Danzig "III How The Gods Kill" (1992)

This third chapter in the series continues on with a very expectant tone, the same knuckle strapped rock and rattle of Heavy Metal tinged in the bluesy voice of Glenn Danzig strikes again. Deep into their stride the band offer up another ten songs that will make a meal of picking your favorites, the energy is ripe, the music inspired and the tone dripping in a moody evil ready to persuade. With an increasingly metallic leaning, the intensity broods and moves a touch more expansive, the opening "Godless" a bold example as its thrashy uptempo pace collapses into a crawling swell of prolonged power chords fading into a soft and eerie synth. It parallels Doom Metal but only for this one song.

Much of what Ive said about Danzig and Lucifuge could be said again here, the music however catches up with Glenn here, the powerful intensity of the guitar work keeps up with his monstrous personality as the enigmatic front man with his cursed performance which always carries a burdeon. "How The Gods Kill" keeps the power at bay, a soft acoustic guitar accompanies Glenn who shows the soft side of himself in a pleasant melodic calm that unsurprisingly erupts with squealing pinch harmonic riffs to ratify the unease that lingers throughout.

Each of the songs ideas are executed with a touch more cohesion than before and the whole album is enshrined by its shadowy mystique, the songs turning the screws tight on a darker shade of the Danzig sound. Its chilling, spooky and perhaps best personified on "Heart Of The Devil" where Glenn affirms is evil intention, boasting the influence of his corrupt powers in a roaring performance. Followed by "Sinstinas" the mood drifts ethereal as the group take a turn with light synths and soft reverberated chords that plays like a sleepy dream pop love ballad reminiscent of Julie Cruse, of course its like a mirror to the darkside.

The edging of ideas creeping into new territory that can be heard here fits easily into the chemistry but only in the fractions it does. Otherwise this third chapter makes its self mostly known for its more sinister leaning and harder hitting guitar licks. As on every record so far Glenn's performance and persona illuminates the record and his lyrics get stuck in your mind. Its their most powerful asset, here as sharp as ever I think its fair to say this is my favorite so far! Chapter four is next.

Favorite Tracks: How The Gods Kill, Dirt Black Summer
Rating: 8/10

Ixion "Return" (2017)

The slow burly jaunt of burgeoning gloom that is Doom Metal is both a charm and curse, often undoing the grasp on my attention in its prolonging of halting moments. With a luscious chemistry of thick, cushioning distortion guitars and light airy synths, Ixion paint a vivid pallet of soft and serene climates insulated within the void of space they theme their music around. Hailing from Brittany France, this is the bands third full length, continuing on a trajectory to polish their already smooth, inviting tone which is comparatively a little stiff and low-fi on the past two compared to the gorgeous production encapsulated in these forty four minutes.

A range of elegant pianos and synthesized sounds compliment the slow, bleeding melodies the guitars as the drums steadily drone out in a lethargic stride. With a plummeting scope of pace there are brief musters of fire with relaxed blast beats but its mostly a temperate stroll, descending into frequent disperses of crawls that have the kicks and cymbals of the drummer sound like a stranger in the distance. Its the backbone of the music, with almost all melodies unfolding in tandem with the drums.

Its mood lingers on sorrow, teetering on the void yet never plunging in. Its an interesting tone for music that so easily lets its self slip away. With moments of uplift and emergence of gleaming melodies, Return rests in a precarious place trapped between the void of black and gaze of heavens light as beautiful, serene melodies hold back the frozen pace from freezing over. Its a marvelous record I have great appreciation for if not a little disappointed in how the pacing so often losses my attention, otherwise its an inspired execution of ideas.

Favorite Songs: Into Her Light, Contact, The Dive

Rating: 7/10

Danzig "II Lucifuge" (1990)

Two years off the back of the self titled debut, Glenn Danzig and his cronies reunite with Rick Ruben for another stab at their metallic tinged blues rock. Taking a vigorous stride forward, Lucifuge marks the solidifying of ideas heard on the first record while turning up the intensity, a nuance you could easily miss. Its a sweet and simple progression that has very much the same blueprint and aesthetics yet a learner, harder Heavy Metal approach brings out a touch more aggression and attitude in the guitars while Danzig himself revels in his voice, finding much comfort and ease in this tone he has carved for himself.

