“A model of consistency, Indianapolis doom quartet Apostle of Solitude return with their sixth album, When the Darkness Goes. Staying on schedule of an album roughly every four years, this one follows 2018’s strong release From Gold to Ash, reviewed right here. The lineup remains the same, as does the style.” Dark and familiar.
“Three Monolord reviews, and three 3.0 scores. The epitome of “good.” In fact, when I jotted down all the metadata for this album I also penciled in “3.0 of course” for my rating placeholder. I mean, what are the odds the score goes up or down? Actually, here on Your Time to Shine, the Swedish doom trio’s fifth album, there’s a good chance of that score coming untracked, at least if they continue down the less-fuzz, more-doom path they started down with No Comfort. As mentioned two years ago, the band seemed to be evolving into a “fuzzier version of Pallbearer.” Rabbit don’t come easy.
“There’s a reason metal fans will never want for bands that play fuzzy stoner doom. Sure, it’s the oldest genre in all of metaldom and has somehow seen less evolution in recent decades than you’d find at Boone County, Kentucky’s Creation Museum. But unlike the dinosaurs that perished in Noah’s flood, stoner doom will never go extinct. That’s because ever since The Lord revealed his commandments to Tony Iommi on Mount Sinai, purveyors of the style have remembered the Sabbath and kept their riffs holy. When a stoner band drops a bluesy-psych groove, it connects on a primal level the way few other metal styles can. The genre may be stagnant, but when it’s played well, that hardly matters. Sweden’s Moon Coven attempt to keep the altar fire burning in doom’s Holy of Holies with their third album Slumber Wood.” Sleeping wood, fuzzy bat.
“Well, they’re back with a new album on their own label, looking to recapture the magic that had John Garcia intrigued. Can these northern Canadian boys dial into the desert rock sound, or will this be more like winter metal on the prairies?” Desert snow.
“No Comfort is an interesting name for a Monolord album, because every time I’ve played their records I’ve felt a great sense of comfort. I know what I’m in for, and each time the band delivers. Kind of like a lot of the fuzzy stoner metal bands out there. They will bestow upon us massive riffs that are fuzzier than a giant peach, drenching their Black Sabbath worship with Electric Wizard sauce. It is a recipe for short-lived success; while I enjoy drinking at this particular well, I can only do so for a short time before moving on.” Quick comfort.
“You ardent readers may not agree, but it can be tough on one’s aural organs to blast metal for hours upon hours each and every day. That’s because in our tiny cubicles we don’t often get to crank the albums we love; we have to play the ones we’re reviewing. And after blasting my assignments from Cult of Luna and Monolord a combined twenty-seven times this month, my weeping ears needed a break. Something peaceful, serene, and calming. And since I wasn’t (un)lucky enough to be tabbed for In Cauda Venenum, I settled on what I hoped would be a sweet little morsel of post-rock: Rooh, the third album from Indian post-rock outfit aswekeepsearching.” Vacation for the ears.
“Let’s ease into 2019, shall we? After a climactic December that saw about a million Things You Might have Missed posts, nearly two dozen Top Ten(ish) lists, and a few more outstanding releases, it’s time to let our collective breath out, sit back, and strap in for what we all hope will be a stellar year for metal. And while early January might not be blessing us with any albums that will stick around until list season, there are a few that are worth digging into. Is this shorty (a mere seven songs and 30 minutes) from Los Angeles’ Deathchant one of those? If you’re into psychedelic proto-rock, with all sorts of other spices added in, then this eponymous debut just might kick-start your year.” Death the halls.
“While we didn’t review their slightly overhyped debut, Empress Rising, our beloved Roquentin took a look at 2015’s follow-up, Vænir, and liked what he heard. Monolord, as a name, suits these guys perfectly, as they are beholden to only one lord, and that is the Lord of the Riff. Since they hit the scene they’ve been bringing massive, fuzzy variations of Black Sabbath/Electric Wizard worship to the table.” That table can’t hold such massive riffs.
“I listen to fast music; the rage-inflicted murder beast that lurks in my soul is never fussier than when stuck behind some jamoke doing 25 mph. Consequently, picking up Weltesser was a bit of a gamble, as doom has never been my speed. The right groove can rev my engine, but idle too long and I’ll go right to Sleep.” Doom to improve.
“The first long length from Gothenburg doomsters Monolord, last year’s Empress Rising, enjoyed a surprising level of success and acclaim, the likes of which is usually the result of a combination of solid, but not great music and circumstances which fall under the banner of “hype.” Releasing a second album just a year later and following such a highly esteemed record made more likely the possibility of the enthusiasm bubble bursting. Vænir (named after Sweden’s largest lake) could have easily turned out a dud.” Hype, drama, doom – it’s all here, folks.
