…fraying at the ends: APOSTLE OF SOLITUDE – ‘Of Woe and Wounds’

After a two year long wait Indianapolis, Indiana’s Apostle of Solitude finally deliver on the promise of their excellent ‘Demo 2012’ (review HERE). With two exemplary full-lengths under their belt the band continues their trend of releasing an album that is arguably tighter, heavier, and dolefully more majestic than its predecessor. ‘Of Woe and Wounds,’ despite being bogged down by themes of internal unrest, addiction, disconnection, and mortality, is not merely a lethargic, glacial paced meditation on despair, but rather a doom-trodden reaction to anger and frustration wrought with some of the band’s heaviest, most blistering riffs.

‘Of Woe and Wounds’ is arguably Apostle of Solitude’s strongest album to date, largely due to the burgeoning compositional chemistry between vocalist and guitarist Chuck Brown and the playing of Steve Janiak. The slow-burn opening of “The Blackest of Times” is a thing of beauty as the layered guitars give rise to one of the band’s most infectious tunes. “Whore’s Wings,” a faster track from within the band’s discography, finds the duo locked into an impenetrable groove with support from the impressive rhythm section consisting of drummer Corey Webb and bassist Dan Davidson. “Lamentations of a Broken Man”—a tune that could easily have been drowned out by the more aggressive tracks on the album—is elevated by both an emotive and catchy vocal melody, particularly on the chorus, and the dual guitar harmonies of Brown and Janiak. This sluggish reflection on a life of loss and regret is elevated to one of the album’s most poignant moments.

“Die Vicar Die” and “Push Mortal Coil” are both reflections of Apostle of Solitude’s relatively more aggressive approach to songwriting this time around. “Die Vicar Die” initially begins as what could be considered “standard” doom fare, but soon evolves into one of the most satisfying fist-pumping anthems of the band’s career. “Push Mortal Coil” features impressive lead guitar, more dual guitar harmonies, and one of the album’s most satisfying main riffs.

‘Of Woe and Wounds,’ like the rest of Apostle of Solitude’s discography, is an attempted sonic exorcism of the demons of anguish and despair. Production-wise the album is flawless. Up to this point every one of the band’s albums have sounded great, but ‘Of Woe and Wounds’ seems to perfectly capture both the heft and melancholic beauty of the band. Look no further than “Luna” to illustrate the band’s ability to compose a tune that is heavy, yet embellished with a remorseful splendor. Despite the highlights of Chuck Brown’s vocals and his playing with Steve Janiak, enough cannot be said of Webb and Davidson. ‘Of Woe and Wounds’ will not disappoint longtime fans and should, based on the strength of the album as a whole, garner new fans. One of the standout highlights of 2014…

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Year's Best 2014

1. Blood Farmers – ‘Headless Eyes’
Just like Curse the Son’s ‘Psychache’ the previous year, ‘Headless Eyes’ grabbed my attention early on and never quite loosened its grip. The album is worth its weight in gold due to the opening track, “Gut Shot,” but this is no one-trick-pony. The entire album is solid from start to finish. Tack on a kickass cover of David Hess’ “The Road Leads to Nowhere” from The Last House on the Left and you have one stellar release from a band that has been absent for far too long (review HERE).

2. Yob – ‘Clearing the Path to Ascend’
I’ll admit, Yob’s ‘Clearing the Path to Ascend’ wasn’t an instant hit for me. I miss the heavier psychedelic influences that were played out in abundance prior to the band’s initial dissolution. But, in the end, the brilliance of Mike Scheidt, Aaron Reiseberg, and Travis Foster cannot be denied. This is one of the heaviest albums released by the band, maybe only rivalled by ‘The Great Cessation.’ It’s grim and bleak, but there is a light at the end of the tunnel with the closing track, “Marrow.”

3. Cardinal Wyrm – ‘Black Hole Gods’
This is probably the most unique doom album of 2014. Pranjal Tiwari’s vocals are sonorous meditations that majestically speak of long-forgotten lore. The band has definitely spread their wings and come into their own since the release of their impressive debut, ‘Another Holy Trinity.’ ‘Black Hole Gods’ should be available on vinyl later this year courtesy of Svart Records. I can’t wait to hear where this three-piece goes next (review HERE).

