…as above, so below: CLOUDS TASTE SATANIC – ‘To Sleep Beyond the Earth’

“Crushing” and “majestic” are probably the simplest and most immediate ways to describe the debut from New York instrumental four-piece Clouds Taste Satanic. ‘To Sleep Beyond the Earth’ is comprised of a single track in four movements that effectively combines the grandeur and spaciness of post-rock ambiance with the ominous crawl and lumbering riffs of doom metal. Clouds Taste Satanic are here to fill the void left by the unfortunate dissolution of Germany’s Omega Massif.

The A-side, “To Sleep Beyond the Earth (Parts I & II),” sets the tone with a slow build that is accented by distant gong strikes reverberating in the background which lends a sense of immediacy and dread to the proceedings. Though the initial build-up is menacing and suggests an ill-omened journey from the outset “To Sleep Beyond the Earth (Parts I & II)” is selectively imbued with moments that are oftentimes delicate and even beautiful. Given the context of these moments the end result is an atmosphere of unshakeable forlornness and unequivocal doom. There is an ebb-and-flow to the track creating a roller-coaster of tension and release. Clouds Taste Satanic have effectively created a soundtrack-like journey by utilizing the extended song form without subjecting the listener to twenty-three minutes of monotony and needless repetition.

The B-side, comprised of “To Sleep Beyond the Earth (Parts III & IV),” is arguably the “harder,” more “metallic” side of the album. Rather than taking their time to instill a sense of dread in the listener with hulkish riffs and ritual-like gong strikes the band immediately settles into a low-key groove that is as heavy as it is sinister—the perfect way to balance out the atmospheric leanings that are in abundance on side A. Though the spacey, often dream-like psychedelia of Parts I & II has taken a back seat to the immediate, driving riffs found on the B-side (for the most part), Clouds Taste Satanic have woven enough twists and turns into the track to keep the remaining twenty-two minutes interesting, even returning to the gong motif that had been tastefully threaded throughout the first half of the album.

With ‘To Sleep Beyond the Earth’ Clouds Taste Satanic have crafted a doom suite in four movements that avoids many of the pitfalls of extended, epic song lengths. There are enough changes in tone and tempo to keep the listener engaged while discerningly returning to thematic elements so as one cannot forget that they are experiencing a cohesive whole. It’s a journey worth undertaking again and again. Clouds Taste Satanic have moved to the forefront of instrumental doom and have set an incredibly high bar for future releases. Their follow-up release, ‘Your Doom Has Come,’ will be released on September 1st and expectations could not be any higher…

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…prepare for the atomic ritual: MONOLORD - ‘Vænir’ & 'Cursing the One' EP

Gothenburg, Sweden’s three-piece sonic destroyers Monolord prove that they have more in their collective arsenal than just tuning low and playing slow. The band’s debut, ‘Empress Rising,’ (review HERE) found the cosmic overlords settling into a series of undulating grooves that carried the seismic heft of depth charges detonating just below the ocean’s surface. The end result was an instantly gratifying album that was equal parts mass and repetition. With the band’s sophomore effort, ‘Vænir,’ the shock wave tactics are still gloriously present, but the album as a whole is more varied and nuanced.

‘Vænir,’ like its predecessor, is apocalyptically heavy and comes with the threat of cosmic devastation. Guitarist /vocalist Thomas V Jäger seems to transmit his vocals from beyond an interstellar void while raining down destruction in tandem with bassist Mika Häkki. While much of the album is played out at a lumbering pace, the band has ensorcelled ‘Vænir’ with an otherworldly atmosphere that few bands manage to fully capture. Though there isn’t a weak track on the album there are definitely some standouts. “Cursing the One” is a menacing, no-frills riff-fest that often finds the trio locked into seek-and-destroy mode. Brace yourself. The interplay between Jäger and Häkki on the latter half of the track is nothing short of mesmerizing. “Nuclear Death” is another album highlight that is carried along by the rhythm section of Häkki and drummer Esben Willems. “The Cosmic Silence” is the (too) brief lull in the storm. It’s a somber, atmospheric tune that has a “Planet Caravan” vibe.

