Revelation – 'Inner Harbor'

While it’s probably just a mere coincidence, one can’t help but notice that Baltimore, Maryland doom legends, Revelation, have churned out—counting the 2009 self-titled release, aka the ‘Unreleased’ LP— a seventh full-length album that is somewhat of an anomaly amongst their discography just as Black Sabbath’s seventh album, ‘Technical Ecstasy’, marked the beginning of a noticeable departure form the signature Sabbath proto-doom sound. Not that Revelation are mere Sabbath clones, but the band admittedly draws much of their inspiration from the doomy, Iommian riffs of Black Sabbath and the progressive tendencies of Rush. Where one of the biggest faults of ‘Technical Ecstasy’ seems to lie in that album’s terribly thin production, Revelation’s ‘Inner Harbor’ maintains a thick and heavy sound that has graced the majority of the their releases.

One of the most noticeable elements of ‘Inner Harbor’ is that the songs are spacious and have more room to breathe compared to previous albums. Seemingly missing are the forlorn, dirge-like wall-of-sound meditations that made ‘For the Sake of No One’ and ‘Release’ so memorable. Instead, ‘Inner Harbor’ embraces even more deeply the progressive side of the band and perhaps blurs the identities of Revelation and their alter-ego, Against Nature. It’s always been difficult to classify Revelation as simply a doom band…they have always seemed to transcend the confines of genre conventions based on their synthesis of influences and their solid musicianship. Much of the spaciousness of ‘Inner Harbor’ can be attributed to the band’s focus on progressive rock opposed to the doom that many fans have grown accustomed to and to startling effect. ‘Inner Harbor’ may initially dash expectations, but that isn’t a bad thing at all.

Another element that really separates ‘Inner Harbor’ from the band’s previous works and, at the same time, exhibits more similarities with Black Sabbath’s ‘Technical Ecstasy’ is the pervasive use of keyboards. In the case of both bands it’s initially a tough pill to swallow due to the consistency of earlier recordings. In Sabbath’s case specifically the band wasn’t necessarily healthy or in working order and ultimately succumbed to drug use, weak production, and the use of keyboards or synths that didn’t quite coalesce like on previous albums. Revelation, on the other hand, have managed to craft songs where, f the use of keyboards, for the most part, act as accents to the tunes and provide additional atmosphere and vibes as is the case with the second track of the album, “Terribilita”.

Many consider ‘Technical Ecstasy’ as the beginning of the end of Ozzy-era Black Sabbath. The same cannot be said in regards to ‘Inner Harbor’ and Revelation. ‘Inner Harbor’ may take a few listens to fully appreciate the slight shift that the band has made from doom to more hard rock, progressive territory, but Revelation’s latest remains wholly and unmistakably a Revelation album. If there’s any album this year that deserves the tag of “grower” it’s ‘Inner Harbor’ which includes some of Revelation’s strongest compositions and is embedded with some blisteringly amazing guitar leads courtesy of John Brenner. ‘Inner Harbor’, as well as the rest of the band’s discography, is available for download through the band’s own Bland Hand Records website. Be sure to later this year either pick up the vinyl which is going to be released through Pariah Child Records or the CD through Shadow Kingdom Records.

Words: Steve Miller
(Originally published at Doommantia)

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Slomatics – ‘A Hocht’

The sheer weight and magnitude of Slomatics’ third full-length, ‘A Hocht’, easily crushes and surpasses the band’s previous works by increasing not only the overall heaviness of their sound, but also by including and exploring darker textures and atmospherics. Tony Roberts’ “Flaming Octopus” album cover encapsulates the unadulterated visceral offensive launched by the Belfast trio—it’s a massive, fiery slab of impending doom that is awash in moments of beauty and calm. Without the presence of a bass player, the low-end thrum created by guitarists David and Chris and singer/drummer Marty is nothing short of amazing. Slomatics are able to plunder the depths of suffocatingly heavy music without sacrificing catchiness or momentum.

