,” we move on to “Warfare & Pestilence.” It’s a hellscape unfolding before us, that’s for sure. A violent, medieval nightmare of lust, betrayal, and carnage – total war – and Grave Siesta are the ideal bards to tell the story.

The flow of the songs act as chapters unfolding the drama. There are “Seizures In A Castle,” for example, and a healer who leads the oppressed in a “Depopulation Prayer.”

Blessed be the unspawned
cease the lineages here
barren daughters
castrated sons

The harrowing saga ends with “Post World Peace,” where we greet “the break of morning, the yawning craters, a continuous voidward spin.” There are hints here and throughout the album that perhaps what we’ve witnessed is not simply a tale of times past, but a caution of things to come. In the words of Saint Vitus, “War Is Our Destiny.”

Grave Siesta is giving away free Bandcamp download codes for the new album, 'Voidward Spin’ (2019). Get yours (first come, first served) and redeem it right here.

2dcg-balb, 7qx3-3dv3, vbcm-hhgs, fvhf-v5rl, lfex-g3cj, 45rs-744y, e7ms-5q5r, glre-bt2d, 3smb-wnxh, jrm-cem5, sglf-x38r, p2sv-ew7l, hmjp-gsfe, hbgr-34eu, qxuw-cm2p, f45e-xtwn, ms79-eble, bjwn-3cv3, 5bhv-hxgs, ba4r-jprl

I’ve been a fan of CARDINALS FOLLY for a long time. I don’t know, it’s something about their sound that presents doom in a manner unlike any other. With that in mind, I can’t wait for the Finland trio to play Doomed & Stoned Festival this weekend at Indiana City Beer! Mikko Kääriäinen (guitar, vox), Juho Kilpelä (bass), and Joni Takkunen (drums) will also put on a few select performances in Milwaukee, Chicago, and Indianapolis. Look for their upcoming split with Lucifer’s Fall a few months from now on Cruz Del Sur Music. Today, Doomed & Stoned is proud to debut a brand new track from Cardinals Folly. Give ear to the weird, Gothic charm of “Walvater Proclaimed!” and check out my interview with Mikko below!

You’re hopping on a plan today for your first ever visit to the United States. What are your feelings in this moment?

I only wish they would serve free drinks onboard. Otherwise it´s either gonna be a long or expensive flight. Or both? We´re excited, but I think the actual sparks will fly once we´re there.

You’re playing Doomed & Stoned Festival and a few other shows, as well, correct?

Yes, Doomed & Stoned Festival, along with few other shows in the Midwest, such as Milwaukee and Chicago.

What have Cardinals Folly been working on since the last album?

We´ve been writing our fifth full-length album slowly, along with few tracks for the split with Lucifer´s Fall that we recorded a month ago. That one will be released by Cruz Del Sur Music as Vinyl & CD this winter. Also, we played few festivals in Austria & Germany, supported great bands like Spiritus Mortis and Count Raven in Finland, and just completed a small tour with Serpent Warning in Finland as well. Things have been busier than ever before, and that´s ideal…

What can you tell us about the song we’re premiering today??

“Walvater Proclaimed!” is from the upcoming split LP with Lucifer´s Fall, and it´s a hazily epic doom-waltz to the world of the occult and Nordic darkness, northern attitude. The song basically follows the lore of “Walvater Unveiled” from our second album “Our Cult Continues!” (2014) and also the runic themes from “Secret of the Runes” that was on previous album “Deranged Pagan Sons” (2017). That side of our works. Tap into the mood, and let it guide you out of these dreaded lives with its genuine mysticism, earthly mana and arctic passion. Walvater is Lord!

Cardinals Folly Live!