 Opening with meaty temperate grooves and harmonics loaded into classic metallic fretting, the rock and wail is illuminated with more intermittent guitar leads, mini solos and licks over the top of mighty power chords, raising the energy for Danzig to steal the show with his deep burly voice, flexing Country accents and tinges of Southern sounds in his bluesy performance. He sounds born of hell, weathered yet youthful, full of energy but engaged with life's burdens. It culminates with strings of classic lyrics and choruses to sing along too, as well as many big riffs which often come front and center when the songs shift to the slow and hellish elongated grooves reminiscent of Doom Metal and mainly Black Sabbath on a couple of tracks.

"I'm The One" goes full Country, an athletic acoustic guitar bustles in the silence between Danzig's musings, a lone hi hat holds the tempo down with its steady rattle. It feels as if the track will erupt into overdrive but it never quite comes. Its followed by a string of sterling songs that lead to "Blood And Tears", a slower, sorrowful song that plays like an old timers ballad, peaked by a solo and illuminated by the soft glow of a buried organ. The record is a shade better than its predecessor, my enjoyment still feels a little limited but it gets steadily more infectious with more exposure. I really get the impression these records would of dazzled be blind in my youth!

Favorite Tracks: Killer Wolf, Her Black Wings, Blood And Tears

Rating: 8/10

Moonspell "1755" (2017)

The blunder is real, as you can imagine I was filled to the brim with excitement when I caught wind of a new album from Moonspell. Id never heard the Portuguese Gothic Metal outfit before and upon my first listen to 1755 I found myself thinking "this doesn't sound like them". Well that's because I made the catastrophic error of confusing them with Moonsorrow who's last record was a true gem, one to remember, unfortunately I had trouble remembering their name and so we embark on an expected journey with another band also inspired by the moon!

Getting past the initial "This wasn't what I wanted" phase, a strong record is to be found here. Drawing from symphonic, orchestral and fantasy influences Moonspell craft an inviting breed of Metal tinged with Gothic, Doom, Heavy and even Black varieties that never goes to strongly in any direction. Its compositions are heavily involved with the keyboards which elevate otherwise mediocre arrangements of riffs to cinematic, adventurous levels. The snarling beastly scream of front man Ribeiro cuts through with a commanders presence, steering the ship. Unfortunately his impact is muted by the language barrier, the lyrics could of made better sense of lively symphonies which create quite the sense of unfolding events. Given the name of the album I can't help but feel It may be about the earthquake that killed hundreds of thousands of people in Portugal's capitol, Lisborn.

The record plays with varying intensities and tempos, never a dull moment as its rich tapestry of strings, keys, distortion guitars and vocals forge imaginative songs but as the record comes to an end its best is in store, the closing "Lanterna Dos Afogados" elevates the record a deep and brooding passage of music in its build up, moving from a whispering voice over a soft piano into a dense wash of sorrowful instruments mourning in harmony. The back and forth between these halves culminates with an exotic guitar solo and then the song is plunged into a passing of darkness it recovers from with the returning theme drenched in thick organs and gothic male choirs. A very memorable, satisfying song from a decent record with little to fault.

Favorite Track: Lanterna Dos Afogados

Rating: 6/10

The Gathering "Always.." (1992)

"Always..." may not be so, against the grain of our half life this record will be one of the first to fade from memory. Its no classic, far from it, nor the sort of record you'll hear anyone talking of again. For me? Its a personal gem, a diamond for my eyes only, an album to adore every second of. Its the Dutch bands debut record released two years before their landmark "Mandylion". At this time they had a different vocalist, Bart Sims, who growls and groans in a very typically tonal, textured and slow guttural Doom Metal way. At their inception the band were very much in this category however they stand apart from other Doom acts with a layer of synth that's inspired, melodic but always a touch cheesy with its cheap and rigid tones. Mostly though, they charm and bring a mysterious atmosphere, vibrancy and a nostalgic character to the record.

The records production is dingy, dusty and moody. Its got just the right amount of meat and punch to have an impact as the instruments get themselves across with volume in a rather low fidelity affair, much of this is thanks to the synths which fill the spaces the low, brooding distortion guitars leave in their wake. The drums have volume that comes with a bit of clatter, the snare and bass kick punch through but the cymbals are a little dizzy, the toms thin and weak, sounding pale in comparison. Bart's vocals are dominant, strong, ample. Alongside him Marike Groot puts in a stunning performance as an effeminate compliment, often singing notes to chime with the synths but then whisked into the spot light to show her sublime range that soars with a wild streak.

