Posts Tagged ‘Doom’

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Finnish doom lords Coughdust have released their follow up to their debut ‘A Means to An End’, and are taking their deathly stoner doom to new heights with ‘Worldwrench’, out last October via Suicide Records. ‘Worldwrench’ is a steamrolling record of death, doom and destruction.

Opener ‘Serpents of the Earth’ instantly feels like a more raging version of classic Electric Wizard fuzzy doom. Each massive groove is coated in fuzzing distortion, and cyclopean riffs cascade from your speakers. This is a primal song; taking you into the roots of all heavy music with huge guitar and bellowing roars. It is a pretty definitive opening salvo, and when ‘The Second Principle’ kicks in an almost Swedeath guitar tone and attitude it gives you shivers. It feels like the lost link where death and doom meet, where savagery meets the inexorable pushing force of THE RIFF. Beautiful stuff.

Wherever Coughdust takes you, be it the chugging Dismemberisms of the title track or the crumbling epitaph of ‘Blind’, ‘Worldwrench’ is a record that will instantly gratify your cravings for heaviness. Like the crushing pressures of the deep, Coughdust have dragged ancient doom to your door and left a corpse waiting for you. Are you ready for this? You had better be because ‘Worldwrench’ will consume those too weak to resist.

https://www.facebook.com/Coughdust

https://coughdust.bandcamp.com/

http://www.suiciderecords.se/

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Electric Wizard are one of my favourite bands. Ever. Their unfuckwithable ethos of weed, tits and Satan had me following since ‘Dopethrone’, and each new release they refine and perfect their particular brand of classic doom. ‘Wizard Bloody Wizard’ is a little different however, and we may be seeing a new monster stride from the smoky darkness of the Wizard’s lair.

I suppose the hardest thing for Jus Osborn and crew is how to improve on their classic records. In the case of ‘Wizard Bloody Wizard’, the band start to come out of the haze a little more. The howling leads, groaning Sabbathian riffs and hypotising wail are all still as iconic as ever, but in the likes of opener ‘See You in Hell’ and the grinding ‘Wicked Caresses’ seems to have less fuzz, and more clarity. The infectious groove of ‘Necromania’ has a very 70s psychedelic rock feel, and the whole album has a very, dare I say, upbeat feeling about it. Gone is the aching, crawling doom of ‘Let Us Prey’ or my own personal favourite, the occult fuzzing ‘Witchcult Today’.

In its place, ‘Wizard Bloody Wizard’ has found Electric Wizard in almost evolutionary mode; having defined almost every part of what a doom record should be in the modern era, they’ve decided to embrace their love of Sabbath and psychedelica even more openly. The mesmerising, cyclical ‘Hear the Sirens Scream’ draws you in, and by the time the rumbling closer ‘Mourning of the Magicians comes to a crashing end, you’ll be left satisfied and ready for more. Sure it’ll never be ‘Dopethrone’, but who wants to repeat past glories when new horizons offer tantalising new magicks?

https://www.facebook.com/electricwizarddorsetdoom/

http://www.spinefarmrecords.com/

Desolate Shrine are nothing but productive. ‘Deliverance from the Godless Void’ is their third album for Dark Descent Records in six years, and their fourth overall. It is another exercise in pure, devastating aural darkness and hatred. If you like black metal, doom or death, this is within your wheelhouse. A miasmic fabrication of extremity awaits.

‘The Primordial One’ comes pouring from the speakers like a molten river of blackened death metal lava. Blastbeats smash down upon devastating riffs, while brutal roars echo from caverns of darkness. Desolate Shrine are immediately dense, pushing waves of sound at you in an unstoppable force. But they cannot stay one dimensional, with eerie melodies seeping from the gloom in the dissonant, doom laden ‘Unmask the Face of False’. ‘Deliverance from the Godless Void’ has no regard for the boundaries of black, death or doom metal. Desolate Shrine take these genres and combine them into a set of songs that crush not only your ears but your soul, your mind and your hope. For me, the centrepiece and masterpiece is the massive storm of ‘The Graeae’, building from desolate clean guitars into a galaxial riff that envelops everything in its path. Metaphors run short when trying to describe the titanic weight and power of such a song.

‘Deliverance from the Godless Void’ is disgustingly heavy, weighing you down mercilessly until you crumble into nothingness. These songs may be lengthy but never overstay their welcome, and the almost hour running time feels like no time at all. It does feel like your delivery from the Godless void is nothing but a trip to hell. Not a hell that burns, but a hell that suffocates and tears at your weak flesh. This is stunning.

https://www.facebook.com/desolateshrine/

https://desolateshrine.bandcamp.com/

https://darkdescentrecords.bandcamp.com/album/deliverance-from-the-godless-void

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Uk doom upstarts King Goat have been touted as the next big thing in riff world, with their last record ‘Conduit’ getting rave reviews all across the board. Taking the sturdy Sabbathian blueprint and moving into progressive and psychedelic territories is just the beginning of where King Goat will take you. Italian label Aural Music is rereleasing this with some bonus tracks from their previous EP in time for their new record, due next year.

