Druglord - Enter Venus (EP) (2014)

We've all been implored at some point in our lives to stop and smell the roses. And while sticking your snout into a bundle of thorny flowers might not seem like something you are anxious to do, it is the sentiment behind the saying that is most important. Every now and then, you need to slow things down and take a minute to appreciate the other side of things. No, this isn't the beginning of a long winded yarn about loving life. Instead, it is a cry to all of us who spend too much time on the fast and the furious styles, and miss out on the other side of our beloved metal genre. Druglord, a three piece band from Richmond, Virginia, already won us over with their debut release in 2012. But what "Motherfucker Rising" best was remind us that simplicity in music can be refreshing, and that down tempo songs can be just as mesmerizing. With their sophomore album, a four track balloon ride titled "Enter Venus," they give you every reason, and every opportunity to slow down, and smell the fucking roses.

It's low and fuzzy, early and often on Grievous Heaving, which should come as no surprise to anyone who has been witness to this band in the past. But don't mistake that choice of words to mean mindless or inept. What you hear below the peeled back layers of distortion and rattling speaker cages is a down tempo groove and howl that brings to mind the early days of doom metal, before the posturing and preening rendered many artists incapable of basic structuring. Bass heavy, but not drowned in it, as is evident in the masterful solo in the latter stages of the track. Segments like the opening to Feast On The Eye are good uses of extended track times, the slow cascading of guitars and bass pouring from your speakers like molasses or maple sap from the north eastern United States. No rush to get from point A to point B; yet somehow, they never overstay their welcome on any individual track. Perhaps it comes down to the way the tracks are built. Here, you have a main guitar groove to build off of, but the airy, spacey vocals provide a respite from the lower register assault. It is a combination that may, on paper, not seem dynamic; but in reality, it hits just right.

But there is bound to be a track that stands out above the rest. However subjective it may be, the title track, Enter Venus, is as good as Druglord as ever sounded. The depth of sound they've found here is incredible, but it is the manner in which they deliver this piece that resonates long afterwards. Hazy distortion rings through, punctuated with minimal drum interjections. But unlike the other tracks on the album, this one features a show of restraint that elevates everything that much further. Sandwiched between smoky verse passages lies a quiet, cleanly played interlude that does wonders. That small bit of contrast goes a long way, highlighting another deftly played solo before the final countdown. If there is anything to note about Let Us Bleed, other than it's obvious placement as the closer to any set list, it is the noticeable strain that comes from the vocal track, something that might actually be a major plus. But while you are busy taking in all of the subtle nuances the song has to offer, the clock seems to be ticking rapidly away. Try as you might to slow down time to enjoy it longer, the end draws near far sooner than you would expect, hastened by great instrumental work on all fronts.

Some bands can pull off fuzzy and clouded. Others can't. Druglord falls squarely into the former, making it a trademark of sorts on their first two releases. While others bands, some who inhabit the same genre, strive for pitch correction, tuned perfection, and a myriad of digital "fixes" along the way, this three piece is giving you something different. Guitar, bass, drums and vocals, pieced together with bits of string and wire, yet holding stronger than any overtouched, big budget mix could ever hope to. They get their sound, their way, and hand it to you on a silver platter; or a green and milky white one, if you are vinyl inclined. In a way, this album is a throwback to a simpler time, when it was about the writing and the music, instead of the overdubs, drum loops, and studio wizardry. But I digress; "Enter Venus" is a mindtrip through and through, sometimes bending you just like a set of guitar strings under heavy fingers. If you have the ability to, for once, sit back and take it slow, this is an album that might strike a familiar chord.

9/10

Bandcamp - http://druglord.bandcamp.com/
Facebook - https://www.facebook.com/pages/Druglord/168553533162240

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Mammoth Storm - Rite Of Ascension (EP) (2014)

What can you do when your main band, the project to which you are attached, have a record deal with, tour with, and lead a legion of fans with, is put on hold? It would be a crime for the members of Draconian to sit around, playing Facebook games and reading up on their British literature while new vocalist Heike Langhans arranges her affairs, and relocates to Sweden from her home in South Africa. It has been a long and arduous process, one that has taken far longer than any band could anticipate. But in the meantime, there are other things to do, including a handful of side projects that have arisen. Guitarist Daniel Arvidsson has taken the giant leap away from the Draconian sound on his project, the aptly titled Mammoth Storm, a sludgy stoner metal band which features Arvidsson himself on bass and vocalist. With one demo released, and nothing but time to kill, the three piece from Sweden has prepped and released their newest disc, the two track EP titled "Rite Of Ascension," a murky, distorted collection of riffs, screams, and beats unlike anything his bandmates would have expected.

For fans of Draconian, it is important to note at the onset that this isn't that band; in fact, it isn't even in the same ballpark. The heavy, droning riffs of the title track are down tempo and groove laden, bolstered by a booming drum kit that, while restrained, is not short on powerful blasts. Arvidsson's voice fits the bill to a T, imperfect in tone, but perfect in his handling of the backing instrumental. The slow stomp of guitar, bass, and drum can wear you down, but when the insertion of a melodic riff comes along, it adds a different dimension to the track. But don't be misled; this is an oily, black tar coated piece of work that is rooted more in it's weight than its versatility. The second half of the EP, the nearly thirteen minute Obscure Horizon has a haunting, horror soundtrack vibe to the early movements, transporting you to a dungeon from which you are unlikely to escape. The rattling distortion is enough to loosen the snow on your roof and free the icicles from their perch. But in between dense chugging and reverberating passages, there is a vast void where little else is happening. Vocals, small tempo shifts, and barely detectable tone changes are left to pad out a full seven minutes here.

