Burning Saviours – Förbannelsen 7” Series

Though the ‘Förbannelsen 7” Series’ kicked off in 2011, the circle has finally been completed with three of the four discs being released over a span of several months in 2012. The mark III incarnation of Burning Saviours has shed the ill-conceived, hippy-dippy inclinations of ‘Nymphs & Weavers’ in favor of a darker, doomier approach that rivals the band’s excellent self-titled debut and the arguably greater follow-up, ‘Hundus’. The departure of vocalist/guitarist Andrei Amartinesei following the ‘Hundus’ full-length and subsequent single, ‘The Giant’, seemed to cripple the band beyond repair. The following third full-length, ‘Nymphs & Weavers’, was an odd misstep that featured uninspired songwriting and the vocals of Fredrik Andersson who paled in comparison to Amartinesei despite Andersson being a capable vocalist. The death knell had seemingly signaled the demise of Sweden’s Burning Saviours.

After a two year slumber the band arose from the grave in 2010 with the addition of guitarist Jonas Hartikainen and original guitarist Mikael Monks assuming vocal duties. The end result is quite different from the sound established on the band’s earlier recordings, but no less compelling. Burning Saviours still occupies that realm of warm, retro-inspired hard rock that is currently being mined by numerous bands—particularly by bands from Sweden—but they are exploring a sound more congruent with the proto-doom pioneers of the 70’s. The ‘Förbannelsen 7” Series’ is darker both musically and, most notably, lyrically from the band’s self-titled debut and follow-up, ‘Hundus’. Mikael Monks has done an effective job of taking the reins and sliding into the role of front man. His voice may not be as distinctive or expressive as former vocalist Amartinesei, but he is able to belt out catchy vocal melodies that really complement the doomier direction the band has taken.

The 70’s influences of the collection are difficult to miss and the eight tracks effortlessly combine moments of hard rock, soulful breakdowns, Thin Lizzy inspired dueling guitars, and straight-up, unabashed doom riffs. The first single, ‘Förbannelsen’, kicks off with an upbeat title track sung in Swedish. Burning Saviours have returned. The guitar tones are warmer and richer than anything the band has recorded to this point and really illustrates that Burning Saviours aren’t merely interested in repeating the sound of their earlier recordings. “Midnight”, the B-side to “Förbannelsen”, is a more somber tune due to its slower pace and soulful lead guitar playing courtesy of Hartikainen. “Midnight” also features Monks singing in English, a trend that will continue through six of the seven remaining tracks. The second single, ‘The Offering’, begins with an ominous guitar intro reminiscent of Black Sabbath’s self-titled song from their debut before catapulting into one of the strongest, nod-inducing riffs to be found in the series. “The Offering” is easily one of the standout tracks of the collection. “Spirit of the Woods” is a barn burning, blues inspired rocker that has more in common with most of the other Swedish exports.

The third 7”, ‘The Nightmare’, finds the band in more soulful territory, both musically and vocally. Monks really pushes himself vocally on the title track as he simultaneously laments and curses a figure from the past who haunts his dreams. While the bulk of the song has a bluesy, downtrodden feel, it does launch into moments of blistering guitar playing that brings to mind Scott Gorham and Brian Robertson in their prime. “Doomus Maximus”, another stand-out track, returns to the 70’s inspired proto-doom sound that this incarnation of Burning Saviours plays so well. Like the A-side to this single, “Doomus Maximus” has its soulful moments that appear midway through the song. The final single, ‘Hon Dansade med Döden’ kicks off with “I am Lucifer” which continues Burning Saviours’ journey into darker lyrical content by seemingly finding inspiration in Milton’s Paradise Lost. “Hon Dansade med Döden”, a proto-metal burner, appropriately bookends the 7” series by being sung exclusively in Swedish. While the end track isn’t as initially gratifying as the series opener, “Förbannelsen”, it is far from weak.

The reformation of Burning Saviours and the ensuing release of the ‘Förbannelsen 7” Series’ has signaled the band’s return to form, albeit with a slightly different approach. While Burning Saviours has always been rooted in vintage sounding doom, the mark III incarnation seems to be delving deeper into the abyss. For those who were turned off by the band’s lamentable third release, ‘Nymphs & Weavers’, the ‘Förbannelsen 7” Series’ offers redemption in a big way. Hopefully the band will continue to follow their current trajectory and produce a full-length in 2013 that is just as good, if not better than this collection of singles. Highly recommended for fans of their earlier work, vintage sounding metal in all of its forms, and doom.