The true champion here is songwriting, the aesthetics are an acquired taste one could get used too but so frequently does the magic come from the progressive shifts in song direction. The mood and tone is set, the song is in its cycle and a few instruments break away from the mold to then unleash a transition and the atmosphere is transformed, we are elevated to a new plateau. These songs also drop back into their routine brilliantly. Not a note of this record feels out of place or any musical avenue forced, its a sombre, Gothic melancholy without the romanticism. Some of its best moments come as more instruments get involved. The bass is very active with a bustling tone and attitude that has it scaling the fret board to accent the guitars and cue musical shifts. In these shifts and breakaways short lead guitars or solos often drop in with a knack for being within the moment and climaxing with licks that drop right into the chemistry, not taking a spotlight but sounding akin to all that's going on around them, flowing like a river with the music.

I know this record like the back of my hand, I discovered it at a time when I was getting into the next wave of brutal music, so it never seemed all that heavy to me. Now its become apparent that the dense meaty guitars, Bart's slugging growls and the crunching drums were probably rather dark for the time however the melodic synths and appropriated use of reverberated acoustics play that down. As well as drawn out, doomish power chords the guitars have moments of heavy, head banging chugging with a touch of Groove which was growing prominent at the time.

If the record has a weak spot, perhaps the interlude track "Always..." is a touch weak in comparison, the soft synths and synthetic toms over crashing waves feels a little thin without the full band. My favorite song "In Sickness And Health" gets a nod for pitting a somewhat Death Metal riff against  a swirly synthesizer effect that sweep phases back and forth for a truly magical, astral moment. Its been a year or two since I last enjoyed this personal favorite and I'm happy to share this with anyone who cares, however Id totally understand if someone didn't see eye to eye with me on this old gloomy record.

Favorite Songs: In Sickness And Health, King For A Day, Second Sunrise, Steongarden

Rating: 10/10

In The Woods... "Pure" (2016)

Surprises seem to be common this year and there is certainly a contest for most "unexpected". The news of a new record almost passed me by, surely "Pure" is just some compilation record I thought... "In The Woods..." are an obscure Black Metal band who released the remarkable "HEart Of The Ages" in 1995. It was and still is an obscure release, an absolute gem to me in my youth, a distinctly different record for the time that homed in on inspired pagan and nature themes within the stark context of extreme music. It still strikes a nerve with me to this day, unfortunately I didn't get along with the two following records, which moved in an Avant-Garde direction, the band then split in 2003 and here we are thirteen years later. As I look up the history of their lineup I learn that the only change is singer Fogerty, the other three have been in the band since day one, I find this interesting because this record gave me some serious "one man band" vibes, a curiosity in the cover that had me painting the records voice, Fogerty, as a lone musical force. This should be a compliment to how "together" this record feels and how much the identity of their roots is intact.

"Pure" is lengthy, a sixty seven minute epic that has no measure in pace. Its a Post-Black Metal record in the truest sense where traditional values have been further removed as its extremities give way to the vision that Fogerty illuminates with his raw and charismatic, heathen voice which calls out from across the mountains. In its mercy of natural wonder a burgeoning of emotion spills through the music in many moments of this record, there awakening built through lengthy passageways of dense progressive music. With a lot of clarity and volume these instruments carry forth an honesty in the raw, chunky guitar distortions, loose drum environment, nostalgic archaic synths and ethereal acoustics that harbor the authentic, natural qualities of low fidelity without compromise in its audibility.

The band immerses us in rich atmospheres as there songs, one by one, move through the motions, varying metallic intensities, dropping back for acoustic moments and soaring with earthly vocals. Its all a familiar affair as many composition techniques are the same as on that classic debut. "Towards The Black Surreal" has a deja-vu moment where the song suddenly shifts to a seemingly identical piece of music, bar one or two notes, from "Yearning The Seeds Of A New Dimension". There is no moment quite the same, but in seems two parts of guitars and vocals overlap perfectly, capturing the beauty of their early music.

As much as ill rave about this record, it has a flaw. I felt in the right mood it would captivate and transcend yet It wasn't one to make that happen through the music alone. "Pure" has a stunning tone and solid aesthetic to match but mostly it draws through temperate passages that only light up if in the mood, however it is littered with plenty of attention grabbing moments too. Whats most remarkable is how alike to their debut this record is. Overall its got a meatier sound and no breakaway tracks like "Morning The Death Of Aase" and "Pigeon" but they are just differences. I hope this return is not a one off, the band still have a lot to offer.