4. Pallbearer – ‘Foundations of Burden’
If I had not spent an extended weekend hiking at twelve and thirteen thousand feet while jamming this album I’m not sure I’d be ranking it so high. ‘Foundations of Burden’ is suggestive of wide open spaces where their debut, ‘Sorrow and Extinction,’ was claustrophobically heavy and dense. Disappointment quickly dissipated and the beauty of this album could not be ignored. Seeing and hearing the material performed only helped to cement this as a favorite of 2014.

5. The Wounded Kings – ‘Consolamentum’
It’s not surprising that this album is in the top five. The Wounded Kings have long been a favorite and ‘Consolamentum’ is a return to form of sorts. The lead guitar playing is, like on the band’s first two albums, razor sharp (review HERE).

6. John Gallow – ‘Violet Dreams’
John Gallo is, simply put, a maestro. The man draws inspiration from a multitude of sources and makes something new, yet recognizable. ‘Violet Dreams,’ like many of Gallo’s other projects, takes the listener to strange, unexplored worlds. A killer album of doomed-out weirdness. Here’s hoping that either Blizaro or Orodruin puts out a new release in 2015. Hell…hopefully they both do (review HERE).

7. In the Company of Serpents – ‘Merging in Light’ EP
In the Company of Serpents is a two-man demolition crew and ‘Merging in Light’ shows the band on an upward trajectory of creativity. The EP is acerbic and heavy, yet tuneful. The only complaint that can be levelled against ‘Merging in Light’ is that it’s not a full-length album (review HERE).

8. Electric Wizard – ‘Time to Die’
To be honest, I think this is the best album Electric Wizard has ever released followed closely by ‘Black Masses.’ It’s seedy, grisly, and, at times a sonic mess. This is the stuff of an innocent acid trip gone woefully awry (review HERE).

9. Slomatics – ‘Estron’
Slomatics’ ‘A Hocht’ has become one of my favorite albums of all time and ‘Estron’ is a worthy follow-up. The band has a penchant for being impossibly heavy and still remain catchy. ‘Estron’ may not be as trippy or varied as ‘A Hocht,’ but it’s still a stellar release (review HERE).

10. The Skull – ‘For Those Which Are Asleep’
Despite having high expectations for The Skull’s debut I could not help but approach ‘For Those Which Are Asleep’ with a bit of caution. Trouble’s discography, particularly their first four albums, are doom metal masterpieces. Hell, even the often maligned ‘Simple Mind Condition’ has some redeeming qualities. ‘For Those Which Are Asleep’ manages to successfully recapture much of that early Trouble magic and, in its own way, establishes its own identity (review HERE).

11. Goya – ‘Satan’s Fire’ EP
Seedy, distortion-strewn psychedelia and bludgeoning riffs are Goya’s modus operandi. ‘Satan’s Fire’ is an addictive slab of sleazy stoner doom. Their split release with Wounded Giant is also killer. Definitely looking forward to the band’s sophomore full-length hopefully to be released this year (review HERE).

12. Apostle of Solitude – ‘Of Woe and Wounds’
To be honest this album probably would’ve ranked higher on the year’s best list had I gotten my hands on it sooner. I’m still wrapping my head around this one. With ‘Of Woe and Wounds’ Apostle of Solitude continue to hone their craft and the album displays some magnificent dual guitar harmonies and many of the band’s heaviest moments. An awesome album as expected.

13. Reino Ermitaño - ‘Conjuros de Poder’
Reino Ermitaño’s ‘Veneración del Fuego’ is still the album to beat, but the band issues a worthy follow-up with their fifth album overall. ‘Conjuros de Poder’ is a bewitching album that is steeped in mysticism and, of course, riffs (review HERE).

14. Lucifer’s Fall – ‘S/T’
Killer tunes and melodic, well-placed leads sum up Lucifer’s Fall’s self-titled debut. Phil Howlett takes a slightly more traditional approach to his songwriting compared to his work with Vertical Chamber Apparatus favorite Rote Mare. The results are simply beautiful (review HERE).