Words: Steve Miller
(Originally published at Doommantia)

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…I wear black on the outside because that’s how I feel on the inside: Slow Heart’s ‘Dead Friends and Angry Lovers’

Boston’s genre-hopping three-piece, Ice Dragon, is responsible for releasing one of the most compelling, tripped-out doom metal albums of the year with their excellent fourth full-length ‘Tome of the Future Ancients’. Seemingly not content to tread the same path twice, the band has pushed their collective sonic palettes into drone, 60’s psychedelia inspired dream-pop, and kraut-rock influenced freak-out territories among others. When not recording as Ice Dragon, the band has also assumed the identity of Tentacle—a dark, acerbic doom/drone/sludge abomination that worships at the altar of Cthulhu. Not to leave any stone unturned, the band—recording as Slow Heart—has bypassed the space-time continuum and released ‘Dead Friends and Angry Lovers’, a moody, reverential collection of tunes that would be right at home on an 80’s college rock radio station played amongst Bauhaus, The Sisters of Mercy, Joy Division, or The Birthday Party. This may not be the doom metal or psychedelic rock that Ice Dragon has become synonymous with, but the five tracks that comprise ‘Dead Friends and Angry Lovers’ are a collection of atmospheric, sparse compositions that channel the best of 80’s post-punk and goth-rock.

“We Want the Night” opens the album with a gentle drumbeat alternating steadily between snare and bass before the heavily reverbed lead guitar protests dreamily in the background. Lead vocalist Ron Rochondo has further developed vocally by assuming a croon that falls somewhere between the sonorous, deep baritone singing voices of Nick Cave and Andrew Eldritch. “We Want the Night” establishes the mood for the rest of the album through its barren, minimalist composition that runs like a vein through three of the remaining four tracks. “Alone and Red” veers slightly from the minimalist goth-rock tendencies of “We Want the Night” in favor of an orchestral drone. This second track adds a meditative texture to ‘Dead Friends and Angry Lovers’ and serves as a foil to the remaining spectral compositions. “Never Trust a Woman (Dressed in Black)” is, musically, the best song that Echo and the Bunnymen never recorded provided said Bunnymen were on a steady diet of downers and didn’t give a fuck of whether they sold an album or not. “Die Tonight” is the soundtrack for a torturous descent into a personal abyss. The repetitive, haunting two notes played on the keyboard drives the anguish straight into the skull. ‘Dead Friends and Angry Lovers’ ends with the instrumental track “11:54pm (Waiting on Midnight)”. While this fifth track fits in well and remains consistent with the album as a whole, it could just as easily be a long lost Portishead demo minus the trip-hop tendencies.

In the absence of Ice Dragon or Tentacle I’ll take Slow Heart any day. Ron, Joe, and Carter have nailed it by drawing inspiration from late 70’s/early 80’s goth-rock and post-punk to create an album that transcends both the scene and era that influenced it. Ice Dragon’s fifth full-length, ‘Dream Dragon’, found the trio experimenting with lighter, psychedelic rock with much success, but ‘greyblackfalconhawk’ and now Slow Heart’s ‘Dead Friends and Angry Lovers’ confirms that Ron, Joe, and Carter are more than proficient at creating dark, atmospheric tunes seemingly on a whim. Here’s looking forward to more Slow Heart in the future.

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

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Submerge Yourself in Disease: ATOMIC CRIES ‘Suspended Between the Mouth of God and the Fist of Man’ 7”

The unholy cacophony unleashed by Saúl Do Caixão and Andy Lippoldt, collectively known as Atomic Cries, is the accompanying death knell belched forth from the mouth of hell as Death gallops onward into the realm of man. The band’s latest 7” single, ‘Suspended Between the Mouth of God and the Fist of Man’, stays true in overall mood, texture, and execution to the impressive 4-song demo, ‘For Those Who Came Before Us’, that was released earlier in the year. The duo proclaims that they “play primitive doom metal exclusively” which is right on the mark. Atomic Cries’ primitive doom metal, which also has an apocalyptic, ritual altar feel to it, fits in among other adepts who also dabble in lo-fi, primeval doom such as early Ice Dragon, Tentacle, Uzala or even Saint Vitus.

“False Prophecies”, the A-side of ‘Suspended Between the Mouth of God and the Fist of Man’, opens ominously amidst shapeless, rough-hewn distortion and drums before ultimately coalescing into a sinister doom riff accompanied by the booming, layered vocals of Saúl Do Caixão. The entire track pulses with a life of its own as the listener is eased into a slow descent of inescapable doom. While “False Prophecies” has no real twists and turns as far as tempo goes, the subtle effects on Saúl’s vocals and the addition of piercing lead guitar toward the latter half of the track add depth and character to this doleful tune. The B-side, “The Athiest”, fades in to a repeated pattern of simple, yet abrasive notes that escalates in intensity before dissolving into an all-engulfing wave of distortion. When the dust finally settles Lippoldt lets a few bass notes ring out before Do Caixão follows closely with his guitar crunch and Atomic Cries plunge into their second ritualistic slow-burn. While “The Atheist” isn’t as initially gratifying as the A-side, the tune ultimately devolves into a satisfying organ outro that makes the journey worth it.

The lo-fi, no frills approach of Atomic Cries’ self-proclaimed “primitive doom” is a welcome addition to the canon of traditional doom metal. ‘Suspended Between the Mouth of God and the Fist of Man’ picks up where the demo, ‘For Those Who Came Before Us’, left off and continues the band’s exploration of down tempo, funereal textured doom. There may be those who won’t appreciate the raw, demo quality of ‘Suspended Between the Mouth of God and the Fist of Man’ but you can’t please everyone. It’ll be interesting to see how this band develops in the future and if they will be able to diversify their sound in all of its simplicity. Get both ‘Suspended Between the Mouth of God and the Fist of Man’ and their demo through the band’s bandcamp page. The 7” single is to be released January 2013 through Finland’s Svart records.