Branching out of your comfort zone is always encouraged; some of the best bands you will find today began as side projects. Arvidsson has certainly done that here, leaving the sound and strength of Draconian for another day, while harnessing something else entirely for this project. Mammoth Storm isn't the opposite end of the spectrum (What would that be, exactly? Yanni?) but it is a great departure from the driving riffs and dual vocals of one of the most popular death/doom titans on the planet. But for a stoner doom record, "Rite Of Ascension" succeeds in a number of ways. It manages to make the most of a small sample size, giving you a pretty good idea of what a full length album would amount to. If there is anything to be shaky on here it remains the intimidatingly long track lengths, as the entire duration is spent playing off of one main riff and drum beat. This may not be a detriment to the enjoyment of this album or any other, but it something that must be considered when dealing with the evolution and growth of this band. Two tracks, topping nearly twenty five can't be the pattern to follow from here.

7.5/10

Bandcamp - http://mammothstorm.bandcamp.com/
Facebook - https://www.facebook.com/MammothStorm

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Queen Elephantine - Scarab (2014)

Guilty. We're guilty of it just as much as any other party. Genre tagging, as we have ranted and raved about numerous times before, is a cancer on the music world. It's one part opinion and one part bullshit; words used to essentially group bands together by the slimmest of criteria. As a result, bands good and bad fall under the same umbrella, which is a disservice to the former, and an undue boost to the latter. It lets the genres get diluted by bands who have no place being there. When we were first introduced to drone metal some years ago, many of the bands we experimented with had a lot in common. Minimalist approach to music, with few notes per minute. Long tracks, often beginning and ending at the same point with little in between. It seemed boring, if not hard to understand. Unfortunately, those experiences sullied us to new ones, often panning albums marked with the scarlet letter of drone. But in 2014, we realized it was time to put that aside and open those doors again. Queen Elephantine, a band split between New York, Providence and Hong Kong, turned the knob. And for the foreseeable future, "Scarab" left the door wide open.

If "Veil" became the new poster child for the drone movement, it would see popularity skyrocket as a result. It brings something to the table that was sorely lacking, and that is a sense of style. Whether it is in the light tapping of drums or the echoing distortion, or the wailing cry of the vocals, something stands out to almost every set of ears without wearing thin on the listener's sense of forward progress. It takes a minimalist approach to doom that, somehow, resonates. Even as the counter resets and "Crone" starts, it feels like parts of the same whole. Yes, there is a main body to the track; but there is also a collection of smaller pieces dwelling just below the surface. In the left channel a light repeated plucking of strings. In the right channel, a similar sound, but distant and clearer. It is an eerie calm, only made moreso by the brief vocal passage. As a building voice breathes the line, "It builds up," a head to toe shiver is all you can feel. What follows is an exercise in dark psychedelia, hazy and cloudy as it may be, that may be the reason for, or ending to, an herbal remedy. Intoxicated or not, the alternating moments of chaos and calm are sure to bring about some sort of internal awakening.

Much like its namesake, "Snake" slithers back and forth. The low roar of bass and guitar form the backdrop of the high cry of a guitar. It isn't exactly black on white in contrast, but it does boast a depth of sound that seems almost impossible for a track that bares any resemblance to drone metal. But it is also on this song, more than the others, that the vocals stake a claim to being a major player in the grand scheme. Psychedelic, yes, but always akin to that of the blues in both their sway and emotional touch. Not to be lost, mind you, is the detailed pieces of melodic guitar that buzz and hum through the frame, backed by a sea of howling reverb. The last track, though not the longest, has, arguably, the longest lasting appeal. Beginning with a building vocal chant over scant noise and pops, it takes the album to a more pronounced place, even if things haven't erupted into a full on thrash. With each pluck of a guitar or bass string, another layer is added to the resonating sound, a cloud of ambient noise that is just enough to be heard, without overwhelming the lead. It is more than noise, though; that hum is layer after layer of notes played together and compacted.

It's hard to separate labels that we, as fans or critics, give to music with those the band give to themselves. If everything called drone or experiemental sounded the same, genre tagging might helpful in attracting or repelling listeners. But with Queen Elephantine, the tag of drone doesn't quite do their process justice. This is minimalist in the same way that many drone bands operate; one note, ringing for minutes at a time, no progression for sound or direction. There are melodies here, grooves and loops to be found. More importantly, you get more pounds per square inch, a crushing piece of haunting background music that could either be a release or give you nightmares. It stirs a color spectrum, like those than Windows Media Player uses; a color visualization within your mind that is only reinforced by the highs and lows of the album at large. Somewhere along the way, no one ever told these musicians that drone music was supped to be one dimensional or boring. "Scarab" is not of the above. And we can all be happy for that.

8/10

Bandcamp - http://queenelephantine.bandcamp.com/
Facebook - https://www.facebook.com/queenelephantine

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Of Solitude And Solemn - Starlight's Guide (EP) (2014)

New year, but some things stay the same. The familiar pink hue of "Starlight's Guide" is a reminder of what the last year has brought to the forefront. UK multi-instrumentalist Joe Hawker surprised many listeners along the way with his combination of post rock, doom metal, and sparkling symphonic elements, including an office full of egotistical, elitist metalheads. His musical skill is matched only by his conceptual acumen, his artwork becoming as easily recognizable as his sound, something that may be an under appreciated talent. So as his new three song EP rushes through the tubes of the internet, pink tinted cover and all, you can be sure you'll have something familiar but new, something edgy but solid. Hawker wouldn't want it any other way. Originally conceived as part of a split with Courtsleet, you have the chance to hear it on it's own two feet. The follow up to 2013's brilliantly conceived self titled debut, "Starlight's Guide" is every bit as breathtaking as it's predecessor, but with a notable layer of fresh air to bring it all together.

If "Illuminance" has any one flaw, and it could be only one, it is the layering in the mix, making much of the instrumentation sound distant. As the track builds to a peak, however, Hawker finds his home right in the meaty part of the spectrum, bringing together the melodic guitar tones he so thoughtfully crafts with a pounding drum kit and angst ridden screams. He succeeds here where others have failed, using his deep talent pool to hide the lack of true professional production. The triumphant yet dark nature of the melody that surrounds the six minute mark is rock solid and stands out from the track on the whole. There is no shortage of creativity here, as Hawker uses a bevy of synthesizers to bring life and energy to his main theme. It is never a choice between styles, but a fusion of all things, as you get on "Guiding Light." His focus is on flowing the pieces together, instead of making oddly shaped passages collide. As the track moves from light to dark, soft to heavy, there is no break between; they become one. His screams are not the star, but a supporting player in the grand scope. Much like it's predecessor, the signature moment here is one of wonder and crushing blows, centered around the seven minute point. And although it stands at half the length of it's two album mates, "Memories In The Mist" is as compelling and enthralling as anything you could want, solidifying itself as, arguably, the finest moment in Hawker's growing career.