Those lucky enough to jump aboard early were able to get their hands on Monolord’s ‘Cursing the One’ EP. While the title track was the first intro to what ‘Vænir’ would sound like it was backed with a cover of “Fairies Wear Boots.” While there are a ton of Sabbath covers out there I can honestly say that Monolord’s rendition of “Fairies Wear Boots” is now among my favorites joining Steel Pole Bathtub’s spastic and completely fucked cover of “Paranoid” and Northwinds’ tasteful, unique take on “A National Acrobat.” With “Fairies Wear Boots” Monolord blows up the Iommic/early-Sabbathian formula and takes it to its fucked-up illogical conclusion.

Monolord have totally upped their game. While ‘Empress Rising’ was a great album from start to finish I didn’t expect the trio to flat-out lay waste to what came before. ‘Vænir’ is easily one of the best albums to come out this year. I don’t know about you, but I’m looking forward to catching these guys with Windhand and Danava later this year…

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…reflections of forgotten dreams: GARDEN OF WORM – ‘Idle Stones’

Finland’s Garden of Worm made quite an impression with their 2010 self-titled debut and established themselves as some of the finest purveyors of despondent, psychedelic doom. ‘Garden of Worm’ was an adventurous and forward-thinking album that also exhibited maturity and restraint in execution. A half-decade later and Garden of Worm have further refined their craftsmanship with their sophomore full-length, ‘Idle Stones.’ While the self-titled debut was easily identifiable as a “doom” album ‘Idle Stones’ transcends most, if not all, genre conventions. The heavier riffs—save for the hazy, bluesy psychedelia of “Desertshore”—have essentially all been rendered unto ash. The band, to their credit, are still able to develop tunes that are both beautiful and downcast, but the heft of their earlier work has been replaced by subtler sonic explorations that are almost as trippy as they are moody.

Most of ‘Idle Stones’ can simply be described as melancholic, mesmerizing, and sprawling. Album opener “Fleeting are the Days of Man,” with its clean(ish) guitar and melodic bass playing, exudes a similar style to the languid, laidback approach found on much of Dead Meadow’s ‘Feathers.’ The track is characterized by a subtle tension—perfectly controlled and restrained—by deftly handled drumming. Fiery, red hot leads eventually consume any semblance of order and “Fleeting are the Days of Man” becomes, for a few brief moments, an entirely different, yet mind-expanding, tune.

Despite working almost exclusively with a dreary palette Garden of Worm have managed to create varied and multifaceted aural landscapes where the impending darkness of a setting sun is indistinguishable from the hope and beauty associated with a sunrise. “Summer’s Isle, including Caravan,” a perfect example of this dichotomy at work, is a somber slow-burner that ignites into frenzied freak-out reminiscent of Velvet Undergound’s noisier moments on ‘White Light/White Heat.’

‘Idle Stones,’ with its warm production, moody textures, and acid-tinged psychedelia is a classic sounding album that matches Garden of Worm’s growth and development with their willingness to experiment. Though the band, or at least the album, has probably shirked expectations by essentially foregoing any semblance of what could be considered doom, Garden of Worm still work with similar textures and tones. This is rainy day psychedelia for the ruined…

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…thou shalt not suffer a witch to live: Hexenjäger - ‘Demo’

French four-piece Hexenjäger take a traditional, well-trodden approach to doom metal on their brilliantly recorded, glacially paced demo released earlier this year. Sluggish riffs, ominous low-end basslines, and unhurried and deliberate drumming is coupled with deep, resonant vocals. Pacing-wise Hexenjäger can be compared to UK doom masters The Wounded Kings, particularly to early albums such as ‘Embrace of the Narrow House’ and ‘The Shadow Over Atlantis,’ though Hexenjäger’s debut does not quite emanate the same sepulchral atmospherics.

