Posts Tagged ‘Lucifer I’

I love doom. 2015’s doom has been in some places, magnificent. It is the most primal and emotional subgenre; the closest to the progenitor riffs of Iommi and ghostly wail of Ozzy. There has been some triumphs this year in this genre, and here are the Killchain top 10. It contains some of the same albums I put forward to the Sleeping Shaman as my top ten, but some have changed.

10. Uncle Acid and the Deadbeats – The Night Creeper: A last minute addition to the list, where the Deadbeats swoop in to amaze with their groove ridden psychedelic doom. The journey continues deeper into the bowels of doom

9. A Dream of Poe – An Infinity Emerged: An album designed to wring pure emotion from you in every way. Crooning vocals, mourning riffs and a creaking atmosphere builds into one of the gloomiest pieces of gothic doom art this year. Affecting in the most primal way.

8. Thorr-Axe – The Gates of Winter: Another masterpiece of riffing, a crushing swing of the doom sword to smote the enemies below. Thorr-Axe blend some hardcore tinges into their swelling post metal/doom mix, and the result is a heady album of bludgeon and glacial power.

7. Paradise Lost – A Plague Within: Yorkshire doom masters bring the heavy, the gothic melancholy, and just about everything else in their arsenal to create a monolithic slab of deathly doom majesty. Another prime example of how the golden oldies never fail to amaze or deliver.

6. Pentagram – Curious Volume: A triumphant return for one of doom’s legends. ‘Curious Volume’ sees Pentagram regain their place as one of doom’s figureheads with swaggering groove, achingly heavy riffs and Liebling’s soulful croon sounding better than it has in years. Don’t close the casket on them yet…

5. Shrine of the Serpent – Shrine of the Serpent: A pure evilness abounds in this three track crushing death/doom from these US newcomers. This is the sound of misery crushing you into nothing, with a fetid stench of death about every riff and every vomited incantation. Doomed to destroy

4. High on Fire: Luminiferous: RIFFS! That’s pretty much the whole modus operandi for High on Fire, and ‘Luminiferous’ delivers a metric fuckton of riffs. Matt Pike and co have always possessed this primal power in voice, riff and drum, and ‘Luminiferous’ may be their most definite statement yet.

3. Lucifer – Lucifer I: The sultry, smoky occult doom stylings of Lucifer bring me back to the feelings of joy last year when I encountered Mount Salem for the first time. The groove and the simple beauty of each riff is hypnotic, while the vocal hooks keep you from wandering. Stunning.

2. Windhand – Grief’s Infernal Flower: The band you rely on to fill Electric Wizard’s space when they’re off watching horror movies and smoking weed. Windhand have an uncanny knack of writing these dense, monolithic riffs that rumble through your very bones. Psychedelic groove that drags you to the void

1.Undersmile – Anhedonia: The scorching primal beauty of ‘Anhedonia’ is clear for everyone to see. Balancing heft with glacial beauty, melancholy with crushing power of riff, Undersmile’s 2015 effort was one of the finest records in any genre I got this year.

Lucifer rose from the ashes of The Oath, the highly touted and very short lived doom quartet featuring Lucifer vocalist Johanna Sadonis, whose rich tones enrich every riff on ‘Lucifer I’. Said riffs are being wrought by the mighty Gaz Jennings, formerly of Cathedral so you can imagine just what lies beneath…

‘Lucifer I’ is a dense, smoky 70s doom record, infected with soulful blues at every turn. While avoiding the whole ‘flutes and whistles’ occult doom that has pervaded the scene recently, Lucifer have that unmistakable Sabbathian vibe. Take the dreamy ‘Purple Pyramid’, where a fat groove is set on all sides by the beautiful pitch perfect vocals. Sadonis is a great singer, and she brings a scratchy ethereality to each song, particularly the steamroller of ‘Morning Star’.

The riffs have this vintage swagger about them that just hits the nail on the head. Be it the eerie rumblings of ‘Sabbath’, or the prog stylings of the shape shifting ‘Izrael’, the guitar work is never still, always restless and seeking that next perfect riff. ‘Lucifer I’ is full of these moments where you can just close your eyes and you’re sent back in time 40 years to a smoky room in a blues club where the origins of the heavy metal were concocted. The build of ‘White Mountain’ from ghostly vocal tour de force into a galloping riff is something to behold, and it’s a fine moment in an album choc full of them.

If you are into doom, you owe it to yourself to check out Lucifer. ‘Lucifer I’ continues the path that The Oath began; a gloriously 70s doom record with hefty groove coupled with a gorgeous vocal performance. All hail Lucifer, the new kings and queens of doom