“This has been a really good year for doom, with Khemmis, Messa and Northern Crown dropping stellar platters of mawkish mopery, and Spiritus Mortis wants to help send 2016 out with even more funereal notes and appropriately bowed heads. This Finnish doom troupe has been around a while and The Year is One is their fourth album, but somehow I’ve slept on them and am just coming to grips with their material.” The Year is Yuge.
“Of the wavelengths split from heavy metal’s prism, doom is the color that can most clearly trace its path back to Black Sabbath. Down-tuned riffs, fuzzed-out solos and a bottom end that would make Sir Mix-a-lot dab the sweat from his brow, today’s doom acts unabashedly carry the flame first lit by Messrs Iommi, Ward, Butler and Osborne. The danger in this familiarity is that some bands struggle to escape their progenitor’s orbit and end up as pale imitators rather than carving out a space of their own.” Doom space is tough to come by these days.
“After spending hours on the web searching for the band Eerie, I’ve finally found them and their self-titled debut. With a band name like that, I passed by everything from comic books to Polish black metal to unsettling porn. And, as it turns out, it was well worth the frustrating Google search. Debuting on Tee Pee Records (a much easier name to search), the label describes the band as being black metal/rock—a combo that could go many ways.” When Google goes wrong….
“Lord Vicar has been banging about for a while without a lot of press, which is strange considering they’re a doom super group of sorts. In their ranks you’ll find former members of Saint Vitus and Reverend Bizarre and they definitely know a thing or two about their chosen genre. 2011s Signs of Osiris was a sleeper that fell through the AMG cracks and didn’t get reviewed but should be heard as there’s much to admire in their earnest, throwback approach to the days of Witchfinder General, Pentagram and Black Sabbath.” Superdoom? Well call me McLovin!
“The Order of Israfel’s 2014 debut Wisdom became a bit of a sleeper for yours truly. I gave it a positive review and saw the potential, but didn’t expect to return to it quite as much as I have. The combination of classic doom with tough biker rock proved hard to ignore and though it missed my year end lists, it’s become a regular part of my “free range” listening time.” Free Steel Druhm!
“I’m inclined to jump at the opportunity to review any music that surfaces out of the Icelandic metal scene. Their strong talent, adventurous spirit, desire to cross or mix genres and their overall quirkiness usually makes for an exciting listen. That was my expectation with Naðra.” Feel the Icelandic burn!
“I learned a major lesson this year writing for Angry Metal Guy Industries Unlimited, Inc.. No, I still keep the toilet seat lid up after I go. Rather, band names are everything. This calendar year alone, I’ve reviewed bands named after long Biblical phrases, Roman numerals, house breaking your dog, and even a band that was one letter away from sending homophobic metalheads running for their nearest vial of eye-bleach. And now? Mammoth Storm from Sweden is here.” A hard rain is gonna fall.
“Windhand is the bane of those cursed with ADD. They write long, glacially slow, minimalist doom songs with little variation or tempo shifts. Their songwriting approach is mostly limited to unearthing one mammoth riff and beating you with it for anywhere from six to fourteen minutes without respite, mercy or bathroom breaks.” The beatings will continue until morale improves and/or cake is served.
“Last year, I got to review Revelations in Alchemy, the debut album from Portland, Oregon’s Shroud of the Heretic. Even though it had a few hiccups (such as speeding up things unnecessarily), I was quite taken by how grotesque, viscous, and utterly grimy the album felt, as if the evil wasn’t delivered via possession or fear, but rather through slower, phlegmatic methods.” Phlegm is so metal.
“Though it’s difficult to put into words exactly why, this was one of my most anticipated releases of 2015. As a long time admirer of Scott “Wino” Weinrich’s musical career (The Obsessed, Saint Vitus, Spirit Caravan, etc.), I’ve really taken to his acoustic folk projects over the past few years. Be it his acoustic solo material, his work on The Songs of Townes Van Zandt cover album or his collaboration with German folk artist Conny Ochs, Wino’s voice seems tailor-made for bare bones, stripped-down American folk rock.” Who’s ready for something dark, different and real?