It seems odd to say that we were, a short six months ago, having the very same feelings about another release from Hawker. He has a way of stirring up familiar emotions without seeming over done or contrived. For that reason, "Starlight's Guide" is sure to please anyone who has ever enjoyed anything the man has done to date. This is exactly what we all know him to be capable of; deep, rich symphonic melodies backing a plodding, deliberate set of riffs and beats. But while he has carried over everything you know and love from the Of Solitude And Solemn name, the one concern from his earlier release has also carried over. The production values have not improved, which could be expected in such a short time since his debut. It's both good and bad, as has been noted before, because he achieves so much with so little financial backing and pressure. But that must be an engineer or studio nearby that is ready to take this sound to the next level of crispness and clarity. Instead of waiting for the next batch of 200 free downloads on his Bandcamp page, maybe it's time we click the "Buy Now" button and get a few dollars, American or otherwise, flowing his way. Joe Hawker is so close. "Starlight's Guide" is the proof.

8.5/10

Bandcamp - http://ofsolitudeandsolemn.bandcamp.com/
Facebook - http://www.facebook.com/pages/Of-Solitude-and-Solemn/129188580594839

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My Dark Lake - Tenebris Icon (EP) (2013)

Scour the internet for minutes, hours, even days. Without the aid of a translator (Sorry Bing and Google, we need a real translator here), there is virtually no information to be found on the mysterious My Dark Lake, a band from Ukraine that seems to specialize in avant ambient music, and symphonic inspired doom metal. That is as far as the trail goes. The web label hosted their latest work, an EP titled "Tenebris Icon," offers little more.But where their is curiosity, there must also be discovery. So armed with next to nothing, you hit play on what would be an experience, if nothing else, into the current state of metal in Ukraine. But what you have, hidden behind a purple tinged album cover and a bizarre mix of fonts is something that will, at minimum, make you tilt your head slightly sideways, squint your eyes and let out an intrigued "Huh." The three tracks that make up "Tenebris Icon" might not change the world today, but they might provide the framework for something far bigger in the very near future.

The album's title track, positioned right at the top, is an exercise in ambient drone, with very few real ties to the metal community. It accomplishes it's goal, though, through the use of haunting tones and sounds, providing what would be a chilling soundtrack to a haunted house or graveyard scene. It brings with it a gust of cold air, raising the goosebumps on your arm. But it is the second track, "Fantasia No. 1 In E Minor" that opens a door to what could be. The sweeping orchestral melody is beautifully orchestrated. When joined by a thick layer of drum and distortion, it is breathtaking. For as short as the track is, falling just short of three minutes, it is larger than life. It is one key element away from being a conversation piece. But the lack of that puzzle piece does not take away from what you have in front of you, nor does it distract from the final track, the funeral doom version of "Cold Slumber," a track that appeared on a previous album of the same name. With the tempo down to a crawl, and the ambient energy turned up to high, the execution here is marvelous. It strikes a familiar chord, the one that connects intensity and beauty at the hand. The production work, clear as can be, only adds to that union, allowing each piece to breathe while still finding symbiosis.

There will be those of you who would scoff at the notion that this album is truly metal. My own cohorts might be included in that. But while it might not be a full on metal album, doom or otherwise, there are glimpses of genius that give hope for the future. With the addition of a strong vocal presence to these three tracks, be it a growling male or soaring female, you would have a trio of songs that border on greatness. Simplistic as they seem, their symphonic roots take them well beyond the structure of most doom metal. And their layering and depth push them beyond the limits of ambient drone metal. So why not push it further? Why not take that giant leap into something outside their comfort zone, and put all of those pieces together? The result could be one of the most cold, spine shaking mergers of styles we've heard in quite some time. Get word out to Ukraine; My Dark Lake needs to take the leap, make a splash, and start the defining of a new wave of symphonic doom. 

8/10

Website - http://vk.com/mydarklake
Bandcamp - http://gv-sound.bandcamp.com/album/tenebris-icon
Facebook - https://www.facebook.com/GVSound

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The Lion's Daughter & Indian Blanket - A Black Sea (2013)

Let's face the facts; rarely is a collaborative effort really a collaboration. It ends up being dominated by one part or another, and thus lessons the appeal of the other. There is a fabled middle ground that exists, only in legend, where both sides contribute equally, and do something special, something outside of both of their respective spheres of influence. Both The Lion's Daughter and Indian Blanket are superpowers in their own right, doing what they do up to the standard of sheer excellence. But how could the two of them working together possibly work out for the betterment of both? The former, a St. Louis titan of sludge and doom, once shared space on the same 12" with the mighty Fister. The other, who boast in their lineup both a violinist, a banjo, and a mandolin, play the kind of folk rock that makes people who lack musical talent very jealous. But what would their crazy lovechild sound like? A few months, a press release, and a limited vinyl pressing later, "A Black Sea" came into existence, and quite possibly changed the way we'll view both bands.

The immediately influence of Indian Blanket is both a bold decision and a brilliant one, as "Wolves" begins with a solemn melody of string and voice, over the tapping of drums. But as waves of distortion begin wash over you, the track morphs into something else entirely. This mixture of emotion and rage comes to a head with the first gritty scream that crashes down on your head from above. The merger complete, the bands trade blows, light and heavy, without one ever dominating the other. In fact, their balance is frightening, in that it feels as if the two were tailor made for one another. Strings meet heavy chugging riffs early and often on "Gods Much More Terrible," though the bending of guitar strings and intense screams may have tilted the scales in one way or another. But with interjections, like that around the three minute mark, they create these anxious moments, waiting for the hammer to drop over the sound of a banjo. To hear the screams of The Lion's Daughter vocalist Rich Giordano collide with the sullen crooning of Indian Blanket's Joe Andert is a treat you are unlikely to top. The best call and response track on the album is "Swann," which sees both bands doing what they do best. You are soothed by streams of cleanly played strings, only to be blasted in the skull by a now well refined ball of sludge. When the two come together, you get well preserved and orchestrated chaos.