Favorite Tracks: Cult Of Shining Stars, Towards The Black Surreal, Transmission Krs

Rating: 7/10

Ghost "Popestar" (2016)

Swedish Metal act Ghost should need no introduction but the reality is they are a new, fresh and growing band who have revitalized an old metallic style with a devilish undertone beneath their lush aesthetic. "Popestar" is a five track EP, its name a play on pop-star and the anti-pope image of front man Papa Emiritus. Riding of the back of a Grammy for "Circle" its a good tie over to there next album which could potentially be a big one as they continually expand their reach across the Metal audience. Consisting of one b-side and four covers it may sound like a scraping of content but actually its a fantastic little mini record.

I can't remember when I last enjoyed a collection of covers as much as this, the gorgeous aesthetic of the record paves the path of possibility for harmonica solos, spacial ethereal synths and some of the bands most melodic and "light" songs to date. At most times the Metal element feels far removed and we are left with colorful, bright music, free for melody and harmony to reign supreme through acoustics and Papa Emeritus's glorious voice.

"Square Hammer" Is a typical Ghost track of devil worship between grooving Hard Rock riffs and the oozing thick smoke of the purple organ, It could of fit right into the Meloria record. The covers equally depart from the tone of Ghost and in this moment showcase the versatility of their sound, the final three tracks have an infectious singalong spirit coming from a different musical center. The lyrics have a very pro christian tone and I think the choice to keep them the same rather than swapping names for Beelzebub let the music shroud it in a subversive tone of evil. On "Bible" its even further removed without a heavy guitar chord and thick evil organs slugging away to heavy the tone like on "Missionary Man". It retains the uplifting biblical tone and with one strike of rumbling guitar in the chorus, hides just enough darkness to satisfy.

Its a fantastic mini record, four great songs and one I'm not as fond of. Its another welcome dose of Ghost but makes me excited for the versatility of their sound, I hope the exercise of cover records like this is to test the waters with fans and find more regions to which they can evolve their sound. I'm once again very keen for more from the excellent band, one of Metal's best this decade.

Favorite Songs: Square Hammer, I Believe, Missionary Man, Bible

Rating: 6/10

Shape Of Despair "Monotony Fields" (2015)

With my recent curiosity into Doom Metal, through albums like Desire's "Infinity... A Timeless Journey Through An Emotional Dream" and Candlemass's "Nightfall" I was recommended Shape Of Despair, a Finnish Funeral Doom band who's debut has quite the reputation. After an eleven year gap between records "Monotony Fields" is another heavily praised record but unfortunately one I couldn't really enjoy or get into.

Its slow, punishing act of doom and gloom drawn out through lush textural instruments that didn't add up to more than its parts. I can however, very much appreciate what this record could do for someone else. It is aesthetically gorgeous in its own morose way but the life is sucked right out of the atmosphere by the crawling pace and stagnent progression. The guitars, synths and drums mostly feel the same from track to track, in their lethargic drifting presence the differences and subtleties fall mercy to the postponing nature of these songs.

The synths set the sombre tone for dense guitar distortions to bleed out with monstrous guttural vocals being stretched over lengthy riffs with a remarkable consistency. In its moments the lead melody can conveys some epic, or emotional context but it too falls mercy to the stagnation of slow repetition. The pallet is quite memorable but it feels uneventful beyond setting a mood. For me this record dives to far into slow gloomy atmospheres for me to stay with it. Although it has an interesting texture, their is no progression or events to keep my attention.

Rating: 3/10

Thorns Of The Carrion "The Scarlet Tapestry" (1997)

My interest in Doom Metal was recently peaked with Candlemass's "Nightfall" and at the whim of youtubes algorithms was suggested this unheard of video with next to no views. It was this forgotten and obscure bands second album and hooked in by the striking record cover I listened to the opening tracks which where certainly interesting. Thorns Of The Carrion are from Ohio, USA and may have been a somewhat of a local scene band in the 90s with a string of demos and two independent released records of which this is the second. Only active for ten years they have little reputation in the Metal world.