• Thursday, October 4th - Sabbatic in Milwaukee
• Friday, October 5th - Reggies in Chicago
• Saturday, October 6th - Doomed & Stoned Fest in Indiana

Editor’s Note:

I’ve always had an internal tug of war about rushing to publish new album reviews. As it turns out, most of our writers feel the same way. We prefer to let a record really soak in, rather than giving it a cursory review with some obligatory pabulum that is indistinguishable from one piece to the next. While I can definitely understand riding the wave of hype in a world of memes and metrics, from the standpoint of music appreciation this “hurry up and write” approach doesn’t always allow us to give some albums a fair hearing.

From a listener’s perspective, the sheer volume of new releases can be overwhelming and increasingly people trust sites like Doomed & Stoned to be “taste testers,” presenting a thoughtful, if limited, selection of records that have broken free of the PR cycle. Sometimes we discover albums long after the buzz has come and gone (or encounter records that received hardly any attention at all). It seems silly not to review them because they’re now “old.” Good music is timeless.

Thus, I’m introducing a new series of reviews called “Second Spin” to give consideration to records that have been out for anywhere from a few months to few years. Some of these reviews will cover these albums in great detail and others will reflect the simple joy of musical discovery. Now over to you, Tom, for the first installment in the series. (Billy Goate)

ANGUS BLACK, a doom unit coming to us from Helsinki, Finland, has an amazing self-titled album that has me really buzzing this week! Antti (guitar, vox), Jyri (bass), and Sampo (drums) gave us a hint of their potential with ‘Live From The Cellar’ (2017), following it up 10 months later with their first studio release, 'Angus Black’ (2017).

The six songs on Angus Black move in a swirling dance of doomy delightfulness with some of the nicest basslines I’ve heard recently. The vocals bring to mind the unmistakable essence of Robert Plant, while never being overpowering. The guitars, similarly, are heavy when called for, yet always in service of the overall atmosphere. It’s a very well rounded record in every respect.

“I’m Yours” is my favourite of the lot and a great deal of my admiration derives from how well the song is composed. The music is a living, breathing monstrosity, with the soul-wrenching vocals really adding an exceptional element to the track. The bassline at the end of the song is a thing of pure beauty – full of movement, groove, and undeniable musicianship. I absolutely love this fucking song!

“Across the Sky” is another one I’m really into. The musicianship, the composition, the execution – all of it is simply flawless. The vocal melody has a rise and fall quality that is truly infectious. I really dig the tone, style, and performance of the vocals on this track and every other. The song’s mid-section allows the bass to, once again, shine through. A fitting companion to Uncle Acid & the deadbeats.

“All the Sins” is another of my top picks from this outstanding album. The tone of the opening riff is just incredible. By the time the verse kicks in, the song falls right into place. The instruments and vocals are well synced with one another, making this a phenomenal album starter and track you’re bound to replay when the record’s finished spinning.

I’ve always admired the European style of songwriting, as they seem to have a very different way of approaching heavy music compared to American bands. What’s cool is that this genre is going through a worldwide evolution, with the downtuned doom & psychedelic stoner sound taking the lead in what I feel is the next big musical movement. Angus Black is quite effectively spearheading the Finnish end of the movement and their self-titled album is one of the most unique things I’ve heard lately. Go check it out and I’m sure you will agree.

UPDATE: Angus Black has issued their new album on vinyl via Discos Macarras Records in Spain. Pre-orders are taking place now at this location.

What a way to get over the hump of the mid-week humdrums – with an advance listen to what is sure to be one of the most rocked-about records out of Finland this year. I speak of ‘1st Sound’ (2018), the brand spankin’ new spin from Helsinki stoner metal trio, KAISER.

1st Sound is nothing short of a rock 'n’ roll odyssey. Pex (bass), RiQ (drums), and Otu (guitar, vox) have bottled up a lot of inspiration since their self-titled debut in 2014. As I shared in our previous feature on the band (“Chasing Kaiser”), my discovery of the Helsinki trio dates back at least a year or two prior when I randomly happened upon a single of theirs on Soundcloud.