By the midway point, you have been thoroughly disheveled, and "A Song For The Devil" seeks to bring you down from that adrenaline high. With each strum of a clean guitar and Andert's soothing vocal tone, you feel yourself coming back down to Earth, ever wary of the oncoming darkness. And when the distortion returns about a minute into "Timeless Waters," it does so with a noticeable blues tinge, as if fresh from a side jam session. The song rises and falls, building to a peak of low rumbles, then coming back down. The hum and drum of the final minute, though, stands out in a big way. And in a grand oversimplification, "Sea Of Trees" quickly becomes the most straightforward track on the album, something that is sure to sound misleading at first glance. By no means is this abandoning the premise here, as both bands are present throughout. But this has the most raw appeal, hearing Giordano and company overload your speakers with crushing drums and a towering wall of guitar and bass. As if their unification was ever in doubt, "That Place" is the final shot to be fired. It begans, in earnest, as a soft acoustic ballad. Andert sings softly over clean guitars, with little sign of what is to come. But as the sound builds, you are eventually set off with a wave of atmospheric guitar, cut through with darts of violin.

It would be hard to imagine the end result of a heavy sludge band collaborating with a folk rock band. We, as humans, just don't have the mental capacity to piece that information together. You can wrestle with it, struggle with it, or even meditate on it; no help whatsoever. Instead, it would be worth your time to simply find the album, pick up a copy, and hit "play." It's exactly what you expected it to be, only completely different. It makes no sense whatsoever, and yet, somehow, makes all the sense in the world. This album, this "A Black Sea," is a musical contradiction of itself, in a way that no other album has ever been for us. It is a joint effort between two St. Louis powers that flows right down the middle of their respectively sound paths. I don't know how these two artists from opposite sides of the musical spectrum came together, but we may never hear something like this again. Is this album a softening of the beast that is The Lion's Daughter, or a handful of dirt rubbed into the face of Indian Blanket? Yes. Yes, it is.

9.5/10

The Lion's Daughter
Facebook - https://www.facebook.com/thelionsdaughter
Bandcamp - http://thelionsdaughter.bandcamp.com/

Indian Blanket
Facebook - https://www.facebook.com/indianblanketfolk
Bandcamp - http://indianblanket.bandcamp.com/

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The Death Of Her Money - White Light (EP) (2013)

We've all heard bands that hide behind solo after solo, in hopes that their inadequacy in songwriting will be masked by speed and whammy bar prominence. There will always be a place in the music hierarchy for the purveyors of the tasty lick, but their need is waning. The Death Of Her Money, a three piece from Wales, is a part of the new school of heavy music, more reliant on groove and distortion than bending strings and leather pants. They've already been recognized for their competency, having been recognized by the renowned Rocksound magazine for their previous effort in 2008. But they have proven to be more than just a flash in the pan, releasing another successful album in 2011, and sharing the stage with numerous top acts, including Pelican. But with the new school, no wave, music coming to prominence, they can't be content to rest on past successes; it is time to move forward and craft the next in what might be a long and fruitful career. Their new EP, a two song offering titled "White Light" is the next logical step in a career that gets longer by the day.

Contrary to the instant gratification attitude we so often force into our music, the band takes their time warming up to the bulk of "White Light Sunshine," going a full two minutes before the first wave of crunching riffs breaks through the haze. That repeated riff, the one that forms the backbone of the entire track, may seem simplistic and safe; and perhaps it actually is. But the sheer density of it all, the weight with which in comes down on you, is enough to be a driving force. You won't find any sweeping melodies here, nor would you want to. The layers of amelodic vocals give way to coarse screams, a style that finds a symbiotic mesh with the instrumental itself. It's about as subtle as a cartoon anvil to the head, but it works. The second track, "The Bonemarrow Weight," is the same, but somehow different. It relies more heavily on a central melody, one that was all but absent before. The distortion levels are still through the roof, with each rumbling guitar and bass string vibrating the cones of your speaker of choice. But rather than a planned shift of vocal style, as before, you get a constant. The entire song is unapologetic in its directness, pushing the limits of how much bass heavy distortion any one listener can take, without ever crossing the threshold to careless.

Neoclassical talents be damned, not every album needs a stream of Wagner inspired symphonies or Van Halen-esque solos to make it deep or interesting. "White Light" is the perfect example of an album that is straightforward, somewhat predictable, and yet still compelling. The combination of chunky riffs and unlimited distortion can be a dangerous game, but when executed well, as it is here, it can be captivating. Your head starts to move in a slow nod, one that you might not have noticed, but you will have  a hard time stopping. It's an interesting dynamic between band and fan that can seldom be explained. And let's be honest; we don't need to know why our head is moving, or the scientific reasoning for why we allow it to happen. Just give us a deliberate beat, a set of driving riffs, and a scream that coats it like a thin layer of sludge, and let our bodies react as they may. In the future, some time down the musical timeline, every band might need a flurry of solos to be considered good or new. But here, in 2013, The Death Of Her Money don't need bells and whistles to get our respect.

8/10

Bandcamp - https://thedeathofhermoney.bandcamp.com/
Facebook - https://www.facebook.com/pages/The-Death-Of-Her-Money/163632863667642

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Wall - Wall (2013)

In our neverending quest to hear all, see all, and digest all of the music world, we have to look for hints that something might be right for our taste. Maybe it's the artwork; maybe the band pedigree. But sometimes, it's just in the way a band views themselves. Those sometimes nonsensical, over thought, over hyped tag lines that Facebook and Bandcamp have made so popular might not be as useless as once thought. One trip to the Bandcamp page for Germany's Wall, and you will see the word "pop" listed not once, but twice. In any other situation, that might lead you to dive for the back button, or at least avert your eyes from what you might have stumbled on. But the words before and after it are just as telling. Can it be doom and pop at the same time? Heavy pop? These seem to be contradiction of the worst kind, either trying to bait and switch, or just bait and laugh. But on their self titled album, Wall lure you in with polar opposites, then make you believe they never really were opposites in the first place.