Far from terrible but lacking in charm, "The Scarlet Tapestry" suffers the fate of its own doom and gloom themes as the mood and atmosphere created in this sorrowful record often drift into a lull of morbid guitar drones and soft airy key lines dragging through unhurried tempos. Demonic guttural growls grimace with a lack of oomph and interchange with screams similar to Dani Filth. Clean vocals are also delivered in a deep and teary tone which gets a little to much with moans of "Why Am I So Alone" over and over. This record dives into love and heartache with melancholy and a touch of gothic romanticism which doesn't manifest well in lyrical form but the instrumentals do have a cohesion to define a unique blend of depressive, wistful and slightly morbid music fit for a foggy, human form of darkness.

Bar the introduction track the album opens up with a fair stir of energy and tempo as thunderous horns scale up and down reminiscent of Graveland's "Prawo Stali". It transitions into a begrudgingly sluggish dragging of guitars and much of the record follows this theme of slowness with moments of energy and life splashed in unexpectedly. If not in one of these sporadic bursts of life and movement the records next best output comes from the timid and lonely flute melodies, occasional pianos and thick gothic organs. Other than that the record feels lengthy and unfocused with minimal ideas being draw out of proportion and its atmosphere isn't immersive enough to make that sluggish pace meaningful. Enjoyable to hear something different but far to flawed to return to again after a handful of listens.

Rating: 3/10

Candlemass "Nightfall" (1987)

Portuguese band Desire recently sparked my interest in Doom Metal and with a little digging around and research it didn't take long to find myself in Sweden again, home to some of Metals finest bands, Bathory, Diabolical Masquerade, Entombed, Meshuggah, Opeth and Soilwork to name a few. Impressed with rave reviews throughout this bands discography I thought Id start with their highest ranked and critically acclaimed sophomore record from 87, the same decade where the term "Doom Metal" really started to take hold as a musical genre beyond its prototype days in the 70s. Quickly did I hear the echos of "Black Sabbath" who defined some key characteristics of the genre, like the slow tempo, bluesy guitars and use of the tritone.

"Nightfall" made a swift and monumental impression, after a haunting intro of ghoulish choirs Candlemass drop the guitars in with crisp, bold, solid distortions that glaze with a touch of venom in their harmonic aesthetics. Riffing with singular linear notes they fall between the groove and melody, crunching rhythms and straying into the higher regions to expand the burdening atmosphere. Without any dizzying distortions Candlemass bring a weight of doom and heavy in a storm of atmosphere that feels almost biblical in its damnation. The gloom of funeral, the shadow of death and the shame of sin swirl within these songs, however from a safe distance we are the observer. In its harmonic tone its distanced from the emotional burden and becomes quite the bewitching and devilish rock out as these slow crawling riffs tangle into memorable melodies.

The bass and guitars have a concrete harmonization for the riffs and the drums slowly shuffle around them, groaning out slow grooves that occasionally pick up tempo in short bursts. Over it all singer Messiah Marcolin makes an unforgettable impact with his voice, powerful, bold and commanding he steers the ship with a thunderous voice and stunning pitch control. Hitting bellowing lows and soaring highs he creates the air of epic with a sublime vibrato and operatic performances that flow with the rhythms steady movement. It all takes place in a stunning production for an 80s Metal record, big, spacious for the guitars to fill they rock sweetly in a rich atmosphere fit for the glorification of the macabre. It has been a pleasure to enjoy such a well realized record.

Favorite Song: Samarithan, Black Candles

Rating: 8/10

Desire "Infinity... A Timeless Journey Through An Emotional Dream" (1996)

Chasing down one of many rabbit holes the world wide web offers I somehow found my way to this obscure, niche and unheard of Portuguese band. Sucked in by the vivid and lonesome crimson red cover I heard a sound that reminded me fondly of two records close to my heart that I am yet to talk about on the blog. Doom Metal is probably my most neglected sub genre of Metal considering I adore Black Sabbath and have never heard anything to turn me of the style. This record, Desire's debut, really highlighted the qualities in these other records of which Id never linked to Doom before. If your familiar with the genre you wont be surprised to hear that "Infinity..." is a sorrowful record of mourning, heartache and sadness that flirts with the endless depths of the infinite. That may sound rather unpleasant but its a spiritual, emotional look into the hurt and longing one can feel.