15. Bretus – ‘The Shadow Over Innsmouth’
Bretus’ sophomore effort is definitely a darker release compared to their debut, ‘In Onirica.’ With H.P. Lovecraft as their spiritual guide Bretus take the listener down a dark path that is equal parts doom and straight up old school metal (review HERE).

…the endless road turns dark: THE SKULL – ‘For Those Which Are Asleep’

With pedigree and history in mind, The Skull have managed to deliver on the almost unthinkable promise of rekindling the flame of classic era Trouble. While ‘For Those Which Are Asleep’ may not—due to both nostalgia and overall execution—quite eclipse Trouble masterpieces ‘Trouble’ (aka ‘Psalm 9’) or its doomier follow-up, ‘The Skull,’ it would sonically fit comfortably between ‘Run to the Light’ and their 1990 self-titled release for Def American Recordings. The Skull have essentially picked up where Trouble left off twenty-five years ago, but with a warmer, more mature approach to songwriting.

Despite the obvious stylistic similarities between the two bands, The Skull can stand on its own two legs, particularly due to front man Eric Wagner’s voice. While Wagner still tackles themes steeped in spirituality, existentialism, and internal struggle, his voice has deepened with age. While this may reign in some of the youthful aggression and desperation found on Trouble’s early releases it yields a weathered, sage-like wisdom to the Skull’s compositions.

Though Trouble’s Rick Wartell and Bruce Franklin stand as two of the great guitar duos in metal, Lothar Keller and Matt Goldsborough give them a run for their money, particularly on the album standout “The Touch of Reality,” a doomed ode to misery. Holzner anchors the tune with just one of many beguiling basslines and Keller and Goldsborough take their shredding to sprawling heights. With “The Door,” another album highlight, The Skull have composed the gloomiest song that Trouble never recorded. It is a bass-heavy track carried along on waves of creepy organ courtesy of Jeff Olson interspersed with haunting roars of distortion and Wagner’s ruminations on inner turmoil.

At this point it may be impossible to separate The Skull from Trouble’s legacy, which isn’t necessarily a bad thing. Wagner clearly is still thematically inspired by seeking answers to the unknown, loss, guilt and forgiveness, and spirituality or mysticism—timeless themes that lent early Trouble much of their appeal. Despite the similarities, The Skull are on the road to forging their own identity. ‘For Those Which Are Asleep’ has easily surpassed expectations and proven to be one of 2014’s highlights. It’s unfortunate that Jeff Olson has amicably split from the band as his drumming was a distinctive feature of The Skull’s sound. Fans of early Trouble and traditional doom will not be disappointed by this killer debut…

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...see the world as it turns to dust: GOYA - 'Satan's Fire' EP

There’s a place where the gargantuan, Iommic riffs of Sleep collide with the gritty, feedback-strewn psychedelia of Glitterhouse Records-era Monster Magnet and the narcotizing waves of distortion unleashed on Bardo Pond’s peerless 'Lapsed' album, and that particular destination can be found on Goya’s excellent 'Satan’s Fire' EP. Goya’s initial outing, '777' (review HERE), found the band reveling in the seedy underbelly of stoner metal and doom, bringing to mind inevitable comparisons to such acts as Electric Wizard, Cough, and, most notably, the aforementioned Sleep. 'Satan’s Fire' is in no way a departure from the band’s earlier accomplishment, but it is definitely a refinement of style executed with an array of effects pedals and impossibly fuzzed-out distortion, amplified by extreme hatred and disgust. With 'Satan’s Fire'—and their subsequent split release with Wounded Giant on STB Records—Goya is officially a force to be reckoned with.