Bringing every weapon to bear, every piece of potent artillery in their arsenal, Kaiser have devised a salvo of a battle strategy. 1st Sound is a blistered attack of stoner-fuzz and sludge metal that will keep you on the edge of your seat (if indeed you can sit still while listening). What really makes it work is Otu’s vibrant singing range that more than once reminded me of the late Chris Cornell, Keith Gibbs from LA heavies Sasquatch, or even Olli “Otu” Surrmunne from Altar of Betelgeuze.

Wait just a darned a minute… Stop the presses! I think I’ve just made a connection. I can’t believe I didn’t see it sooner!

Unless it’s an incredible coincidence, the powerful voice of Otu in Altar of Betelgeuze and Kaiser are one and the same! This didn’t hit me literally, until I was writing this review. I mean, it makes sense, right? Both bands are from Finland, though admittedly, there can be more than one metal singer by the name of Otu. Really, I can’t believe I didn’t see the connection sooner than this. Altar of Betelqeuze’s 'Among The Ruins’ (2017 - Transcending Obscurity Records) occupied prime real estate on Doomed & Stoned’s Heavy Best list last year. To be fair, the band didn’t alert me to this revelation, either. “That’s usual for us, the weedheads,” jokes bassist RiQ when I confront him with my discovery. Well, in any event I now have yet one more reason to be excited about Kaiser. Otu’s vox take both bands to another level of excellence in a scene that has increasingly become saturated by a carnage of riffs. This I can definitely come back to for second helpings!

Among the highlights for me were “Desert Eye,” which serves up a fierce ride through the barren wilds, kicking up plenty of sand and gasoline fumes as we attempt escape from the Devil’s Hand. Delicious, Kyuss-esque low-end and intricate bass play characterizes this track.

Another standout moment for me came with “Earthquake,” which is solidly on the metal side of the “stoner metal” equation. This was actually the song that forced the Altar of Betelgeuze connection for me. I’d just never heard Otu belt loose like this in Kaiser before. It’s a fearsome sound that reverberates through most every song on the album.

Mark Friday, May 25th, on the calendar. That’s when Kozmik Artifactz/Bilocation Records releases Kaiser’s 1st Sound to the world. In the meanwhile, you can listen to it all right here, right now on our bitchin’ lil blog!

Give ear…

Track By Track:

A Kaiser Guided Tour Through '1st Sound’

After our last chat with Kaiser, I thought it would be a good time to check in again with the band. Specifically, I was interested in knowing the significance of each of the songs on the new record. As usual, I find their frankness refreshing and occasionally hilarious. (Billy)

HIGH OCTANE SUPERSOUL

This is about how you can (or should) conquer yourself, not living in fear under other people’s rules and requirements. You’re the star in your life, so you do what you wanna do. There might be some allegories of things that have happened in past, present, and future. The songwriting process is not that special, it’s just full of riffs that have been brewing in our pocket for years.

DESERT EYE

This is a compilation from our “travels” that we used to do around the “world” – do not ask about those you might get lost, too. The writing process is the same, just old riffs butting together.

WE BLEED FOR THIS

This used to be song about intercourse, but then we discovered it’s about our songwriting processes in the rehearsal place – full of lightning, fire, overwhelming joy, and king ideas, but there is also similarity to how this world turns over. I don’t know, you people decide.

VOIDMASTER

Everyone should go into this place once in a lifetime: deep, deep down into yourself with nothing around – no sound, no thoughts, nothing. The song was written like four years ago.

OUROBOROS

This is like a brain fart by force, you know. Our producer said that we need some more songs on the album and this came like in just a few hours. We personally don’t like this song that much, but don’t mind if it’s there. Someone could like it. It’s a pretty cliché story about the circle of stupidity that is humankind – like a snake who eats his own ass.

INTERMISSION

This is a song. The only song that our bassist had to write.

EARTHQUAKE

This is the very first song that Kaiser had written. It was Otu’s, some old riff that we cultured a little. Then one day, I was in the hangover of my life and this bounced into my head in the same beat as my headache, so I wrote these lyrics and it’s about hangover – THE hangover.