Rarely does a spoken word segment fit as well as the opening of "Beyond," a venture into the word heavy leading in to the first opus. There is an accessibility to the vocal lines that might harness that pop influence. The backing instrumental, though, keeps the entire organization beautifully dense. Having filled out the low end of the sonic spectrum, the band can bend and sway away from it, incorporating some deft melodic infusions over top of then thunderous sound of bass and drums. It isn't that the song is so much controlled by the rhythm section, as it is spectacularly dominated by it. This becomes a recurring theme, and a telling one at that. Even as "Shrink" commences, your sub woofers will shake and vibrate along to the chugging riffs, putting your home in dangerous territory. But for every low action, there is a melodic reaction, both through guitar work and, mainly, vocal dynamics. It's as if the band and the vocals are two separate entities, brought together by someone on the lunatic fringe. But somehow, despite tremendous differences, they fit like puzzle pieces.

That tight fit, as it were, is pushed further with each track, a hazy bliss that fills out the entire run time of "No Name." The breathy quality of the lead vocal is not lost here, adopting what would be labeled a stoner tone, for better or worse. On the whole, it is an exhibition in down tuned, down tempo efficiency. It's simplicity makes it enjoyable; it's attention to detail makes it hypnotic. It seems like a strong word to use in this case, but as you transition to "Ghosts," it feels all the more right. They've mastered the wall of sound technique, each set of notes moving at you in synchronized waves, every cymbal riding along at the top of it all. But it is the slide up the neck of the guitar, coming around the five and a half minute mark, that asserts this as a distinctly doom foray. By allowing a full eight minutes for this track to expand and grow, the band have accepted something very important; this music is organic, and needs to be completely free to wander and meander to it's own end. Conversely, "Wasteland" adopts a post grunge atmosphere in the instrumental sense, without losing that sensible, undeniable hook of the vocal lines.

The one constant throughout the album, including the final pair of songs, is that alarmingly dedicated bass tone. With each pluck and strum of the strings, every part of your chosen speaker system is forced to give in and just take the abuse. "Generic" might not be the most accessible, closest to pop song that you'll find on the album, but it achieves a similarity under the guise of a seasoned melodic doom anthem. The interludes that come in, separating vocal inputs, are tighter than before, including some clean, albeit brief, solo sections. The last note, that rattling, fading chord, might bring more than a few fists into the air. But it is the closing track, "Cheater" that will leave you feeling the most satisfied, and yet the most puzzled all at once. Here you have a pop song in form and function, sound and delivery, unlike anything the rest of the album has to offer. It isn't a surprise by this point, but it is far more straightforward than you could have predicted; at least in the opening. But it isn't all sunshine and candy, as there is plenty of feedback and distortion left in the cage for the latter half. And that is exactly what you get, a second half full to bursting with massive riffs and pound drums.

It's no secret that bands use buzz words and modern cliches to pique your interest; it's one of the oldest marketing tools known to the music industry. Wall have chosen a wide variety of tags and labels for themselves, but none of them are a cash grab or even remotely untrue. Their grasp on stoner doom metal is a tight one, and the musicianship delivered on this release is all the proof you could ever need. Not only do they live up to the metal side of the equation, but they somehow stay true to the doom pop genre that, until now, few of us knew truly existed. Don't over think that; this isn't the Jonas Brothers, back from hiatus with a new attitude. This is a metal band that happens to also have a keen ear for melody and dream inducing arrangements. The music is like the grayest of blue skies, a cloud that is both fluffy and ominous. Come to think of it, that sound clip may be right. There must be something wrong with our gravitational pull; this is way heavier than I remember.

Bandcamp - http://wall.bandcamp.com/
Facebook - https://www.facebook.com/WALLDOOMPOP

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Kato - Buried With The Rain (EP) (2013)

Conflict is good for all of us; a difference of sound or opinion can lead us to enlightenment in the most profound of ways. Not religious, of course, but musical and intellectual. Hidden within the latest three tracks released by North Carolina outfit Kato is a growing battle between doom metal and hardcore, sludge and screamo. For some, that power struggle might be enough to simply pass on an album for fear of being disappointed. But the adventurous musical scholar in all of us wants to hear what this war sounds like. What you get, if you're brave enough to hit play, is the transformation and assimilation of a band who could choose to stay on either side of the line, but instead dance all over it. Their back and forth nature pushes and pulls you in all directions at the same time, passing you back and forth from slow to fast, soft to heavy, singing to screaming. And by the time the three songs on "Buried With The Rain" are finished you might not remember which way is up, and how to get home.

As the first notes resonate, "Yet His Shadow Still Looms" rumbles into action, but not with the reckless abandon you may have expected. A chorus of solemnly strummed clean chords sets a mood that would be hard to replicate. Within the structure of the track, the clear divisions become the most important decision, not allowing clean and heavy co-mingle or blend. Instead, they are kept compartmentalized, even separating the lone screamed vocal passage from the rest. There is an entirely different band at play on "And All Of The Rats Gather," or so it would seem. After a lengthy sampled spoken word intro, the band erupts into a frenzy, but gone are the subtle devastating distortion and beats; in their place, a more straightforward facsimile, one that delves deeper into the modern punk or hardcore scene. There are elements of post-genres at play, some of which help to carry the main riff deep into the track. But it is the vocals that will be the victory or defeat here, as their grating, rough around the edges sound is sure to divide. The transformation now complete, "Dust Of Earth" is a leap away from where the album began, once again opting for an up front assault. The second half of the track imparts a hazy guitar riff that catches on ludicrously quickly, cementing the final two minutes or so as a live show dream.