EP opener “Malediction and Death” is about as evil as it gets. It’s a slow, sinister build of oscillating feedback encircling a mighty, wyrm-like distortion that sounds as if it is finally stirring after centuries of uninterrupted slumber. Amidst the heaving, roaring chaos, guitarist and vocalist Jeff Owens (who also performs bass duties on this release) spits forth vitriolic curses and condemnations. When he snarls, “I wanna watch you die,” there’s absolutely no reason not to believe him. “Symbols,” the middle track, is a brief instrumental that is both sparse and ghostly. Consisting of only a handful of raps on the cymbals courtesy of drummer Nick Lose, “Symbols” isn’t quite as unsettling or as jarring as the percussive soundtrack to The Texas Chainsaw Massacre, but tucked neatly between “Malediction and Death” and the title-track “Satan’s Fire,” the results are quite effective. “Satan’s Fire,” unlike the EP opener, does not hesitate to launch into its stoned-groove. It’s another killer track that easily surpasses what the band had accomplished with '777.' The only real complaint that could be leveled against “Satan’s Fire” is that it is tonally and tempo-wise too similar to “Malediction and Death.” It’s a minor complaint though, as this EP totally smokes.

For those who miss the early days of Monster Magnet, particularly the raw, heavy, evil-inspired and drug-fueled excess found on their self-titled EP—or their spaced-out mind-fuck, 'Tab'—then Goya’s 'Satan’s Fire' may partially fill that void. While Goya doesn’t quite go to the beyond by reaching out to the vast expanses of space rock as Wyndorf and company have, there is still enough dopesmoke and cannabis-induced paranoia to appease any true lover of stoner metal or psych-tinged doom. 'Satan’s Fire' is an impressive follow-up to a pretty damn fine album, and Goya is definitely a band to keep an eye on.

(Originally published at Heathen Harvest Periodical, edited by Sage Weatherford)

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…all hail nothing: Goya/Wounded Giant – split LP

Goya and Wounded Giant—two heavy-hitting up-and-comers who have already released impressive debuts—have been united under the STB Records banner to release a split album that builds upon and surpasses much of what either band has produced in the past and, hopefully, serves as a harbinger for great things to come from both camps in the upcoming year. Goya’s ‘777’ (review HERE) exploited the dingier, seedy underbelly of stoner metal in the vein of such bands as Electric Wizard, Glitterhouse Records-era Monster Magnet, or Stonehelm with hooks thickly veiled under a canopy of nearly impenetrable dope-smoke. Wounded Giant, on the other hand, released an album that was mainly characterized by a lumbering, drunken aggression that was interestingly rivalled by melody and groove in ‘Lightning Medicine” (review HERE). From the sound of it both bands have continued along their respective trajectories and have delved even further into the cauldron black depths of glacial-paced, down-tuned metal—each with their own unique take.

Goya’s offering is the epic track “No Place in the Sky,” a mesmerizing tune of murky fuzz and feedback accentuated with an occasional moment of wah-pedal abuse. Goya’s influences are far from being thinly veiled and, to be honest, it’s difficult not to draw comparisons to Electric Wizard’s ‘Witchcult Today,’ but Goya is far from being a mere clone. Jeff Owens’ husky, sonorous croon can be the perfect antidote for some of Oborn’s whinier moments. “No Place in the Sky” relies heavily on repetition to make its point—point that is embellished with subtle nuances and effects so as not to grow tedious or overstay its welcome. “No Place in the Sky,” along with the band’s ‘Satan’s Fire’ EP are easily some of the finest tunes from the Arizona three-piece.

Wounded Giant offer a bit more variation, but that can mostly be attributed to their two tracks to Goya’s one. “The Room of the Torch” is carried along by the rhythm section punctuated by a bass-heavy groove. This is straight up bludgeoning metal that really picks up with a fist-pumping chorus. Where Goya’s opening track was intent on warping the listener’s mind it would appear as if Wounded Giant was determined to stave in their skull. “Dsytheist” just may be the highlight of the entire split with its pummeling, barbarian-like strut and inventive riffs, it slightly echoes the creativity displayed on “Sinistra” from their debut. “Dystheist” matches heft with catchiness for one of the most kickass tunes to be released yet this year.