FUZZ OF FURY

One word: Bruce Lee!

KING OF HORIZON

This is little bit similar to “High Octane.” Think about how you should live in these end times – you decide. It’s more or less about our owns lives, but you can also build your own vision about it – you choose the story.

GALACTIC CRUSADE

This is the second song we composed, because our producer said that we needed more songs. I was thinking about a slow song, because we don’t play those that much. I did this main riff at home and was little scared (“Will the guys judge me and kick my ass with this unmanly riff?”), but they liked it and when we continued the writing, it crowed more and ended quite effectively. The song itself is about something that ends and you start it from beginning, only to screw it up all over again. Sound familiar?

When I first got into doom metal and stoner rock, I mean really got into it, I would spend hour upon hour in search of new bands, delighting in every discovery. I remember one summer listening to Kyuss and nothing but Kyuss, one record after another, from June to July to August. Good times! These days, I’m lucky to be able to have time to really soak in one good record a month, such has been the astounding grown to the scene. Some say the bubble is about the burst, but considering how long it took Sleep to gain international renown, I wouldn’t hold my breath on that proposition too long. After all, this is the genre that prefers the long game, the slow ‘n’ low strategy.

One of the bands I chanced upon in the years before I became old and jaded was a trio of Fins by the name of KAISER. I absolutely loved their sound and made it a quest to hunt them down, pestered them now and again, lost track of them, and finally heard back from the lads from Helsinki. Little did I know when I first started this bitchin’ little blog that I would end up interviewing Otu, Riq, and Pex some five years later.

Now here we are in the waning days of winter and Kaiser has given birth to new sounds. First came the music video, “We Bleed For This” and just weeks ago the new single earthquake. Join me now as we enter Kaiser’s domain, get to know who these guys really are, and learn of their designs for a second record!

So, guys, what’s your story?

Otu: We’re a bunch of douchebags from Finland. Generally we’ve played since kids but as Kaiser we’ve played since the end of 2013. Me and Riq met through the internet and it clicked. After sometime Riq’s childhood friend Pex joined the crew. Then it clicked, again. We’re waiting for the third click, I guess?

What’s with the name Kaiser?

Riq: I was drawing logos and then I saw this word in my mind. Then I asked my ex-wife, what does the word “Kaiser” mean? She said it’s “Caesar” in German and then I thought to myself “We’re all Caesars in our lives, aren’t we?” That’s basically it.

Otu: I pretty much got a text message from Riq in the middle of the night that just said the word “Kaiser.” I was confused and had no clue on what it meant. Then I realized that it was the third click, or was it?

I was excited to learn you were fooling around with a new record! What can you tell us about it?

Otu: The album process included stalling, a tad of drama, a divorce and a bunch of amazing moments that resulted in an album that we never expected to exist. The message of the album is for the listeners to decide.

I’m really digging the new music video you guys produced, “We Bleed For This.”

Riq: Originally the song’s name was supposed to be “Fire,” a song about fucking.

Otu: I personally thought the song was about the mutual struggle relating to our songwriting process.

Riq: The video was us goofing around with a GoPro and we added a bunch of retro clips and effects on Final Cut. This was entirely unscripted, like everything that we do.

Are there any particular books, comic books, art, movies, or life experiences inspire your lyrical content?

Otu: They’re all about fucking.

Riq: And smoking, tripping, sniffing and shitting. So, the lyrics are a combination of a sick imagination and metaphors from real life experiences.

Pex: And hallucinations!

What instruments, gear, and amps do you find most effective achieving that powerful Kaiser sound on stage and in the studio?

Otu: I use a Matamp GT-1 with a Dunwich DA120, as well as freak-out solutions with shitty broken amplifiers that you would never understand. That’s the secret sauce.

Pex: Rickenbacker Laredo Bass, Tech 21 XXL, and Dark Matter Distortion, plus EBS and Ampeg gear for levels and tone.