The records moves with a brooding, gargantuan weight that slows many riffs, leads and melodies to a crawl, including the bellowing low growls of vocalist "Tear" who has an astonishingly textured growl that he can draw out with a touch of class. It gravitates deeply to a heavy and menacing side which isn't reflected in the instrumentals that have an almost eerie, nearly gothic vibe with thin synthetic strings peaking from between the bleeding power chords and crashing drums which thunder between spaciously timed tempo keeping hi hats. With drawn out movements and longing melodies the gloom and despair washes over for moments of subtle uplifts where the songs can break for a chunkier groove or colorful synths. Accompanying the main growl, shriller howls and growl come soaked in reverb and on occasions mysterious female vocals drop in the back ground feeling illusive and mournful, despite being rather sublime and tender.

Given the long nature of the albums core songs, up to sixteen minutes, Desire do wonders keeping the mood and atmosphere relevant and moving forward in a slow and reluctant setting that will draw out sections for many minutes. They do however grow and evolve even if at a snails pace and what it greatly benefits from is how suited slow and gradual is for such weighty themes of human sorrow. In the records short tracks we have acoustic, symphonic interludes that feel of the same realm but come across with a scenic, fantasy drive, less human and emotional. "Forever Dreaming" the albums last Metal song is one to remember with a deep nostalgic vibes seeping through the synths and soft effeminate vocals. We grace into another slow crushing movement that's climaxed by an unpolished flute lead that gives a deep sense of mystery and conclusion at the same time. The way these instruments are presented just open dimensions in the mind and as the song draws to a close we are again treated by spell bounding keys that dance lightly.

There was a singular moment which always makes me chuckle where a whispering voice proclaims "Dance with me... infinity". I can never take it seriously, something about the Portuguese accent and whispered delivery tickles me. Other than that I feel this album would of been perfect for me ten years ago, however even as I write and understand this record it still has me at its mercy with its sorrowful mystic and nostalgic atmosphere. The records production is a touch raw and rough in places but in its lower value it finds a sweet charm to let the magic work its ways.

Favorite Tracks: (Leaving) This Land Of The Eternal Desires, Forever Dreaming... (Shadow Dance)

Rating: 8/10

Kauan "Lumikuuro" (2007)

Following up on the spectacular "Sorni Nai", an album which really blew me away, I find myself at the Estonian bands roots, their debut dropped eight years earlier. It caught my attention for possibly the wrong reasons, a song "Savu" containing a slower tempo moment of Dimmu Borgir's classic "Relinquishment Of Spirit And Flesh", a near carbon copy pulled of in a different context. Not accusing the band of anything, it simply caught my attention and sucked me into what is a light, easy and enjoyable record with a unique chemistry between the dark and light elements of its design.

The experience is defined by a distance between its lush melodious bells, graciously dancing over soothing strings and the dark, narrow, dense distortion guitars that chop and churn under snarly, grim screams. Some acoustic guitars and softer electric leads bridge the gaps with harmonious folk singing but its the disparity that creates an unusual chemistry where the bells and strings guide us through ethereal like, atmospheric moods as the linear distortion guitars chisel and drone away in the distance. Its moody and the slow tempo influences of Doom Metal can be felt throughout. The writing can be both graceful, sudden and blunt as instruments interchange focus around one another and it is often where the guitar takes lead that the magic can be dispelled.

For eight years and five records, "Lumikuuro" isn't to far behind "Sorni Nai" in terms of identity and aesthetic. Some of the bands defining characteristics are here and even a few comparable moments. Its overall direction feels a little murky when chunky, groove oriented riffing crops into an otherwise atmospheric experience where the guitars are a distant fuzz. The record can also swiftly shift from one moment to the next and it isn't always pulled of with the agility they would later find. I'm fond of this record, its flawed and rather unusual in its own identifiable way.

Favorite Song: Savu,

Rating: 6/10

Black Sabbath "The End" (2016)

Black Sabbath, a legendary band that needs no introduction but if you happen to not know who these guys are you need to educate yourself, Sabbath are thee band that pioneered Heavy Metal with its most distinctive and lasting qualities in comparison to other bands, ie Led Zeppelin, that were pushing the Hard Rock boundaries at the time. Sabbath put out their self titled debut in 1970 and nothing has been the same since. The distortion guitar tone, the melodic yet doom and hellish atmosphere and Ozzy's remarkable voice shaped the future of Metal to come, having a listing influence on modern bands as well as inspiring the Doom Metal sub genre with "Master Of Reality". Much of Metal's history can be traced back to them and a string of fantastic records with singer Ozzy before his departure in 1979. "The End" is the group's final record, a short four track EP of leftovers from their last full length "13" released three years ago, one that I am guilty of not listening to yet. It's been 48 years since the group first formed, they leave behind a legacy that refuses to be forgotten and this is where the curtains close with the band doing their final round of shows this year.