So there you have it…Goya will get you high and transfix your soul while Wounded Giant dashes your skull against a brick wall. These are both bands to watch out for not only because of their killer debuts, but especially based on the strength of this split release. I’ve heard rumors of a second pressing from STB Records later this year. Don’t sleep on it…

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...In the Company of Serpents - 'Merging in Light' EP

Cataclysmic doom duo In the Company of Serpents have consistently topped themselves since the release of their self-titled debut in 2012. Grant Netzorg and Joseph Weller Myer have not only churned out some of the finest sludge-infused doom metal of the past couple of years, but they are also impressive due to their energetic, workmanlike live shows and their DIY attitude and approach to releasing music. 2013’s 'Of the Flock' found the band spreading their wings by embracing atmospheric touches and regional influences that were suggestive of sun-scorched desert plains, abandoned faith, and redemption through blood. 'Merging in Light,' the band’s latest, finds the duo at their angriest. Like its predecessor, 'Merging in Light' accomplishes the amazing feat of capturing the gargantuan tone, energy, and overall essence of the band in a live setting. Whether you’re spinning their vinyl or checking them out at a venue, it’s hard to believe that there are really only two guys blasting out these impossibly heavy tunes.

Within the realm of heavy music, In the Company of Serpents occupy a space all their own. Their vitriolic sludge is tempered with catchy yet acerbic riffs, propulsive drumming, and Grant Netzorg’s bellows—the sound of fire and brimstone belched straight from the mouth of Hell. EP opener “Breed, Consume, Die” is a monstrous tune that encapsulates what the band does best: crafting monolithically jarring compositions that balance groove with sheer ugliness. “Third Mind,” arguably the EP’s strongest track, pulses with a life of its own. Blasts of fuzz-laden distortion rhythmically explode as if from a cannon, resulting in one of the finest sludge tracks of the year. Seriously, it sounds as if Netzorg is discharging a battery of rounds from a fuzz-charged howitzer. Add to the cacophony a twisted, razor-sharp guitar solo, and “Third Mind” stands as one of the band’s most memorable tunes. If “Third Mind” stands as one of the band’s most engaging tracks, then EP closer “A Union of Opposites” could be considered their most dynamic. The intro is a slow-burn of tribal drumming, unsettling notes distantly chiming, and one of Netzorg’s Southwest by-way-of-sludge licks. “A Union of Opposites” is a heavy, brooding track that is embellished with swaths of tremolo picking which add an atmospheric undercurrent that punctuates the band’s growth and progression.

In the Company of Serpents have, yet again, succeeded in crafting a collection of tunes that are malicious and ugly, while still possessing an irrefutable catchiness. While the band seems to be embracing and exploiting their time in the studio for the occasional overdub or sound effect, it should be noted that they are not doing so at the expense of their live sound. 'Merging in Light' is easily one of the year’s best, though it may be held back by its brevity. Perhaps not as spacey or as sprawling as Yob, In the Company of Serpents channels the same degree of unbridled anger, but without the occasional glimpse of hope or transcendence that is often intimated by Mike Scheidt & Co.

(Originally published at Heathen Harvest Periodical, Edited by Sage Weatherford)

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...taking the third oath of Dagon: Bretus - 'The Shadow over Innsmouth'

Perhaps not as moody, trippy, or inclined to phantasmagoria as many of their fellow countrymen, Italy’s Bretus do not fail to deliver a highly enjoyable, albeit relatively straight-forward doom release that is a worthy successor to the band’s stellar debut, 'In Onirica.' With H.P. Lovecraft serving as the band’s inspiration and patron saint of cosmicism and doom this time around, 'The Shadow over Innsmouth' has an overall darker vibe than 'In Onirica' and also reels in some of the hard rock influences that permeated the debut in favor of a gloomier, more traditional approach. The end result may seem deceptively less dynamic, but 'The Shadow over Innsmouth' is an overall more cohesive album from start to finish with enough subtlety to keep the listener coming back for more.

If anything, 'The Shadow over Innsmouth' proves that Bretus have mastered the art of mid-paced doom. A fair share of inspired and inventive riffs, numerous tempo changes, and the vocals of Marko Veraldi (credited as Zagarus) give Bretus a unique edge that helps to separate them from the horde of like-minded acolytes of traditional doom. These elements couldn’t be any clearer than on the completely gratifying track “Captain Obed Marsh.” Bretus are far from being a “retro” band, but the slightly sinister main riff of “Captain Obed Marsh” is a fist-pumping, adrenalized rocker straight from the early days of heavy metal. Pair this with Veraldi’s deep, slightly gritty croon and a perfectly placed wailing lead guitar, and “Captain Obed Marsh” shines as one of the album’s most infectious tunes.