“Inner Space”, the ominous introduction to ‘A Hocht’, is an exercise in ambient intensity. A depth-charged, low-end rumble is accompanied with washes of feedback that ultimately concludes with a cymbal roll crescendo that ebbs into nothingness. Like a down-tuned air raid siren, “Flame On” pierces the silence with a thunderous roar. This second track is the accompaniment to martial law as Marty’s bellows have a dictatorially quality that rises authoritatively above the din. “Flame On” simply crushes. “Beyond Acid Canyon” slows things down to a doom crawl with sluggish, heavy riffs and the tolling of a bell. Over the next six minutes Slomatics manage to exert the equivalent pressure of being submerged 18,000 ft. below the surface of the ocean with only a brief respite as “Beyond Acid Canyon” momentarily drifts through more dreamy, tranquil waters. “Return to Kraken” amps things up with a tumultuous, driving riff that sounds as if David and Chris have exchanged their guitars for a couple of impossibly distorted basses. The song is a continuous wave of distorted fury until it breaks down into a slower section layered with memorable leads.

The glorious “Tramontane” ushers forward the second half of the album with an anticipatory slow burn. The mood is established through intense, sporadic drumming, and steady, sloth-like riffing which is glazed over with a mesmerizing hum before erupting into an all-out assault of doomed-out proportions. At just over seven minutes in length “Tramontane” is the longest track on ‘A Hocht’ and not a single second is wasted or unnecessary. The oppressive, sludge-suffused doom of “Tramontane” ultimately yields to the delicate placidity of “Blackwood” which offers the listener a haven of ambient textures and alluring, siren-like vocals before Slomatics resume their mission of crafting megalithic tunes of the utmost density. The instrumental “Theme From Remora” relies almost exclusively on repetition for its entrancing effect which is accented through both the drumming and background noise. Finally, all good things must come to an end and the appropriately titled “Outer Space” bookends the album by combining the ambience and repetition found on the previous two tracks into an eerie amalgamation of desperate noise.

Every release from Slomatics is worth checking out, but they have made tremendous strides since their last full-length release, 2007’s ‘Kalceanna’, strides which were intimated on their 2011 split with Conan. The band has crafted one of the heaviest and most memorable releases of the year, but they have also managed to imbue ‘A Hocht’ with moments of serenity and beauty—a feat not easily accomplished. One of the year’s best.

Words: Steve Miller
(Originally published at Temple of Perdition)

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Demonic Death Judge – ‘Skygods’

Finland’s psyche-sludge overlords, Demonic Death Judge, have closely followed the orbit established by 2011’s excellent full-length album, ‘The Descent’, with another earsplitting slab of progressive minded stoner metal entitled ‘Skygods’. Not to dismiss their self-titled EP, but the band has been on an upward trajectory since the release of 2010’s ‘Kneel’ EP. Each successive release has found the band layering impossibly heavy riffs with atmospheric passages and Jaakko Heinonen’s sinisterly harsh vocals. While their method of attack has remained consistent, the band’s sound has subtly evolved over the past three releases. The ‘Kneel’ EP was an all out attack of abrasive, mind-melting catchiness capable of leveling a skyscraper. ‘The Descent’ found the band branching out by coupling more complex arrangements with classic rock influences and an increased depth of psychedelic textures. ‘Skygods’, the next logical step in the band’s evolution, makes an incremental sacrifice of their acerbic sludge in favor of Sabbath-inspired riffs and a deeper investigation of ambient soundscapes.

“Skygods”, the album’s namesake, kicks off the release in majestic fashion by layering post-metal guitar leads atop mesmerizing riffs. The element that truly elevates the opening track to greatness is the penetrating, fluid basslines of Pasi Hakuli, which is imprinted all over this release. The second track, “Salomontaari”, slows things down by featuring a more doom-oriented sound. The song twists and turns through its near eight minute run time, eventually breaking down not once, but twice into instrumental passages that selectively features lead-guitar jamming, Pasi’s infectious basslines, and even keyboards. The brief, dreamy, ambient passage “Latitude” gently lulls the listener into a false sense of calm before escalating into the onslaught that is “Knee High”, a tune that could easily have been lifted from the “Kneel” EP. “Knee High” competes as an album highlight due to the staggering, up-tempo riffing of Saku Hakuli which Heinonen’s vocals complement perfectly.