Riq: I just play drums. Big and old Sonor drums.

What is your music scene like over there?

Riq: It sucks. We have more metal bands than anything. Black metal bands, folk metal bands, melodic-ass metal bands, and yet the Finnish rap scene is taking over. However, there are many great stoner bands here, but the scene in that respect is very small. It’s also very, very hard to get gigs. Thankfully, all the bands help each other out, which is great.

Where in the world would you most like to perform?

Otu: We have this motto that we’ll play anywhere to anyone, because we love to play live.

Riq: Like in a coyote’s ass in the middle of the desert.

Last one, this one just for fun. If you could be transported to any time in history, past or future what period of time would you want to visit and why?

Riq: I want to travel back into my mother’s womb because it was so damn warm and cozy there.

Otu: Me, too. In your mother’s womb.

Pex: In a time in the future or past where there is no word “illegal.”

~By Stephanie V. Cantu~

CARDINALS FOLLY released Deranged Pagan Sons this week on Nine Records. Let us expect a full unleashing of ferocity on the instruments and the wizardry of frontman, Mikko Kääriäinen to lead the magikal ritual as we step into their dark, doomy circle. The composition of this record was born from the frozen north, in heavy metal capitol of the world Helsinki, Finland. There’s something about the Finnish language that is pure magik when you hear it. Here we have a true dialect of power, incantations felt in all Cardinals Folly discography. This album gains in power and freedom in the viciousness of evil expression in the vocal section, and the music, though at times hypnotic, mostly drives us forward in fast-paced blackened doom.

When the record comes on, you are possessed with groove to rock, holding the goat by the horns for this Cardinals Folly ritual. Let it be known, it isn’t a safe place, as you too will soon be playing devil’s advocate in this doom metal anthem march. There are so many elements present here, most notably a primitive, shamanistic rhythm that rocks us into doom metal trance. An aboriginal feel to this pagan theme is felt in the instrumentation, and it is evident there’s a diabolical tongue at play in Satan’s temple. Indeed we are faced with the Deranged Pagan Sons that are Cardinals Folly. This record clocks in at 48 minutes, laying down doom metal law for us in heavy metal fashion. Onward we are led.

WORSHIP HER FIRE

Opening the Gates of Power with this first track, Cardinals Folly revs us up for a wild pilgrimage behind the instrumentation. Saddle up for a doom trifecta ride on the drums, bass, and guitar as we denounce traitors and rebuild our pagan temples. For anyone hearing Cardinals Folly for the first time, Deranged Pagan Sons is a good start to sample the magik of the CF discography and get the alchemical gold this band has refined through the years. The epic quality grasped in the lyrical verse and lore of the songwriting is still present, the unique imprint of the vocalization leading this band is familiar even when unleashed, and the instrumentation does not veer far from what Cardinals Folly is, though is played more ferociously on this album.

Cardinals Folly brings authenticity to doom metal as a scene and genre. A band raised on cold, northern traditional doom metal continues to carry the torch passed on from bands such as Reverend Bizarre, Count Raven, Minotauri, and Spiritus Mortis. In honor of the Ways of Olde, yet still completely rebellious to what our mode of conventionality is, Cardinals Folly brings the heat with Worship Her Fire as we click our hooves down the left-handed path. The metallic guitar of warlock Juho does not merely riff, we are taken on axe journeys that interweave harp-like threading and hard rhythm. Joni’s drums are centralized with a tribal beat that does not die, the blood of a war mentality heard through the ages in the pounding skins. Here is where shamanic rhythm lends its primal rawness, giving us galloping crusader rage as the bass encapsulates us in saw-like shredding.

Cracking start to the album, and a wonderful turn by turn-composition with the riffs by me and Juho. The lyrics basically continue where our cult track “Blood Axis Raiders” left off in 2009. The old gods are furious, for their heritage has been raped… fight the religion, politics, mankind’s greatest errors.