Consisting of two tracks the demo opens with “Hexenjäger,” a twenty minute marathon of epic proportions. Those unable to handle waves of repetitious riffs and pummeling basslines may find the eponymous track tedious or wearisome, but true doom heads will find themselves comfortably immersed in the barrage of soothing, downtrodden reverberations. Despite the repetitive nature of the track Hexenjäger manage to keep things interesting, especially during the latter half of the tune with some excellently layered lead guitar providing both texture and ambience. The track’s denouement is punctuated by a rising tide of eerie noise that lends a Lovecraftian ambiance to the song’s final moments.

The ill-omened noise of “Hexenjäger” bleeds into and ultimately gives way to the closing track, “Murk.” Despite the slothful build-up, “Murk”—with its relative upbeat stoner groove—is an entirely different beast when compared to the demo opener. Of note is the drumming between the two tracks. “Hexenjäger” was defined by snail-paced, barbaric percussion whereas the drumming found on “Murk” is more explosive and characterized by a certain degree of swing. The rhythm section shines bright and the wah pedal leads kick this track up to the next level.

Despite only a two track demo, there is enough stylistic variation to whet one’s appetite for more of Hexenjäger’s take on traditional doom. The band’s demo is beautifully crafted, wholly realized, and perfectly recorded. Hexenjäger is a welcome addition to the growing pantheon of killer French doom acts such as Northwinds, Marble Chariot, Barabbas, and The Bottle Doom Lazy Band. Hexenjäger are starting off on a very high note and it will be interesting to see how they develop in the future. Definitely anticipating more…

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…weathering the storm: BILL WARD BAND – ‘Accountable Beasts’

Seemingly out of nowhere and as if in response to critics Bill Ward drops ‘Acountable Beasts’ merely two weeks following a handful of promising posts on social media about writing and rehearsing. Also notably, the release follows flare-ups between the Sabbath (particularly Ozzy) and Ward camps, but for more details you can fuck-right-off to Blabbermouth.net. Coincidental or not, the estranged drummer was once again under the spotlight due to what is quite an embarrassing feud just prior to his newest album’s release. And what of ‘Accountable Beasts?’ The album is a multilayered affair that, in short, can best be described as “spastic melodicism.” This is a far cry from anything produced by Black Sabbath in any incarnation and is, for better or worse, a much more creative endeavor than what was produced by Sabbath on ’13.’ While it would be difficult to justify calling ‘Accountable Beasts’ “metal,” it is definitely not bereft of heavy moments. Don’t get me wrong, ‘13’ was a highly enjoyable album, albeit a minor album within Sabbath’s extensive and mighty canon, but one cannot help wonder how the ‘13’ sessions—Iommi and Geezer willing—could have benefitted from Ward’s creativity and songwriting skills.

Though the album seemed to come out of nowhere there is no denying that this is a fully realized release that is both well-crafted and seemingly meticulously composed—a testament to Ward’s skills as a songwriter. ‘Accountable Beasts’ ebbs and flows with compositions that are often cinematic in scope and punctuated by orchestral embellishments that are intricately woven throughout the entirety of the nine tracks spanning the release. This is progressive hard rock with occasional heavy metal tendencies. Perhaps the best points of reference would be Brian Eno’s first three albums, particularly ‘Here Come the Warm Jets,’ or any of Kevin Ayers’ first three post-Soft Machine solo albums. The eponymous title track, “Accountable Beasts,” kicks off at a scorching pace, but like most of the tracks on the album it is composed with several peaks and valleys. Blistering lead guitar and tastefully restrained keyboards add texture to the track.

While the metal elements are used sparingly, anything resembling doom metal is all but absent, save for the ominous creeper “Katastrophic World.” Excellent drumming and percussion in general—including tambourine—are at the forefront while the tune uncoils around the precise and adventurous percussive elements. Heavy riffs are present, especially midway through the track, but are not overly abundant. The song oozes with a goth-rock undercurrent that is unparalleled by any other track on the album.