The second half of the album begins innocuously enough with an instrumental passage featuring acoustic guitar before Heinonen’s shriek pierces the calm. “Aqua Hiatus” easily flows between calmer, acoustic inflected moments and doom-inspired riffing. Again, Demonic Death Judge knows how to mix things up and keep every composition interesting. The sludge-swagger of “Cyberprick” has a jazzy breakdown incorporating a brief spoken-word sample that menacingly claims: “You're looking at me and you're looking at the future. See, this country is gonna blow. And people like me are gonna light the fuse. The despised, the betrayed. We're gonna light the fuse and this country is gonna blow. This country is gonna blow…” Eerie lead guitar launches into “Nemesis”, another effectively atmospheric track in the vein of “Latitude” though more song oriented, which features a rarity from Demonic Death Judge…clean vocals. While the song embraces atmospherics in favor of the hard-hitting sludge that the band is notorious for, “Nemesis” really stands out as an album highlight. The longest track, “Pilgrimmage”, appropriately closes out the album. At ten minutes in length, it allows the band to really spread their wings and really venture into a moody composition that seems to combine all of the softer elements that make the other seven tracks on this album so great.

Demonic Death Judge’s ‘Skygods’ is another addition to an already stellar discography. The band has managed to effortlessly combine seemingly disparate elements into a cohesive whole of psychedelic-inflected sludge metal. While this album may not be as immediately heavy as the ‘Kneel’ EP, it does manage to surpass that early recording in terms of songwriting, and overall mood. ‘Skygods’ is easily the band’s most mature and varied album to date. It’ll be interesting to see how the band continues to evolve on future releases and where their sonic explorations will take them.

Words: Steve Miller
(Originally published at Doommantia)

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Ice Dragon – ‘greyblackfalconhawk’

Ice Dragon is here to ruin your day. The Boston, Massachusetts trio has spawned no less than three full-length albums—four if you include the release of their previously recorded self-titled debut—and a couple of split 7”s within the short span of seven months. Beginning with the self-titled debut and continuing with both ‘Dream Dragon’ and ‘greyblackfalconhawk’, Ice Dragon has evolved from their psych-heavy doom sound into a band willing to indulge their whims without sacrificing their identity or overall essence. There is no mistaking an Ice Dragon release for anything other than an Ice Dragon release.

Referring to the band’s albums by year is almost an exercise in futility at this point. So, if July’s ‘Dream Dragon’ was the feel good, blissed-out summer album of the year, then September’s ‘greyblackfalconhawk’ is the grim, rainy-day flipside to that coin. Long gone are the Summer of Love influences that graced tunes like “Dreamliner” or “Stumble Onto Magic” and absent is the baroque-pop homage of “Every Little Star” and “A Dragon’s Dream, Part I” in favor of a darker hypnotic approach that is wrought with an air of discontented introspection.

‘greyblackfalconhawk’ isn’t the band’s most immediate or accessible release, but it is probably their most singular and consistent full-length in regards to overall atmosphere. This is meditative doom for the downtrodden, a sentiment best exemplified by the album’s second track “takeitallaway”, a claustrophobic anthem of suffering and release. Down-tuned, electric bass drone, occasional acoustic guitar strums, and wailing vocals march this melancholy dirge toward its conclusion. The second half of the track is accented by a shift in drumming dynamics and the chorus lamentation of “takeitallaway”. The end result is a trance-inducing tune of subtle dynamics.

Even though the album induces an overall mood of paranoia and desperation through its combination of ambient textures, droning guitars, and discordant tones, there are still moments of poignant tenderness. “everythingisawaste”, one of the shortest tracks on the album, stands out as a sliver of light amidst the shadows for its delicate, heartrending instrumentation and vocal delivery. Despite its subdued simplicity “everythingisawaste” stands as one of Ice Dragon’s most memorable tunes and shines as an album highlight.