DIONYSIAN

Wine, festivity, and madness take over as the record begins establishing focus on pleasures of the flesh. Fornication and passing of the sacred cup makes its way around the Circle, a setting not highly unusual for ritualists Cardinals Folly. If you have explored their Holocaust of Ecstasy and Freedom material, you will know frontman Mikko Kääriäinen is synonymous to the serpent in the garden of Eve, forever leading us to temptation. We are reminded we must live before we die, we must retrace our steps to recover the lost divinities of sensual freedom repressed by orthodox disillusionment. We are left to ponder these twisted wisdoms that encourage us to partake in dark fantasies, as the inhibitions of religious doctrine crumble away…

Another fiery rocking doom tune, dealing with the cult of Dionysos and pagan rites. Probably our best chorus so far? The ultimate anthem for your night with wine, woman and song…? Sometimes it´s just better to ROCK, and Dionysian shows that in beautiful fashion. Attack!

DERANGED PAGAN SONS

Invoking the gods of Chaos, Cardinals Folly assume the role of Deranged Pagan Sons, offering us a sip from their chalice of madness. This is the most powerful track on the record, with instrumentation rivaling some of the best New Wave of Traditional Heavy Metal bands out there right now. Our fork-tongued vocalist gives us lyrical verses which drive forward the doom metal agenda, reminding us we are still within the realm of evil despite more brilliant shining guitar melodies.

The doomed ones ride out
With wooden pendants of blood
Dark cobble-stoned alleys
Feed our souls alive

Deranged pagan sons
Warlocks in their prime
Not asking anything
But graveyards in the night

Although this track initially takes on a more mellow and noble approach, the vicious doom groove returns soon enough to possess your body for another relentless wave. Riding out with the Cardinals Folly banner unfurling, we crusade for proclamation of the return of true doom metal. A song like this must have been born of early 80s epic metal, with some foundation of Manilla Road lore and Running Wild acknowledgement.

Our ultimate anthem about what we are. Assholes with heart of gold. Hah hah hah! Sometimes life demands hard approach with blasting old school metal riffs, yet the hardship would never change the fact that we believe in good. Through ominous ways. Beautiful galloping riffing blasts your soul on this one.

THE ISLAND WHERE TIME STANDS STILL

Here we enter a more sorrowful atmosphere which takes on more emotional aspects. Synonymously, the water element of this song’s aquatic theme successfully portrays seafaring longings of absent romance. Even if for a brief moment, we feel the deep soul of Cardinals Folly’s majestic introspection before being catapulted headlong back into fierce tides. Restless and wild, we accept there will be no easy moments for us while engaging this album. Cardinals Folly flexes their versatility and virtuosity with highly executed pace setting and rhythm changes throughout this song.

Definitely one of the album highlights. Most successful transition from slow and mellow to fast and hard. Possibly the last CF song dealing with a Dennis Wheatley book title, and continuation of themes from our old “lost world” song series, such as “Uncharted Seas” and “They Found Atlantis.”

THREE-BLADED DOOM

This song takes place in the aftermath of the raiding wars our Deranged Pagan Sons have partaken in. We are left wandering the streets with broken faith, reminded we have played the merciful fool within the false constructs of religion and society. Yet, a hand is still offered for us to join the Cardinals Folly cult as we pick up the pieces. We are given the choice to stay spoiling in the ruins or be pulled up upon mighty horses to ride out the night with fanciful pagan rites.

Three-Bladed Doom is a steady doom metal march, with each member of this Finnish trio carving out the Truth in us like a sacrificial dagger. The verses lead us with descriptive lyrical segments championing the Cardinals Folly cause as frontman Mikko curses the vengeful Lord that was once your savior.

We´re labeled outsiders
Heartless cold brutes
By lord, truth, savior
Three-Bladed Doom!

Honoring the code
You´ve lived by the book
Where lord merciful
Can´t be more vengeful!