One of the greatest strengths of ‘Accountable Beasts’ is the musicianship and Bill Ward has managed to surround himself with some excellent players who are just as capable of producing finely textured tunes that meander through multiple styles and tones as they are at crafting hooks. Both “D.O.T.H.,” with its anthemic chorus, and the chorus of “First Day Back” are extremely infectious, the latter of which finds Ward pushing his vocals precariously, yet satisfyingly close to exceeding his capabilities. Multi-instrumentalist Keith Lynch, who handles all guitar duties, contributes his fair share of hooks whether it’s a well-placed lead or a riff designed to add heft. His playing really stands out on “Ashes,” first with his spacey guitar solo, followed by melodic heavy metal shredding.

‘Accountable Beasts’ will have no shortage of naysayers, particularly to those who have no interest in music outside of the metal realm, or potentially to those who have biased feelings over Black Sabbath’s latest, yet seemingly never-ending string of petty feuds. I’ll admit, the first spin was a bit jarring, but a second spin was highly rewarding. While Black Sabbath seemed to stagnate to a degree under the direction of Rick Rubin, Bill Ward’s creativity seems to be untethered. Hopefully the boys can get their shit together for a final album and tour, but if not? One can find solace in the fact that Iommi, especially with Geezer, is truly incapable of producing a dud, even with Ozzy’s tired, spoken word vocals laid over the top, and Bill Ward will weather the storm and soldier on...

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…the temple is empty and ruined: OBSIDIAN SEA – 'Dreams, Illusions, Obsessions'

It has been three years since the Bulgarian doom duo Obsidian Sea has unleashed their excellent debut, Between Two Deserts, (review HERE) and the passage of time and the inclusion of bassist Ivaylo Dobrev into the Obsidian fold has served the band well on their follow-up, Dreams, Illusions, Obsessions. Between Two Deserts was a solid debut due to the heavy, memorable riffs and chant-like vocal cadence of guitarist/bassist/vocalist Anton Avramov, and a murky, dismal atmosphere that was successfully conveyed throughout the album. Dreams, Illusions, Obsessions is a much more varied release that trades in heft for arguably stronger compositions.

Whether it’s the inclusion of Dobrev on bass or a conscious decision by the band, but the presence of bass guitar plays a much larger role on the Obsidian Sea’s latest and to great effect. Dobrev’s presence not only adds a bit of low-end heft that was missing from the debut, but his basslines help to sculpt the tunes into sonic masterworks by not always simply following along with Avramov’s riffs. “Somnambulism,” the album’s closing track, perfectly captures the strength of Obsidian Sea’s rhythm section and captures drummer Bozhidar Parvanov at his most creative.

While solid drumming and the added presence of bass help to define the tracks found on Dreams, Illusions, Obsessions the guitar playing of Avramov is bolder, more adventurous, and his vocal range is both more expressive and more expansive. The album opener, “The Trial of Herostratus,” musically bears a remote kinship to Trouble’s Psalm 9, particularly “The Tempter,” but also illustrates Avramov’s great guitar playing, especially his soloing, and his growth as a vocalist.

One of the highlights of Between Two Deserts was the consistent, unique atmosphere that was threaded throughout the album’s nine tracks. Thankfully the band successfully wields a similar magic on their sophomore effort, though there are more nuances for the band to explore. “Confession,” the album’s second track, creeps along with a sepulchral ambiance largely due to the spacey, effect-laden bassline of Dobrev. The tasteful inclusion of organ courtesy of Nikolay Karakehayov on tracks “Child in the Tower” and “Mulkurul” adds depth and variety to the compositions. “Child in the Tower” may be the strongest track penned by the band and shows the trio at their most creative.