While the band has slightly strayed from the sound of their first three proper releases, they have not completely abandoned the world of doom, but rather have found new ways to channel and express their shadowy arts. ‘greyblackfalconhawk’ may take some time to fully appreciate, but the elements that make every other Ice Dragon release so memorable are still present, it’s just that these alchemists have adjusted the potency and balance of their ingredients. The album is currently available for purchase on the band’s Bandcamp page. Do yourself a favor: download a copy and listen to it while dwelling on missed opportunities and the wrongs that you have committed…

Words: Steve Miller
(Originally published at Doommantia)

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These are the blackest of times: Apostle of Solitude – ‘Demo 2012’

Few bands can effectively mine misery and heartache with such woeful proficiency as Indianapolis, Indiana’s Apostle of Solitude. In preparation for the band’s third full-length, the revised lineup—now including Steve Janiak of Devil to Pay on guitar and multi-band alumnus Bob Fouts on bass—has recorded a three song demo conspicuously titled ‘Demo 2012’. Despite the lineup changes the overall mission and approach has remained the same. Chuck Brown’s unique, emotive vocals are still at the forefront as the band doles out a potentially lethal cocktail of crushing traditional doom, hard rock, and metal. If anything, the lineup change has focused and fine-tuned the band’s sound.

‘Demo 2012’ opens with “Blackest of Times”, one of the strongest tracks ever penned by the band. The song’s slow build can be attributed to a lone, lumbering doom riff that is eventually joined in unison by a second, overlapping riff, and Corey Webb’s hard-hitting percussion. The song’s intro isn’t overly long before it storms into a mid-paced groove that is highlighted by some heavy-as-Sabbath doom riffs, catchy lead guitar, and propulsive drumming. “Blackest of Times” doesn’t merely march to its end, but rather it launches into an up-tempo, head-banging metallic gallop before its conclusion. The second track, “Die Vicar Die”, comes crashing in, but eventually puts on the brakes. The majority of the track is slower than the demo opener and Chuck’s vocals really carry the weight of the tune. It’s not all snail-paced doom and gloom as the song builds in intensity and similar to “Blackest of Times” the song breaks into an up-tempo burner before returning to the chorus and ultimate conclusion. “Good Riddance” closes out the demo and returns to the doom metal chug intimated by “Blackest of Times”. “Good Riddance”, like the rest of the demo, really stands up to anything in Apostle of Solitude’s catalogue.

‘Demo 2012’ is a powerful statement from one of doom metal’s most unique bands. The addition of new members has not drastically changed Apostle of Solitude’s overall sound, but has seemed to result in heavier songs with more complexity. The band continues its cathartic examination of human existence by plumbing the depths of despair and uncertainty while crafting memorable tunes. The production of ‘Demo 2012’ is excellent and the release could easily be marketed and sold as an EP. Based on the strength of this demo Apostle of Solitude’s impending third release could result in the band’s heaviest and memorable album to date. As a teaser ‘Demo 2012’ has effectively built suspense and their newest release is highly anticipated. The limited run of CDs has sold out some time ago, but the demo is streaming on the band’s Bandcamp page and Sarlacc Productions is planning a limited run cassette release with download code. Highly recommended.

Words: Steve Miller

(Originally published at Doommantia)

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Figures in black will reign supreme: Bedemon’s ‘Symphony of Shadows’

Disappointment is nothing more than dashed expectations. While 2012 has been a killer year for doom releases, there have still been a handful of high profile albums that have not lived up to expectations primarily due to sharp shifts in songwriting, production, or overall modus operandi. Enter Bedemon, a recording project that has existed primarily as a curiosity due to its affiliation and shared personnel with Bobby Leibling’s doom revanent, Pentagram. To be honest, when I heard that Bedemon’s ‘Symphony of Shadows’—an album at least ten years in the making—was finally going to see the light of day my anticipation level was less than zero. The ‘Child of Darkness’ recordings were an oddity of excellent, albeit incomplete ideas that were hopelessly marred, as many basement recording projects are, by terribly thin production. Another factor complicating the completion and ultimate release of ‘Symphony of Shadows’ was the untimely death of Bedemon’s doom visionary and head guru, Randy Palmer. Surviving members Geof O’Keefe, Mike Matthews, and new vocalist Craig Junghandel were left to pick up the pieces, build on Randy’s ideas, and finish the album while trying to remain true to the spirit of Bedemon and their deceased friend. What could have easily of ended up as a disaster has in fact turned into one of the best surprises of the year. Regardless of Pentagram/Bedemon history, ‘Symphony of Shadows’ stands on its own as one of the strongest releases of the year primarily due to its seamless mix of old school doom, hard rock, and punk.