Though Bretus play it a bit straighter than many of their Italian contemporaries, 'The Shadow over Innsmouth' is embellished with brief atmospheric passages and samples that, to a degree, aid in tying the album’s tracks to the literary themes of Lovecraft, particularly to the tales revolving around Innsmouth and Dagon. “Intro” opens the album and establishes an ominous mood with field recordings of falling rain and crashing thunder, as well as the rise and ebb of distorted notes before “The Curse of Innsmouth” roars from the deep. Likewise, crashing waves and distant chants introduce the tale of the ill-fated patriarch of the Marsh family and founder of the Esoteric Order of Dagon in “Captain Obed Marsh.” A somber, extended acoustic passage effectively introduces “The Oath of Dagon”–a tune that heaves and lurches forward under its own weight before almost coming to complete halt that is bathed in feedback and lumbering drums. The track momentarily regains a semblance of life and the all too brief introduction of synthesizer adds an otherworldly dimension during the last remaining moments of the tune.

Really, the only criticism that could be leveled against Bretus’ 'The Shadow over Innsmouth' is that perhaps the music is not quite creepy or surreal enough in comparison to the subject matter. While that was my initial impression, subsequent spins of the album seem to reveal more layers and the atmospheric touches, though sparse, expose a subtle yet threatening atmosphere lurking just beneath surface. I’ve been anticipating this album since the beginning of the year when the band and other devout followers began to circulate the single “The Haunter of the Dark,” which seemed to indicate that a darker path was underway for the band. 'The Shadow over Innsmouth' does indeed pick up where they left off and the result is one fine doom album.

(Originally published at Heathen Harvest Periodical, Edited by Sage Weatherford)

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…there is no damnation: Atriarch – ‘An Unending Pathway’

‘An Unending Pathway’, the third full-length from Portland, Oregon’s Atriarch, is in strong contention for dreariest album of the year—a dismal, slow-burn exploration of the cyclical elements of life and death and associated themes of decay, loss, the persistence of time, and eventual rebirth. There is an aura of emptiness embedded deep within each of the seven tracks of the album, a melancholic void that is occasionally torn asunder in acts of sonic catharsis.

The compositions of ‘An Unending Pathway’ often crawl along with a restrained intensity that occasionally boils over into blackened blasts of fury. “Revenant” and “Bereavement”, two of the most memorable tunes of the album, are examples of Atriarch at their most dynamic. “Revenant” is a dirge-like hymn celebrating the transcendence of flesh, and devolves from an atmospheric gothic crawl into a torturous death throe. Vocalist Lenny Smith shifts between blackened howls of despair to clean vocals to death growls within the span of a single tune convincingly and with relative ease. “Bereavement” is the most aggressive track of the album and begins with a blackened onslaught before settling into a doomed, lurching crawl.

At just over seven minutes in length “Rot” is probably the track most representative of the album as a whole in terms of overall theme, mood, and instrumentation. It is initially an empty, sparse composition with rhythmic drumming that acts as a backbone allowing the tune to unfold and breathe. The often desolate tune is accompanied by Smith’s whispered musings on the unavoidable decomposition of the living punctuated by louder, more dynamic vocals and heavy, yet sluggish riffs.

‘An Unending Pathway’ is by no means easy listening, but under the right conditions and in the right context it can be a compelling experience. Atriarch, since their inception, have seemed to draw from a variety of influences. ‘An Unending Pathway’, like its predecessors, effectively weaves elements from the darker side of the spectrum of rock and metal. The gothic and post-punk atmospheres of Bauhaus and The Birthday Party are effectively woven into the fibers of black metal and doom for a unique and dismally excellent listening experience. Fans of Neurosis, Minsk, Tombs, or Cardinal Wyrm—along with early eighties post-punk and gothic rock—should find quite a lot to admire in Atriarch’s entire discography.

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