Dreams, Illusions, Obsessions is a stunning release from start to finish and stands as one of the year’s strongest releases, particularly in the doom sphere. And while the band’s debut, Between Two Deserts, was a solid release it is heartening to hear the band progress to such a high level of songwriting. Fans of traditional debut will not be disappointed as the band delivers on every level. Highly recommended…

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Live Report May 15, 2015: NOMADIC RITUALS, TOME, and VENUS SLEEPS at TenterHooks Gigspace, Dublin, Ireland

When it looked like my tentatively planned trip to Ireland would actually become a reality the last thing I was thinking about outside of catching some traditional Irish music in an occasional pub was checking out a metal show. When the plans began to unfold and we decided to actually head north to Belfast I’d be lying if I said I wasn’t hopeful that Slomatics were playing a gig. While it seemed Slomatics didn’t have anything planned I was still stoked that I’d be checking out Ireland for the first time. Even though Vertical Chamber Apparatus has been dormant for the past couple of months I still receive an occasional promo or review request. One that struck me was from Sie Carroll of Venus Sleeps—a psychedelic doom band from Dublin. I immediately downloaded the album and was simply blown away by the catchy riffs, the psychedelic/space rock nuances and Carroll’s soaring, somewhat monotone yet satisfyingly expressive vocals. ‘Dead Sun Worship’ has been in heavy rotation ever since.

On a lark, and without much hope, I decided to see if the band was playing any gigs. As it turns out things could not have worked out better. Venus Sleeps were playing a gig on my last night in the country with three other acts—TOME and Nomadic Rituals both of whom hail from Belfast and a reported two-piece grind band, Loathe, who dropped off of the bill prior to the show.

Without a definitive address we set out early toward New Market Square to find the TenterHooks Gigspace. The plan was to circle the neighborhood keeping a keen eye out for metalheads—a strategy that was quickly rewarded. TenterHooks is a cool little venue marginally smaller than Lost Lake here in Denver. The crowd was small, friendly, and totally into the tunes.

Venus Sleeps was the opening act and the band, particularly Sie, had enough effects pedals to tear open a rift in the space-time continuum. Swirling noise and feedback kicked off the proceedings and the band settled into the hypnotic groove that is “Age of Nothing.” It was the perfect opener and flawlessly set the mood. The band was extremely tight and it was a treat to see the dual harmonies of Carroll and guitarist Steven Anderson—both of whom would trade off leads throughout the night. Another highlight of their set resides in the rhythm section of drummer Fergal Malone and bassist Seán O'Connor. The bass satisfyingly carried much more weight in a live setting and the drumming was much more propulsive. If I’m not mistaken the band played everything off of their debut, save “Golden Hair,” and a couple of newer tracks.

My twelve days in Ireland prior to the show were essentially backed by a soundtrack heavy on Thin Lizzy, Uriah Heep, Lord Vicar, surprisingly some Martin-era Black Sabbath, and Pagan Altar, the latter of which really seemed to take on a new dimension and resonate even more with me as I explored the ruins and landscapes of Ireland. It was at this show that I learned of Terry Jones’ passing as Sie Carroll dedicated “Ether Sleeper” to the fallen doom legend. R.I.P. Mr. Jones.

While Venus Sleeps was melodic and spacey the following acts took the soundscapes to darker, uglier excesses. TOME took the stage next and they laid siege to the listener with a blackened form of extreme doom. For the uninitiated TOME (as well as Nomadic Rituals) peddle a similar brand of sonic terror as Fister or Primitive Man accompanied by a brutish heft not too dissimilar to what is heard on Conan’s ‘Horseback Battle Hammer.’ Incidentally, TOME and Nomadic Rituals have teamed-up for a like-minded aural assaulting split that was released in February of this year.

At that point in time it was difficult to conceive that things could possibly sound uglier than the noxious sonic brew unleashed by TOME, but Nomadic Rituals were clearly up to the task. Seriously, it sounded as if these guys had submerged their amps under three feet of mud before plugging in, turning their levels up to 11, and attacking their instruments like barbiturate-laden cavemen. Despite the shrieks and guttural howls rising above the pummeling cacophony Nomadic Rituals still managed to maintain a mesmerizing and rhythmic hold on the listener.