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

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Uzala/Mala Suerte – Split 7”

Mala Suerte and Uzala—both practitioners of heavily mired, psychedelic doom—have joined forces to release a split 7” that highlights some of the best that both bands have to offer. Mala Suerte’s Illumninati inspired, New World Order thwarting “The Veil of Secrecy” is a heavy, hook-laden response to corruption, inequality, and clandestine abuses of power. While “The Veil of Secrecy” was recorded in 2010, not long after the release of the band’s sole full-length album, ‘The Shadow Tradition’, it is a track that really fits in well with the band’s previously released material while at the same time showing compositional growth. “Burned”, Uzala’s contribution, embraces a cleaner sound than what is found on both their self-titled album and the ‘Cataract/Death Masque’ single which ultimately places even more of a focus on Darcy Nutt’s ethereal vocals.

“The Veil of Secrecy” has two things going for it that really elevates the track above anything that Mala Suerte has put out before it—the opening lead guitar and Gary Rosas’ vocals. The entire song is a mid-paced plod, but the opening lead guitar instantly draws the listener in with its emotive, killer tone. Immediately noticeable with Mala Suerte’s latest is that Gary Rosas’ vocals have been dialed-back a bit which really works well on this tune. “The Veil of Secrecy” sacrifices the abrasive, up-front vocal delivery found on ‘The Shadow Tradition’ in favor of a more restrained, chant-like cadence that complements the conspiratorial lyrics. Mala Suerte’s contribution is a welcome addition to the band’s catalogue and thankfully “The Veil of Secrecy” has finally been revealed.

The relatively cleaner production of Uzala’s “Burned” really stands out and brings Darcy Nutt’s seraphic vocals to the forefront. While the production is a bit clearer, this isn’t a night and day difference. The bands still dwells in the depths of a psychedelic slurry, though the waters are a bit less murky. “Burned” still displays all of the musical elements that make Uzala so great. The interplay between the riffs and lead guitar courtesy of Chad Remains and Darcy are ever-present as is the dark, uncompromising atmosphere that seems to permeate all of the band’s recordings. For those needing a fix while they are waiting for the band to finish their next album, “Burned” just may temporarily hold them over.

Both of the doomed-out tracks on the split are strong compositions that complement each other well and should momentarily appease fans that are looking forward to new material from either band. While Mala Suerte and Uzala approach their disciplines from different angles, each band is unified by their dedication to dark, atmospheric doom. Here’s looking forward to new material from each band in the upcoming year. Pick up the 7” from King of the Monsters Records.

Words: Steve Miller
(Originally published at Doommantia)

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Wizard Smoke – ‘The Tickler’ EP

Gasping for breath on the heels of 2011’s excellent full-length ‘The Speed of Smoke’, Atlanta, Georgia’s stoner-sludge metal specialists, Wizard Smoke, have released their two-song EP, ‘The Tickler’, which continues the band’s winning combination of scuzzy, psychedelic riff-driven stoner-metal and throat shredding vocals. Where 2009’s ‘Live Rock in Hell’ was a straight-up, in-your-face assault of distorted grooves, ‘The Speed of Smoke’ built upon that formula but also raised the stakes by including more progression, experimentation, and a cleaner production which resulted in a heavy, forward-thinking, yet catchy album. Wizard Smoke’s newest, ‘The Tickler’ EP, fits comfortably right in with their two previous releases.

“Christian Cross”, the EP opener, alarmingly takes off at a break-neck speed, but like an overweight, middle-aged burnout with the best intentions of keeping up the pace, fatigue inevitably sets in, and the band eases into a more comfortable, slug-like groove. Wizard Smoke continues to tastefully include the use of synthesizers which add additional textures by sporadically washing over the riffs and the frayed vocal stylings of James Halcrow. At over ten minutes in length “Christian Cross” has plenty of room to breath. The instrumental passages are kept alive by the drumming which allows the guitars to explore a variety of tempos as the synths help to maintain a consistent atmosphere. In contrast to the song’s upbeat beginning, “Christian Cross” drags itself to a close like a wounded sloth amidst feedback, infrequent distorted guitar strums, and agonized bellows.

“Old Snake”, the flipside to “Christian Cross”, finds Wizard Smoke mining a grittier, bluesier sound. Where “Christian Cross” spends a majority of its time in the down-tuned realm of slow-mo doom riffs, “Old Snake” has a more up-beat, blues swagger and the band sounds right at home. While Wizard Smoke are no strangers to blues-inspired stomp, they are able to switch gears and still maintain a consistency and uniformity between not only their songs, but also among their releases.

Even though “Christian Cross” and “Old Snake” are some of the longest tunes penned by the band, at only two songs in length, ‘The Tickler’ EP really only serves to fuel the anticipation for another full-fledged Wizard Smoke release. Here’s hoping to 2013. All of the band’s releases are available for free download through either their main website or their Bandcamp page. Vinyl is limited to 300 copies so act quickly to get a copy.

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

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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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