And the earth was without form and void, and darkness was upon the face of the deep. Blank canvas. Blank page. No words. Then came … Poetry. Psalms. Hymns. The power and the glory. OMG – Oh My Godthrymm! This is the one, my good brothers – one for the ages, one for the rampages, the spillages, the courageous.
It really is a renaissance time for heavy, melodic experimental doom fans with The Exuviae Of Gods series from Mournful Congregation, the cathartic Katatonia-indebted Mother of Graves making significant waves and now the first album from Portland’s beloved Usnea in over half a decade. A band rooted in care-for-others and awareness of their place in the cosmos making some of the most expansive and also acerbic doom around? What’s not to love?
Much like the dense expanses of sci-fi space that their music thematically focuses upon, the UK’s Wallowing are a band of mystery. With their identities largely hidden and their physical presence in cloaked and masked outfits, Wallowing instead allow their music and their theming of darkened science fiction to be the true focus of their creative outlet.
It’s been a tic since I’ve heard a doomy sludgy style album that I enjoyed. After a while it becomes rote. It all sounds the same. Thankfully, Rot (Church Road Records) by the oh-so-brilliant Ohmms brings back that delicious, doomy, sludgy, bombastic sound. Can a doom album make one happy? Oh yes, Ohmms’ Rot can.
Though hailing from Chicago, Illinois, the doom metal of Rezn displays a touch of East-Asian mysticism about it, on Solace – the band’s self-released fourth full-length. Slow-to-mid-paced, hypnotic riffing goes from nimble and floating to heavy and crushing (and back again) all fluidly and with an altogether gorgeous production that makes this metal album akin to some exotic sweet that still delivers satisfying, crushing heaviness.
Gaerea had a 2022 about as good as any Extreme Metal band, with the release of their third full-length album Mirage driving forward their sound and eloquently merging ferocious Black Metal with elements of heavy “post-” music to create a unique style, on a record that was one of the finest of the year. And during this period of creativity vocalist and guitarist Guilherme Henriques would continue to develop his Oak side project with former drummer Pedro Soares, which had begun when the two were writing and recording Gaerea’s debut album Unsettling Whispers in 2018.
Authenticity.
The concept defies explanation, evades forensic inspection and can tie even the greatest philosophers in knots. Yet it’s something that we seek in artistic expression, and somehow we instinctively know when we encounter it.
A new doom metal “supergroup” releasing a COVID-19 lockdown album in late 2022. That sentence, which describes MMXX‘ Sacred Cargo (Candlelight) in plain terms, will no doubt inspire a variety of different thoughts and feelings in people with an interest in such things. Some might dismiss the concept (album) out of hand. After all, the band’s name translates as “2020” and, well, not only is it not 2020 anymore, but the mere mention of that year is liable to inspire at least a wearied eye-roll if not a flashback to genuine out-and-out despair.
Skin & Sorrow (Aqualamb) is the second full-length release from Cleveland, Ohio’s “heavy, low and witchy” duo Frayle. The band consists of multi-instrumentalist Sean Bilovecky and singer Gwyn Strang, who between them cite the influence both doom metal (Black Sabbath, Kyuss, Sleep) and avant-garde pop (Björk, Portishead). Frayle’s stated aim is to create “music for the night sky”.
The fabulously named Iowa-based duo Telekinetic Yeti release Primordial their follow up the rather excellent Abominable on Tee Pee Records, and appropriately it’s a beast.
Notably minimalist in its composition, which serves to emphasize the satisfyingly abrasive low end, title track Primordial kicks off proceedings with a very potent low and slow deep groove. This is made even more impressive by the lack of a bass player.Continue reading