…come all ye faithful: LUCIFER’S FALL – ‘Fuck You We’re Lucifer’s Fall’ EP

On the heels of the excellent 2014 self-titled debut (review HERE) comes the second coming of Adelaide, South Australia’s Lucifer’s Fall. This time around the two-piece incarnation has mutated into an unholy, five-headed beast of a band and the results could not be any more impressive. Those searching for a contemporary traditional doom metal outfit that simply “gets it right” could do much worse. Fuck You We’re Lucifer’s Fall nails it from the beginning.

The EP opener, “Lost,” is an ambitious slab of molten metal that finds the Aussie quintet crafting a heavy, doom-laden anthem for the ages. A morose bassline and sluggish percussion are joined by a rising tide of tortured feedback to kick off the proceedings. It’s a simple, smoldering build-up that is as rewarding as it is downtrodden. Three minutes in and the lumbering pace reaches majestic heights with harmonized guitars before igniting into a scorching conflagration of doom. Think Saint Vitus, Reverend Bizarre, or Lord Vicar at their most upbeat. It’s a killer track that manages to remain engaging for its near fourteen minute runtime.

“Salvation” is probably the evilest sounding tune to come out of the Lucifer’s Fall / Rote Mare camp. Not only is the track centered on a handful of diabolical riffs, but the drumming is a major player in the overall sound. Add to this winning formula leads that are capable of turning rock into magma and Phil Howlett’s impressive and commanding vocal performance and you have another winner on your hands. Maybe it’s just me, but there’s a bit of a Celtic Frost vibe lurking just under the surface of this one (Hell, even the narration from "Lost" smacks of Tom G. Warrior). The latter half of the track launches into the stratosphere, both musically and vocally, resulting in one Hell of a ride.

Doom takes a backseat on the EP closer “(Fuck You) We’re Lucifer’s Fall” in favor of balls-to-the-wall rock and roll. It’s fast, it’s furious, and it takes no prisoners. “(Fuck You) We’re Lucifer’s Fall” is the shortest track penned by the band and it ties up the EP nicely. While the strongest, most engaging material is on the first two tracks the closer illustrates that the band has chops and aren’t afraid to indulge their whims.

The biggest disappointment with Fuck You We’re Lucifer’s Fall is that it is too damn short. Ridiculous complaints aside, it’s killer that the band has new material so close to the release of their debut. The move from being a two-piece to a full-fledged band has definitely paid off as this little EP rips. Hopefully 2016 will see more music from either Lucifer’s Fall or Rote Mare.

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…the Morning Star descending: Lucifer’s Fall – ‘S/T'

Potentially the most “traditional” sounding doom album to be released this year belongs to Lucifer’s Fall—an offshoot of Adelaide, Australia’s amazing doom outfit, Rote Mare. The band’s self-titled debut is not a complete stylistic shift from what Phil Howlett has produced in the past with Rote Mare, either in the band’s earliest incarnation as a solo project or as a fully realized metal band. Howlett’s vocals and distinctive riffs betray a complete departure. Despite the stylistic similarities Lucifer’s Fall finds Howlett delivering an overall cleaner vocal delivery and, occasionally, even belting out some over-the-top banshee wails to maximum effect.

The seven tracks of ‘Lucifer’s Fall’ have an authentic, old school feel that draws equally from the conventions of both doom metal and traditional heavy metal. Howlett, credited as Deceiver, and Rote Mare drummer Ben Dodunski, known on this recording as Unknown Unnamed, prove that in addition to perfecting a dreary snail-paced crawl, that they are also masters of mid-tempo metal. The end result is a selection of tunes that remain unmistakably doom while eliciting a fist-pumping, head-banging response—an approach to doom metal, in spirit, that they share with Maryland’s mighty Iron Man.

What really stands out on this album is the lead guitar playing of Howlett. While it may not be a virtuoso performance of technical shredding it never fails to remain creative and melodic. Howlett manages to hit the right note at the right time and with the right tone. The opening notes of album standout “The Suffering Wizard” are nothing short of sublime. It is a lazy, melodic intro that is—at the same time—razor sharp, not too dissimilar from many of Jerry Fogle’s standout leads on Cirith Ungol’s first three albums.

While the bulk of the album resides comfortably in the mid-tempo range, there are a couple of faster paced tunes to get the blood pumping. The near-instrumental “The Summoning” is a scorcher with propulsive drumming, galloping riffs, and occasional interjections of the song’s title as the tune’s only lyrics. “Unknown Unnamed”, despite the drawn out, languid intro is also imbibed with a fair share of adrenaline.

Executed without pretense, ‘Lucifer’s Fall’ is a terrific album that should appease fans of doom metal and old school metal alike. While comparisons to Rote Mare are inevitable and not completely unfounded Lucifer’s Fall is irrevocably its own beast. Hopefully Howlett will return to his work with Rote Mare and continue to further develop Lucifer’s Fall. Both bands are highly recommended.

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