It's truly amazing how different three songs can be, all contained within the same album title. Kato don't so much walk the fine line between metal and hardcore, as they do stomp all over it. If you only heard the first track, you would think this is the new horror doom band, akin to Fister. If you only heard the second track, you could be fooled into thinking you've discovered the next hardcore punk band. The third track, the most balanced of the three, would lead you to believe you've found a different band entirely. Individually, they would all make you lean one way or another; together, they are a bumpy ride. How they run that gauntlet is beyond me, but they do it with great ease and grace. The only issue, when all is said and the last notes have screeched away, is that you haven't been given a clear identity to latch on to. Granted, that isn't a damning accusation as much as it is a stray observation, but charged with the task of describing an up and coming American metal band, it makes that task all the more difficult. To put it simply, "Buried With The Rain" is heavy. And that's all you need to know.

7.5/10

Bandcamp - http://kat0.bandcamp.com/
Facebook - https://www.facebook.com/katoNCSC

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Apathy - Beneath The Ashen Sky (2013)

"Viktor Jonas isn't a rock star. He is a musician. With every strum of the strings, press of a button, touch of a key, or twist of a knob, he is giving of himself for your enjoyment. And "Ghost Light" is the man himself, written into musical form." That summary first appeared on our site on August 15, 2012. Having just finished a lengthy review of the then new Apathy album, "Ghost Light," we found ourselves cutting to the core of the man behind the music. Some things have changed since then, but many more have stayed exactly the same. Viktor Jonas may never be on the cover of Metal Hammer or Revolver. That is probably for the best. His music speaks far louder than any cover story or expose ever could. And the return of Apathy, only a year later, is a blessing for the death/doom genre. He is still in control of all things instrumental, from guitar to bass, drums to keys; that will never change. But he is joined by a new vocalist, and a new set of songs that embody the man himself. That is what makes "Beneath The Ashen Sky" a captivating listen from beginning to end.

Despite thinking we knew what to expect, Jonas outdoes himself early in "Leper Tides;" his drum programming has returned more powerful than before, without losing any of the punch the kick drum provides. But all of the force of the drums would be wasted without an equally commanding guitar lead, something he seems to supply endlessly. Somehow, Jonas finds a perfect harmony between all of the instrumental pieces, a tricky process that few truly succeed at. The vocal component suits the mix well, as Philip Grüning screams his way over a sturdy foundation. That analogy, the one of the building, rings true over the course of these nine songs, each track adding a new floor. On "The Burial Ground," each drum beat pounds nails and rivets into place, a series of double kicks mechanizing the entire process. But it isn't all brute force; finesse plays a key role here, as Jonas crafts backing melodies and deep soundscapes. Each layer must protect the one above and below, so their timing and balance is important, if not crucial. One misstep, whether it be in the all out aggressive section, or the smooth melodic portion, could throw the entire track off the rails. Luckily, there is no such stumble, seamlessly flowing into "Typhoon." The dynamics are the same, offsetting heavy with soft, but there is no filler here; the bass work alone would be enough to make the track stand out, not to mention the strong performance from Grüning.

As you get into the mid section of the album, there is no let down to be found. "Fear Me" embodies it's title, with Grüning's screams becoming even more chilling. The clarity here is especially impressive, with each fragment of the main riff shining through clearly and crisply. That lead is one of the more catchy riffs on the album, an incredible feat given the driving tempo and harshness of the lead vocal. This is the most pure form of death/doom you'll find, borrowing heavily from both. But like the other titans of the genre, Jonas is not content to fuse those two alone; his use of melodic elements adds another dimension. To this point, the lyrical content has forged it's own path, but on "Murder Sun," the music and lyrics come together to form an unbreakable tie. Under the hammer and anvil of Jonas, the drums pound away at your very core, all the while Grüning rains down solar charged words of disappointment and hate. Having grown tired of humanities failings, the sun becomes a terror. The lyrics speak for the music, and the music elevates the lyrics. Together, they form one of the strongest songs on the album, one that connects directly to "Amongst The Dead." The imagery here is staggering, with each screaming verse painting a bleak picture of walking through a sea of corpses, echoed by the devastating instrumental.

When the pace slows down, albeit seldom, Jonas can deliver an even bigger blow. It's in times like these that it becomes hard to believe the drums are programmed. The depth of sound he has crafted in this computer driven kit is astounding, from kicks to snares, toms to cymbals. His work on each individual piece makes the structure stand so tall, never wavering, never fearing that it could all collapse under the weight. Instead, it grows stronger with each movement, the bass and drums anchoring the entire operation. It allows Grüning to reach deep and summon every ounce of hate and rage. The reward? A two minute interlude that shows Jonas at his musical best. As dynamic as he is as a multi-instrumentalist, it is the quiet, melodic moments that best showcase those abilities. It lets his creativity shine through in ways the metal genre doesn't usually embrace. This is the ultimate show of vision for Jonas, who calmly exits his solo piece, "Luna," and forges ahead into the last track, "Endgame." once again, the transition means everything, as he flows from one to the next. No jump, no skip, just a smooth bridging of the gap from solemn to pained. It also becomes the home for some of his most subtly beautiful instrumental work, captured so delicately in the lead and drum backing.

It's hard to throw the word genius around. There will be backlash, questioning, even ridicule. But what Viktor Jonas has shown, release after release, album after album, is that he is playing on a far different level than everyone else. He is a multi-million dollar corporation, erecting a skyscraper with the help of plans, machinery, and state of the art equipment; everyone else is back in Amish country, raising a barn. That isn't a knock on other bands who dwell in the same genre as Jonas, and by no means is it meant to tear anyone down. But after hearing what this one man puts together, it's hard to believe there are even bands in the same stratosphere. But luckily, he isn't alone; Grüning has written and delivered a performance of his own, one that completes the scope of the album. One without the other might not stand as tall, or even as firmly. But together, they are undeniable in their excellence. And while many have declared the death/doom genre dead, year after year, it's still alive and well. Apathy may have just erected a new headquarters, "Beneath The Ashen Sky."