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Fangs of the Molossus – ‘S/T’

Despite the wide-ranging and varied palette of doom that has been emerging from Italy since the early eighties the Italian doom scene, if anything, has collectively proven itself to be forward thinking and, at the very least, fascinating. Italian doom, generally, has the ability to tap into the occult or conjure mystical, otherworldly atmospheres with a singular authenticity that is often unrivalled. Relative newcomers Fangs of the Molossus—peddlers of heavy, psychedelic doom—comfortably fit in amongst the diverse pantheon of Italian doom acts. Within that pantheon the band is able to carve out a niche of their own based around heft and the horrific. Though the band’s self-titled debut was originally recorded and self-released in 2013 the album has finally received the vinyl treatment courtesy of Italian Doom Metal Records.

Fangs of the Molossus easily fall on the heavier side of the spectrum, particularly when compared to Other Italian acts, and are perhaps only eclipsed in both overall weight and tripped-out textures by fellow countrymen Ufommamut. While the two bands seem to be following a somewhat similar trajectory, Ufommamut is pushing into the emptiness of space while Fangs of the Molossus seem to be orbiting comfortably within the stratosphere—an admirable feat considering this is the band’s debut. “Cult of the Witch Goddess,” the album’s second track, comes the closest to Ufomammut’s brand of psychedelic doom due to its low-end rumble, but also finds Fangs of the Molossus perfectly balancing monolithic riffs with pedal-hopping noise and atmospherics. “Cult of the Witch Goddess” finds the band igniting the afterburners and accelerating into the realm of space rock. Amidst the maelstrom of whirling noise and swelling rocket jets sound bites from Mario Bava’s brilliant Black Sunday satisfyingly recounts the death sentencing of condemned witch Princess Asa Vajda.

Though the bulk of the band’s debut is punctuated by heavy riffs, seismic low-end, and space rock tendencies, Fangs of the Molossus reveal a deft hand at crafting a varied, moody instrumental with “O Fera Flagella.” At over six minutes in length the track establishes itself as more than just an atmospheric diversion or as a build-up to album-closer “Dead King Rise.” Ambient sounds, acoustic guitar, and bongos effortless coalesce into a melancholy tapestry of sound that is accented with violin, organ, and ethereal noise. While “O Fera Flagella” is easily the most varied track of the album and finds the band delving into “softer” territory it reveals a willingness to experiment and explore—qualities that hopefully will be exploited on their next release.

Vocally, Fangs of the Molossus continue to distance themselves from many of their Italian contemporaries and, again, share similarities with countrymen Ufomammut. The vocals of Acid King Khanjia, who has since departed the band, are distant, often distorted, and laden with effects—a sharp contrast to the clean, unaltered vocals of many traditional doom acts hailing from the region. One possible point of contention concerning the vocals could befall the vocal delivery found on the stoner-groove of “I Drink Your Blood.” While the song boasts a guest appearance from Ain Soph Aour of Italian black metal outfit Necromass the vocal cadence bears a more than striking similarity to Al Cisneros’ delivery on Sleep’s “Dragonaut.” If this is the biggest criticism that can be levelled against this release then Fangs of the Molossus are obviously doing something right.

Fangs of the Molossus is a solid debut that has many things working in its favor. While listening to the five tracks of the album it is near impossible to ignore some of the band’s influences such as Saint Vitus or Electric Wizard—perhaps two of the easiest points of reference to make other than the aforementioned Ufomammut. Though the influences are discernible it would be a grave discredit to the band to call them a clone of any one band or to portray them as unoriginal. In fact, it is the “uncharacteristic” influences that win the day, particularly the minimalistic, repetitive psychedelia of Loop’s A Gilded Eternity and Spacemen 3’s Sound of Confusion lurking just beneath the surface.

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

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