Album opener “Saviour” is a dark meditation on the abuse of power, the spoiling of innocence, and the ultimate aberrance associated with modern day religion, particularly the Catholic Church. What could have merely been a straight-forward rocker is accented and darkened with chorus chants, superb lead playing courtesy of O’Keefe, and a diabolical vocal delivery of Junghandel. Musically the following track “Lord of Desolation” is doomier than the album opener and the track is really carried along by Matthews’ bass playing and the occasional gong crash while providing the album’s most memorable mantra “Figures in black will reign supreme/No one wakes from this infernal dream” delivered by Junghandel in a sinister whisper. “Son of Darkness”, arguably the strongest track on the album, is an up-tempo doom masterpiece that channels the best of ‘Master of Reality’ era Sabbath without resorting to mere emulation. In the album’s liner notes O’Keefe claims that “Son of Darkness” is the ultimate collaborative effort of the band members and it shows by highlighting the individual talents of every member.

“The Plague” slows things down a bit compared to the energy of “Son of Darkness”, but the song is no less effective in grabbing the listener’s attention. Again, Matthews’ bass playing really carriers the tune along with some atmospheric guitar strums and blistering guitar leads to close out the tune. “D.E.D” falls on the hard rock end of the spectrum compared to a majority of the tracks on ‘Symphony of Shadows”. While it wouldn’t be fair to call “D.E.D.” filler material, it simply doesn’t have the impact as the rest of the tracks on the album. If “D.E.D.” is the album’s weak spot, “Kill You Now” is the ill-fitting bastard child that somehow manages to work. While the tune isn’t nearly as hard-hitting or raw as “Search and Destroy”, it does seem to channel the best of Iggy and the Stooges with its lyrics, punk-inspired riffing, and handclaps.  After the detour of “D.E.D.” and “Kill You Now” the album returns to the realm of doom with “Godless”, another solid slab of doom-tinged hard rock as is the following track, “Hopeless”. Album closer “Eternally Unhuman” aptly closes out the album for its last two minutes alone. The repetitive recitation of “Nothing will ever be the same” accompanied by screams as the music fades out is nothing short of chilling.

It’s difficult to say how ‘Symphony of Shadows’ would have sounded with the continual involvement of Randy Palmer to its ultimate conclusion, but it would be hard to imagine that he could possibly be disappointed with the finished product as completed under the supervision and care of his bandmates and friends. ‘Symphony of Shadows’ is a welcome surprise with its grim lyrical content, chants, doom riffs, and tremendous bass playing. Despite the mix of doom, rock, and punk, each one of these tracks are stamped with a distinct, infectious, unifying sound. It’s sad to know that Randy’s genius is lost to the music world, but this collection of songs—finished posthumously—is an admirable legacy. Based on the strength of all of the players it is hoped that these musicians will continue on, in some form, to bestow their brand of doom metal on their fans.

Words: Steve Miller

(Originally published at Temple of Perdition)

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(the) Melvins – ‘the bulls & the bees’ EP

Workhorse, freak-metal traffickers (the) Melvins can be depended on for two things. First off, they reliably churn out new full lengths and EPs annually or, at the very least, on a biennial basis. Secondly, they bring the weird—seemingly never satisfied to repeat themselves and fiercely opposed to indulging expectations. Well, at least up to the release of 2006’s excellent ‘(A) Senile Animal’. It’s not that ‘Nude with Boots’ and ‘The Bride Screamed Murder’ were necessarily bad albums, but not since the Melvins/Big Business amalgamation has the band retained such a familiar sound over the span of multiple releases.

Approaching ‘the bulls & the bees’ EP I would have been surprised if I wasn’t surprised. The first two tracks “The War on Wisdom” and “We are Doomed” certainly didn’t startle. I’ll be clear: these definitely aren’t bad tunes. In fact, they are probably the two greatest tracks that weren’t on ‘(A) Senile Animal’—which is a welcome return to sound after the classic rock indulgent ‘Nude with Boots’ and slightly uneven ‘The Bride Screamed Murder’. Dale Crover and Coady Willis don’t fail to pummel the listener with their twin drum attack—one of the highlights of latter day Melvins. Probably the biggest contributing factor to the Melvins’ current sound is the dual shared vocals of Buzz Osborne and bassist Jared Warren which is all over these first tracks.

