“Echoes is the quartet’s third full-length since the act’s conception in 2010. While featuring the armaments and cavernous bellows of Incantation or Winter, it also is armed with a stoner doom fuzz and vocal influence from Candlemass. However, you can be sure that the “married iguana” haze does not subtract from Altar of Betelgeuze’s intention of crushing your skull in.” Betelgeuze!
“The clamor of zhangu, taiko, ahuli, tabor—even the timpani in a modern orchestral context—the steady hammering of the battlefield finds a comfort, an attachment to the mallet metronome of such simple instruments. In memory of sorrow, the rhythm of death metal through one of its most bass-rumbling pioneers, Bolt Thrower, finds that war-like march not just in pounding kicks but also weighted guitar harmonies and bass-throttled grooves that stir the warrior’s heart. Stygian Crown in their idiosyncratic expression of the metal arts embodies in part that low-end fueled, sword-rattling thunder. But as the title Funeral for a King may imply, and as the Steel One himself has explored before, Stygian Crown doesn’t just riff, they doom. Oh, do they doom!” Crown Thrower.
“Formed by Sorrows Path co-founder Kostas Salomidis, nascent Greek epic doom metal trio Distorted Reflection are so new that they don’t even have a Metallum profile up yet. Established in 2022, the young band follows Kostas’ vision of epic doom metal after nearly thirty years with his original band.” Reflections of depression.
“Sorcerer are back, and boy howdy did I need the sanctuary afforded by their classic epic doom sound after marinating for weeks in Autopsy’s gore-encrusted catalog! For those not familiar, Sorcerer haunted the Swedish doom scene since the late 80s without seeing a proper release until 2015s In the Shadow of the Inverted Cross. Though I was a fan of their demos and compilations in the 90s, I missed In the Shadow entirely and didn’t come back on board until 2017s The Crowning of the Fire King. That album’s loving tribute to the Candlemass school of epic doom blew my mind and ended up my Album o’ the Year. I still spin it often and it’s one of my favorite albums of the decade.” Wanded: Dead or Alive.
“Early on in my reviewing career, I had the honor of covering Descent of the Serpent, the sophomore record from British metal sub-genre benders Forged in Black. I was enamored by the interesting songwriting on display on that record, and I was equally impressed by the incredibly diverse vocal performance by singer Chris Storozynski. This combo of songcraft and vocals reminded me at times of classic metal bands like Candlemass, Judas Priest, and Metallica, but at other times, the album veered into modern groove metal territory. It was an eclectic mixture for sure, but it felt like taking a walk down my own personal metal memory lane. Even way back then, I knew that I would be anxiously awaiting the album’s follow-up.” Genre hoarding.
“Isole have slowly but inexorably become one of my favorite doom bands over the last 10 years, reliably delivering big albums in the Candlemass, Solitude Aeturnus, While Heaven Wept tradition. With 2 of those 3 big acts now out of action, Isole have steadily ascended the doom hierarchy ladder as they continued to improve with time.” Doom to improve.
“The new year brings a fresh fervor to search out and seize interesting things from the ghastly promo sump. Having heard a bit of low-level buzz surrounding the debut by Vancouver-based gothic doom act Tribunal, I was interested to see what the fuss might be about. The promo sheet name drops My Dying Bride and boasts the presence of a classically trained cellist, and so I dove into The Weight of Remembrance hoping for something a bit more interesting than a MDB clone. And boy did I hit the goddamn motherload!” And justice for all.
“Anyone else ever find themselves forgetting that they like a genre of music? Doom metal is probably the most-often-forgotten stepchild of my psyche, and I rarely give the style a moment’s notice. But whenever I find myself exposed to those big, lumbering riffs, and haunted vocals, I’m always reminded just how awesome classic doom metal can be—emphasis on the classic.” Mountains full of doom.
TheKenWord and Carcharodon bring their special sets of skills to Listurnalia and things get…interesting.
“As someone who fell deeply in love with Epicus Doomicus Metallicus after buying it based solely on the cool cover back in 1986, I consider myself a big fanMAN of Candlemass’ classic era. I define that epoch as the debut up through Tales of Creation. After that, it was much more of a crap shoot, with some albums working and others not so much. Considering the band’s golden era was rather brief, Candlemass enjoyed an outsized influence on the doom metal genre over the decades. When word hit that original vocalist Johan Langquist would appear on 2019s The Door to Doom comeback after not being heard from since Epicus, expectations were set unreasonably high.” Butchers, bakers, Candlemass makers.