9.5/10

Bandcamp - http://vjonas.bandcamp.com/
Facebook - https://www.facebook.com/pages/Apathy/116709615006241

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Curse The Son - Psychache (EP) (2013)

Much in the way that the hair bands of the 80's and 90's were pigeonholed and stereotyped, so are the stoner doom bands of the new millennium. The difference, of course, being that the big hair, lipstick, and fishnets stockings worn by those oft dismissed bands of yesteryear managed to disqualify them from any conversation about true talent and foresight. Things have changed, albeit in small ways. Everyone thinks they know what stoner metal is all about, and we judge it by the tag alone. but much like the other blooming genres, there are many intricacies that fall under that same umbrella. Curse The Son, a three piece band from Hamden, Connecticut, are all about the small things. Whether it be there obvious influences, their ominous artwork, or just the lues infused riffs and vocals that put onto recorded media, they are doing things slightly different from their contemporaries. And, as a result, they have recorded one of the best albums of the year, with "Psychache."

There is no hiding a riff this thick, as guitarist Ron Vanacore makes known very early on in "Goodbye Henry Anslinger." How they manage to bring out the inner melody in an instrumental so down tuned is anybody's guess, but they do it beyond expectation. It is the vocals, also provided by Vanacore, that catch you completely off guard. His voice is unlike any you've heard recently, a melodic cry that seems contrary to the distortion that it accompanies. The two come together brilliantly, setting the bar high for the rest of the album. Thankfully, there is no letdown to be found here or anywhere else. rather than hide or mask their love of all things stoner metal, they display it openly on tracks like "Spider Stole The Weed." This is showcase piece for the rhythm section, with bassist Cheech Weeden and drummer Michael Petrucci further bolstering the low end. As they bring the sound wave down to new lows, they also bring the tempo down with it. But it isn't hard to pick out the noticeable and just as easily repeated groove. That theme, the undeniable groove, permeates the entire disc; forcefully at first, more subtly on songs like "Psychache." And despite being far more aggressive, it leaves so much for your mind to piece together. The last thirty seconds alone could be on mental repeat for days.

In a daring change of pace, "Valium For?" is a different kind of interlude track, one that builds from whisper quite riffs to a blasting mountain of guitars, bass and drums, if only for a second, before fading back into the silence from whence it came. But when your haunted house goes up a few days from now, it is "Somatizator" that will be your theme song. It embodies something eerie and sinister, something counteracted by Vanacore's signature voice. But when the entire thing spins to a halt halfway through, it wouldn't be far fetched to see an axe wielding murdered appear from the smokey haze. Coupled with the album cover, and this could be the song nightmares are truly made of. The lyrics indicate as much, as Vanacore croons, "this is where the nightmares go, they find you when you're all alone." No amount of bluesy, stoner doom riffing will make that chill go away. Even as it fades, and "The Negative Ion" begins, the hair on your arms won't go down quite so easily. It wouldn't be a stretch to call this final monster one of the best tracks of the year, despite it's simplicity, simply because it infects you. The buzzing distortion, the effects laden main riff, it all fills your brain with smoke.

We talk so much about the small things that take an album from good to great. Bands that can get a grasp on those minor details can easily separate themselves from those who can't; thankfully, the cream always rises to the top. Curse The Son, at first glance, or even first listen, might not seem like they have a great deal to pick apart and appreciate; one supporter on their Bandcamp page summed it up best in saying, "I saw this album months ago, I was like eeeck! and passed it up." That reaction probably isn't isolated to one person, or even ten. But if you can get by that initial snap judgment and just hit play, it will be more than worth the chance. One track in, you'll be happy you went for it. Two tracks in, and you'll be willing to throw them a couple bucks for it. By the time the album ends, you might not want to stop. Yes, "Psychache" really is that good. The cover art may look like a dvilish figure chasing you away. But hidden behind that artwork is an album that could quite possibly blow you away in a cloud of smoke.

9/10

Bandcamp - http://cursetheson.bandcamp.com
Facebook - https://www.facebook.com/cursetheson

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As Autumn Calls - Cold, Black & Everlasting (2013)

There is some degree of pride involved in listening to a band before they make their big splash. We are all metal hipsters at heart, really. Yet there is that lingering part of us that wants our favorite underground bands to make it big; whether that be for their own good, or just so we can utter those words, "I liked them before they were big." Regardless of the reason, the time always seems imminent. As Autumn Calls have done everything right thus far, enough at all to have garnered themselves more attention than their Facebook following would indicate. They are as musically diverse as any and all in the doom sphere, adding new meaning to the atmospheric front of the genre. For more than two years, we've sat and eagerly awaited their next move, a long worked on and advertised follow up to the masterpiece that was "An Autumn Departure." Finally, Canada's answer to their own pop music transgressions has arrived. Was it worth the wait? Maybe "Cold, Black & Everlasting" will be that breakthrough we've waited for; and they deserve.

It seems fitting, at least, that the piano intro to "Haunting" not only begins the album on a chilling note, but also bring to life the album artwork itself. The distortion heavy verse sections would be more than enough to pull in the most discerning listener, but it is the shifting acoustic passages that do the most powerful work. For every point, a counter point. For every grating growled vocal, a clean one. It's contrast at it's best, an exercise in melodic sensibility and creativity. Those moments aren't limited to vocals, however; they extend to the leads, as well, a single thread that runs throughout the nearly eleven minute track. It is worth noting than the time in which the album was constructed, a period of two years, has led to tremendous growth in every aspect of their sound. The clean vocals on "Black Night Silent" are moving and refined, laid ever so gently atop a whining guitar lead. This is time for the rhythm section to shine, managing to still maintain a level of heaviness, even in down tempo times. By now means is an explosion out of the question; it comes in the latter half, blasting kick drums welcoming back a deep growl. It is the start of something bigger.