For a collection of left overs "The End" is surprisingly solid record. The record opens with a thick, strong guitar tone laying down a tight groove at that slower, doomish, Sabbath pace. Ozzy's voice drops in as if It never ages, still youthful, on key and with his distinct tone in full force. The song goes through its seven minutes steadily with a set of riffs that play through a few repetitions in a simple song structure, Gezzer Butler also throwing in some snaky baselines to spice it up with some variety.

The other three tracks follow this rather straightforward song writing and "Take Me Home" adds in an inspired Spanish guitar lead to give a climactic moment it what is a very steady and consistently paced record. Its strengths are almost to a fault, the rigidity of the riffs playing over and over gets a touch stale with many listens but its undeniably a good collection of riffs and grooves that show these guys still have it. Of course nothing to beat the classics, but something you can get behind and rock out too!

Favorite Song: Isolated Man

Rating: 5/10

Kauan "Sorni Nai" (2015)

Browsing the catalogs of record label Blood Music, which I found through Dan Terminus, I could not miss the praise that was being lavished onto this record. Having fallen in love with it, I can firmly say its justified and possibly the best record I'll hear this year. Doing a little research on the record today I have learned its based on the Dyatlov Pass incident, an unsolved, mysterious death for a group of seasoned snow hikers who lost their lives in Soviet Russia 1959 during the hike. Learning of the records inspiration has added a new sense of clarity to the events and moods the record drifts through. I could always hear its voice, but now I know of the tale it cry's. Unsurprisingly the band are Russian, however the bands name is Finnish for "A Long Time". It's their sixth full length and the bands maturity shines bright on this stunningly crafted piece of music.

Sorni Nai is a serene and lush journey to experience as these pale soundscapes calmly sway through inspired leads and indulging atmospheres of the beautiful cold. With the pace of Doom Metal and atmosphere of Post-Rock the record finds a blissful balance in slow suspended states for gorgeous musical moments to erupt and blossom from. Dense guitar tones meld and fade under sensuous choral synths the paint the winds with pale colors for melodies to dance through. The record can smoothly shift between its lighter moments and Black Metal inspired darkness with snarly, contained screams and ripening of distortion guitars when the times call for it. Every moment this record experiences us with is a continuation of the previous moment, even the tracks seamlessly transition, barely noticeable as another natural shift occurs, changing and turning through its deep inspiration.

And now for my favorite moment in the record. In "At" we hear the cries of a native spoken woman, her words carry much emotion under a beautiful piano melody and I now believe she represents the female hiker on the expedition. This slightly tragic moment leads us into the records dark and evil moment which now I know represents the unknown death these souls faced in freezing cold temperatures. The swaying hums and acoustic guitar fades into black as a crunching guitar penetrates the silence with its unwelcome presence, striking out with force. Hellish synths eerily descend with a menacing tone and before you know it the most theatrical moment paces into a melodic, unsettling limbo.

Its a brilliant moment that is also one of the most indifferent in what the album offers, but it summarizes the genius at work throughout. Its stunning, rich in atmosphere and littered with magic as we drift through the snowy, frozen mountains of mother Russia. Its inspiration could be felt through the music alone and I love it even more now I know the tale behind this brilliant record I have been enjoying continuously for weeks. Its hard to call a 10. It takes time, but I feel with age ill grow to love it more and more.

Favorite Track: Khot

Rating: 9.5/10

Dio "The Last In Line" (1984)

Dio are an American Heavy Metal band fronted by Ronnie James Dio who passed away in 2010. Named after their singer, ther band are very much defined by his soaring vocal presence, a powerful and melodic voice that can hold notes with an unrivaled tenacity. Being a metalhead of the 90s and 00s eras there are many 80s bands that are beyond my scope, but how Dio evaded me all these years is a mystery. The band have sold over ten million records and have a sound about as definitive of Heavy Metal as it gets, fitting in alongside the greats of Iron Maiden, Judas Priest and Ozzy Osbourne.