‘Flight of the Deviants’ is instantly grandiose, theatric and yet grounded in the simplest of heavy music. Smoky occultisms play across potent, Grand Magus riffs while powerful vocals provide gravitas and depth. ‘Feral King’ has a little more Candlemass about it, while the title track builds superbly with some almost eastern melodies. Even so early in the record, there’s a majestic roughness about the band. The cold heart of ‘Revenants’ swells with a brooding menace, and this is the track where vocalist Trim really stands out. The grasp of melodic and powerful dynamics really takes a hold here, and never lets you go.

‘Conduit’ is a real listening pleasure. In a world where albums feel too long if it is more than 40 minutes, King Goat stride beyond an hour easily without losing any part of their magic. This is doom incarnate; with Sabbathian groove, Candlemass scale epics and even a hazy Electric Wizard darkness about them, King Goat take one proud step toward reclaiming doom for their homeland.

https://www.facebook.com/kinggoatbri/

https://kinggoat.bandcamp.com/

http://www.auralmusic.com/

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Haunt is the solo work of Beastmaker vocalist/guitarist Trevor William Church, and his day job’s two albums on Rise Above Records have received critical acclaim, but Haunt are more of a classic, early 80s NWOBHM act. Your nearest reference points are early Maiden and Angel Witch, so you know you’re in for a grand trip!

The opening title track has some great riffs; absorbing some cool hard rock stylings with a darker edge. The fuzzy guitar tone betrays the doomy influences but the melodic passages are pure heavy metal. Infectious, vibrant and instantly memorable, Church’s smoky, haunting vocals play off the bluesy guitar tones perfectly. ‘As Fire Burns’ is just as good, with a choral hook that’ll have you coming back repeatedly. There’s an honesty about Haunt, where bewitching gloomy riffs can draw you in so entirely that you feel you already know this record, and you’ve known it for a long time. Closer ‘Fallen Star’ is a contender for my favourite track this year, so good is its melody and riffing.

‘Luminous Eyes’ is a record that instantly makes you comfortable;  drawing on the rich history of heavy metal leaves you hearing nothing original but everything good. Haunt is full of that good, from the massive melodies to the fuzzy riffing and the cool as fuck vocal styling. A tremendous introduction to a project that will hopefully keep producing material.

https://www.facebook.com/hauntthenation/

https://shadowkingdomrecords.bandcamp.com/album/luminous-eyes

https://www.shadowkingdomrecords.com/

‘Blood Feud’ is the third album from Arizonian doomsters Twingiant, and it is a rather sizeable chunk of granite riff laden groove. Following on the heels of 2014’s ‘Devil Down’, these folks are seemingly aiming to bring the whole world down about them with this new record, and Argonauta Reocrds are here to help! Out at the beginning of October, ‘Blood Feud’ is something of a pleasure to behold.

Striding out with power and intent is opener ‘Throttled’, which comes from the Conan/High on Fire axis of crushing doom and guttural roars, before inklings of psychedelic melodies seep through near the end. ‘Poison Control Party Line’ has more of an early Clutch groove about it, while vocalist Jarrod LeBlanc’s primal bellow is soaked in that southern, ‘cigarettes and whiskey’ timbre. Truly embodying the power behind each track, the vocals are my favourite part of this record. It isn’t just your average desert rock croon but gives ‘Blood Feud’ a rougher, more bloodied edge to it. ‘Shadow of South Mountain’ is one of my favourite tracks of the year.

From the heft of the rumbling ‘Re-fossilised’ to the swinging axe blows of ‘Kaishakunin’, Twingiant are more than your copycat stoner doom band. They’ve got a bit of grit, some scars and a broken smile that helps them carry the weight of those massive riffs. It is an honesty that is appealing in this world of endless genre repeats, and ‘Blood Feud’ is refreshingly rough and ready.

https://twingiant.bandcamp.com/album/blood-feud

https://www.facebook.com/twingiant/

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I feel like judging Mother Slug by their album title may be unfair, but if there isn’t some serious epic space doom lurking on this record somewhere I’ll be a little disappointed. These Australians are giving us their debut full length after some excellent EPs, and you can expect some awesome Kyuss worship to emanate from your stereos on ‘The Electric Dunes of Titan’…

God I was so right, as the titanic rumblings of the title track loom from the speakers and lonely melodies lurk within mountains of fuzz. Massive, tripped out doom is what these guys are all about, and the soulful ‘Downriver’ wields huge Josh Homme riffs amid psychedelic freakouts. There’s powerful Electric Wizard vibes on the brutal ‘Followers of the Sun’, while the howling, evocative desert rock guitar work is gloriously scorching throughout. Expect the earthy, dryness of Kyuss to merge with the slight oddness of Reverend Bizarre and the psychedelic potency of Cathedral to create something quite special.

Closing with the omnipotent gloom of ‘Cave of the Last God’, Motherslug have become as transcendent as the ghostly dunes of Titan; vast and lonely among the infinite deserts of space. This is a fantastic record, a place with riffs and spacetime can meet in an avalanche of glorious doom.

https://www.facebook.com/Motherslugband/

https://motherslug.bandcamp.com/album/the-electric-dunes-of-titan