"These Doleful Shades," for all twelve minutes of it's reign, is as masterful a doom track as we've heard to date. It nails down the balance between airy atmospherics and downtrodden gloom, while somehow never letting go of the melodic silver lining. It feels effortless, the transitions from woeful to blaring and intimidating. The last third of the track sees the band take a darker turn, inflicting their own brand of pain onto the listener with an onslaught of drums and unbridled screams. There is something to be said about an album following a central theme, and this album does that with tremendous subtlety and skill. Everything ties back into that artwork, with "The Light That No Longer Shines" keeping that dark wooded scene fresh in your mind. The song has a quality that is difficult to voice, one that allows you to sway with the beat, without becoming predictable and one dimensional. No one element dominates the others, as they come together in a beautiful, albeit fractured harmony. It's impact, as a result, grows in leaps and bounds. The last distorted notes fade, pulling you along with them into a momentary silence.

The final series of tracks, all rooted in the darkness, are easily lumped together. By no means does this mean a lack of diversity between them; quite to the contrary, they merely share a common theme. "Darkness Reflected" has one of the more intoxicating melodies on the album, despite finding itself in a sea of ringing distortion. But as it emerges just after the two minute mark, the band hits a chord here that rings true. Simplicity reigns supreme, delivering something digestible, repeatable, and wholly impressive. It reminds as that the shortest track on the album doesn't have to be bereft of depth. The outro alone is a defining moment. Having been reflected, the darkness is now confined in the second piece of the trilogy, returning to the beautiful melodic roots in the opening. Lightly strummed acoustic strings blend so well with the single electrified lead, something few bands have managed to truly perfect. But here the clean bolsters the distorted and vice versa. And once again, there is a dynamic shift for the closing minute, one that ignites the fire before the finale. And as the closing track, "Darkness Everlasting" is everything you would expect from a band at the cusp of greatness. They hit their most emotionally charged notes here, both in the acoustic and vocal capacities. It reinforces the personal investment made by the band, and passed along to the listener through a series of clouded guitars, drums, and lyrics.

Perhaps one day, we will be the one to determine if and when a band has "made it." It would be both an honor and a horror for you and I both. But until that day, we can merely express an opinion. We weigh the pros and cons of each and every album, looking for a way to quantify it. And As Autumn Calls have made that part of the process truly easy. Over the last 25 months, they not only grown as a band, but their music has grown in so many facets, that it is nearly impossible to list them all here. Notably, they have found themselves in rarefied air; they have reached a nirvana, of sorts, that allows them to combine clean and dirty in a way that just works. The scales are not tipped in one direction or the other; instead, they are perfectly balanced, steadfast and solid. But at no point do you know exactly what will come next. You might get a long, clean passage. Or it might be immediately dashed by a rousing break. You don't know when, or even if, it will come, but it is there, lingering, looking over your shoulder. Whatever your pleasure, you'll find it on "Cold, Black & Everlasting." And let we, the staff at Sorrow Eternal, be the first to declare that Canada's As Autumn Calls have new album; and they have made it.

9.5/10

Bandcamp - http://asautumncalls.bandcamp.com/
Facebook - https://www.facebook.com/asautumncalls

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Waves Of Mercury - As Seasons Fleet (EP) (2013)

We've often spoke to bands rising from obscurity about the difficulties of fielding a full line-up; hence why there are so many one man bands flooding through the scene. For David and Greg Richardson, a full band just never panned out the way they wanted to. After their attempts failed in 1998, they brought the their work to the studio as a duo. Greg would supply guitar and fretless bass, while David would provide the drums and vocals. With help in the lyric department from a handful of writers along the way, they would, several years later, come to be known as Waves Of Mercury. Their foundations lie in the world of doom metal, down tempo and emotionally savvy, but with an emphasis on intricate guitars and melodic harmonies. But where their creative influences begin and end is the true mystery, with some pieces of their work sounding like hero worship, while others could be signs of a lucrative future. Either way, "As Seasons Fleet" will sound familiar.

With the main component echoing the traditional doom sound of My Dying Bride, "Spring's Hollow Bloom" is a six minute evolution happening before your eyes. Instead of a one dimensional track, it changes; the harmonized vocals are the mainstay, while the music surrounding them comes and goes in waves. The shift from doom to progressively more melodic clean passages is an easy one, particularly with a intelligent bass line to pull them along. Layering is key here, with different comnbinations of guitar, bass and drums playing off of one another. Conversely, "The Dying Of Our Summer's Day" is not as successful an endeavor, with the vocals in the verse feeling forced at times. They are immediately redeemed in the chorus, thanks to the psychedelic tremor in the voice of singer David Richardson. A more high tempo second half does wonders for the track as a whole, especially when it is filled with deft musicianship.

The more emotionally written "Falling In Autumn," with lyrics by Antony Johnston, seems to be the best fit for the duo performing it. Classic sounds dominate here, cutting back and forth between driving guitar riffs and smoother ones, bringing together Blue Cheer and Sabbath at times. Greg Richardson, the man behind the strings of guitar and bass, does some of his best work here, mirroring his winding guitar melody with a bass line that moves almost as nimbly. Choosing to go for the most straightforward track on the album as the finale, "Winter, Your Fortress" is a difficult one to dissect and reconcile. You have a song that, for all intents and purposes, is a carefully crafted doom masterpiece, rivaling the current My Dying Bride catalog. However, when David Richardson unleashes his odd whisper growls, it fails to gain any traction. His normal, clean vocal suits the style, as does the spoken word he unveils here; but the other, more passive aggressive side of the coin falls short. Greg, on the other hand, thrives in this setting, creating astonishing amounts of mood with his work.

For as good as the work is by the Richardson duo, this latest output by their Waves Of Mercury project doesn't resonate the way you hope it will. The pieces are in place, but there is something missing. Perhaps it is Johnston's lyrics, which seem to pull David out of his comfort zone at times, causing a few ill advised vocal changes. Or maybe it is that the music itself too closely resembles one of the undisputed titans of the doom genre. Whatever the reason may be, there are plenty of selling points to be found on the EP; picking out which ones work or don't work for you is another story. But with this duo working together, you can be assured that you will get something well above the minimum expectation. How far above remains to be seen, of course. Much like the seasons they reference, their sound changes over time. Where it ends up after "As Seasons Fleet" will play a huge part in how bright their future can be.

7/10

Bandcamp - http://wavesofmercury.bandcamp.com/
Facebook - https://www.facebook.com/wavesofmercurymn

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