“Friends Before Larry” brings some of the weird that made ‘Hostile Ambient Takeover’ such a rewarding trip. The wind wails, a muffled buzzsaw rips, and a tortured soul bellows before the drums kick in and the feedback squalls. The song is drenched in sinister synths that wash out and bury the vocals in the mix. It’s a noisy affair that marches too soon to its conclusion. Three songs deep and my mind is finally blown.

The synths die down and the wind continues to blow segueing into the film score appropriate “A Really Long Wait”. Tortured strings begin to cry out. For thirty seconds the song emanates the cinematic flair of Godspeed You! Black Emperor, but instead of a spoken word diatribe against the evils of capitalism and the post-industrial world hymnal vocals mournfully wail. The solemnity of “A Really Long Wait” is impressive as it may be the most emotionally wrought tune ever composed by the band.

The EP closer, “National Hamster”, rivals “Friends Before Larry” as the standout track due to some hook heavy lead guitar and Beatles-esque backing vocals which may sound out of place on a Melvins track, but they fit just right. It just goes to show that the band seemingly never fails to have a trick or two stuffed up their collective sleeves.

‘the bulls & the bees’ EP may not be the freak-out departure that a segment of fans have been wishing for, but it’s a solid effort and is a testament to the creativity and staying power of a band that is pushing 30 years of existence. Few acts, past or present, can make such a claim. Oh, did I mention this EP is free? Download it free from Scion Audio Visual.

Words: Steve Miller
(Originally published at Temple of Perdition)

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Reino Ermitaño – ‘Veneración del Fuego’

Consistencey is one thing, but it’s a rarity when a band is able to continuously top itself over the span of multiple releases. Peru’s Reino Ermitaño are one such beast and have released not only their finest album to date, ‘Veneración del Fuego’, but they have released an album that should—provided that it’s not criminally overlooked—trudge its way to the top of many year end lists.

For the uninitiated, Reino Ermitaño practice a heavy, raw, groove-laden form of psychedelic doom that is as unique as it is infectious. Much of the album’s catchiness can be attributed to not only solid songwriting, but to the killer riffing and guitar tone courtesy of newcomer, Eloy Arturo, and the engaging vocal melodies of Tania Duarte who is somehow able to elevate her vocal performances with each successive release. For non-Spanish speakers the fact that Duarte sings in her native Spanish is not problematic and serves to accentuate her voice, the vocal melodies, and contributes deeper to the mystical aura of the album as a whole.

Production-wise the album is near flawless and each instrument is clear, distinct, and mixed perfectly. The guitars roar with a gritty tone while riding atop the thunderous heft of Marcos Coifman’s basslines. While Reino Ermitaño has always been experimental, the band has further broadened their musical palette by incorporating even more instruments into their repertoire such as Andean harp—an essential element for the quieter moments of album standout “Sangre India”—Moog synthesizer, flute, and violin, among others. The band’s masterful inclusion of atypical instrumentation not only separates the band from the herd, but it also serves to firmly establish their identity as a uniquely Peruvian doom band.

‘Veneración del Fuego’ is a solid album from beginning to end and each track is a beguiling, atmospheric journey. Despite the consistent, high quality songwriting, “Sangre India” stands out above the rest of the tracks as an album highlight by containing not only the album’s heaviest and catchiest moments, but also some of the most serene moments as well. When the song is in full swing the bass pulses and the drums really drive the song forward under the spell of Tania’s bewitching vocals.

2012 has stood witness to essential releases from two unique, female-fronted doom bands, first with Uzala’s excellent self-titled debut and subsequent ‘Cataract/Death Masque’ single, and now Reino Ermitaño’s ‘Veneración del Fuego’. All of Reino Ermitaño’s releases are highly recommended, but the band has surpassed all of their previous efforts with ‘Veneración del Fuego’. Highly recommended and essential listening…

Words: Steve Miller
(Originally published at Temple of Perdition)

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