This song answers to the brutality in me. Every riff chord is like a pack of fucking icicles landing on your back when you least expect it. It´s striking. A composition living and breathing beautifully out of sheer willingness to preach with power doom. Again we keep our heads bloody, yet unbowed. It rolls on like The Gates of Slumber used to, searching for its prey…

SUICIDE COMMANDO

If there was a track on this album reserved for the decapitation of the goat in this ritual, it would be Suicide Commando. The fierce underworld howling demons channel through our vocalist in this song, making it seem as if the previous few tracks were merely preparation for the soft underbelly to be split open. Though this record is extremely brutal through and through, this track would be the closest in semblance to the pure evil evidenced in northern black metal. This influence won’t be heard in double timing drums or extreme guitar strumming, but more so in the vocal style of Mikko Kääriäinen. I believe this makes for an interesting hybrid of doom, with traditional Cardinals Folly instrumentation enabling exploration in new vocal territory. We are carried on the winds of familiarity, while still experimenting and holding true to what fans love about this band’s music.

Suicide Commando is a relentless brute who fights against all odds. Bone-headed heavy metal power riffs support the cause of a man who is willing to parachute to a field full of haystacks – from 100 metres if necessary. Never tell him the odds.

I BELONG IN THE WOODS

We begin nearing the record’s completion as we recapitulate the energy spent being devious and hedonistic in Pan’s abundant vineyard of pleasures. Here we find an introspective song which leads us by the hand into the most desolate of forests, to honor the hermit within and find our self-illuminating truths. After all is said and done, we stare at the chalice as it lays emptied upon the ground, wondering if our spoils have too been drunken by the earth. Our souls are bared and we are left laying naked with shivering affirmations that we can never return to the false towers built by the constructs of society. I Belong In The Woods is the invitation to remain free, to be accepting of the emptiness that returns after a frenzied feeding. The instrumentation remains a steady groove, allowing a depressive mood and melancholy to settle in without thrashing it away.

Perhaps the most personal song for me, an ancient composition, and therefore also musically more challenging and less in-your-face. I think the melancholic Warning-y guitars work really well here. The title is taken from Pelle “Dead” Ohlin’s (Mayhem) suicide note, btw. For outsider feelings and those desolate times.

SECRET OF THE RUNES

The closing of the magik Circle takes place with a last wisdom from the Viking runes, consecrating our imbued purpose. We invite the grandeur of our pagan deity to help decipher the ancient code in this Cardinals Folly ballad. Romance of the past roots us with surety of awaiting rewards of honor and knowledge after an album of devilish delights. This is reflected in noble vocalization Mikko Kääriäinen is so known for, manipulating our lasting feelings of the album in guise of the spiritual light underlying Cardinals Folly lore. Lastly, we are invited to burn ourselves clean into the fire as the final verse shelters over us the lording Right Hand of Doom.

In glowing embers of fire
The secret of the runes
Cleansing all our past sins
Embodied in ancient priest-kings, oh!

Staring at the ritual fire. Remembering the dead. Taking an intoxicating flame of wine in your soul. Remembering the past. And that you´re still a powerful being. Creates this epic bang of doom. Some say that slow doom songs are not in our blood. Well, sometimes they are proven wrong… like here! Very ritualistic and makes me want to raise a ritual toast to the dead. And all obstacles conquered.

The Pagan Sons became Deranged at Harju Doom Church in February of 2017. Recorded, mixed, and mastered by Juha Kapiainen and Cardinals Folly.

Cardinals Folly Live ‘n’ Loud:

September 15th: Rhythm Repair Shop, Seinäjoki (w. Spiritus Mortis, Musta Risti)
October 6th: Otto boy, Kuopio (w. Grip Of Death)
October 7th: Marks, Joensuu (w. Serpent Warning)
November 11th: Golden Classics, Helsinki (w. Caskets Open, Slave Hands + 1)

Follow The Band.