The record starts with the fist pumping, anthem-like sing along "We Rock" setting the tone for an energetic foray of arena rock Heavy Metal that never slows down. From start to end its just classic fist pumping, head banging Heavy Metal with rattling drums, big grooving baselines and heavy chord driven guitars. The records tempo slows at times with elements of Ballard rock. The occasional use of synths fit in well but for the most part its a pretty traditional approach executed with a spark to define it as Dio.

The guitar work is solid, a great balance of thrashier picking rhythms and drawn out power chords that are elevated thanks to an excellent set of baselines courtesy of Jimmy Bain. They hammer and groove with a warm and bold tone that's high in the mix without overpowering the over instruments. Its often the focus of the energy alongside Dio's powerful voice commanding every note he hits. On the front of theme and execution everything here is pretty typical of 80s Heavy Metal, however nothing is corny of cheap, this is pure quality from start to end and made for the live audience with each song feeling fit for a stage in front of thousands.

Favorite Tracks: We Rock, Mystery

Rating: 7/10

Farmer Boys "Countrified" (1996)

Farmer Boys are a German Metal band from Stuttgart who are still technically together despite years of silence and no studio record since their forth in 2004. With little chart success or renounced acclaim it was quite fortunate to stumble across this small band that play a breed of Metal perfectly suited to my taste. Had I found this in my youth I'm sure I would of lapped it up. I can hear that energy, but these days it doesn't have quite the same effect one me. There's also an interesting "Depeche Mode" cover in there, with Anneke of "The Gathering". Which is how I found my way to this group.

Their sound was immediately identifiable. Big crunchy distortion guitars, angrily shouted vocals and subtle symphonic elements to break up the metal assault. Initially I heard tinges of Industrial with a "Die Krupps" feel to their style, especially in the dense, chunky guitar tone. That might be a regional thing but as I got to know these songs all the influences became apparent. Forces of Groove, Thrash and Nu Metal converge through the riffage with a Doom and Gothic tinge amplified through the acoustic moments and subtle strings that sit quietly under the guitars while choir aah's covertly grow and creep into the songs.

The album drives through a straight forward arrangement of songs that work through the motions, playing out aggressive riffs, broken up by mood shifts led by Matthias Sayer's gloomy, sorrowful clean vocals. As the album gets deeper some very obvious sounds surface with "Pantera" blunt force style riffs and grooves emulating "Machine Heads" classic pinch harmonic groove. For 96 its a great sounding record and the group sound relatively original in the Doom Metal moments of their songs but they do sound a little drawn between styles. Either way they define themselves and despite a very decipherable style, the album flows effortlessly and the songs are really enjoyable. As I said in the beginning, ten years ago me would of lapped this up.

 Favorite Songs: Farm Sweet Farm, When A Chicken Cries For Love, In A Distance To God, Call Me A Hog, Countrified

Rating: 5/10

Ghost "Meliora" (2015)

Ghost have been one of the most impressive Metal bands I've heard in a long time and I'm not alone with this opinion. Critics and fans alike have been praising this band since there debut "Opus Eponymous" and the band has rapidly been growing their fan base and praise with striking stage theatrics and music to match. I discovered them not long before the release of their second "Infestissumam" and this new record "Meliora" has been my most anticipated record for some time.

Defining Ghost's sound with words may be relatively easy but you have to hear it for yourself to understand the level of execution these musicians are putting into their art. Side stepping from the atypical progression of Metal music Ghost pull influences from the earlier era's of Heavy Metal and satanic themes in music with a tasteful re-imagining of ideas portrayed by extreme bands of that era. There's hints of Doom Metal, Psychedelic and Hard Rock, even Progressive Rock at times and it all comes together with a focused vision of dark, satanic worship in the form of bright melodies and lush, inoffensive instrumentation. Further playing into the twisted vision the band remain anonymous as "Nameless Ghouls" and their singer "Papa Emeritus III" replacing the former with each record. The anonymity wasn't of much interest to me, however it is speculated that the Swedes are a "super-group" of sorts.

Meliora is a gorgeous sounding record that finds the group playing down some of the metallic, riff oriented elements of their sound in favor of melodies and instrumentation that will have you watering at the mouth. The production captures these instruments with color, clarity and a chemistry that lets the harmonies between instruments spread like butter. Behind the glorious aesthetics the familiar theme of satanic worship is dressed up and delivered through Papa Emeritus soft persuasive voice, often subtle and suggestive with his lyrics he delivers hooks and passionate sing along lyrics with an evil subversive undertone that gets stuck in the mind.

The instrumentation is the bands most diverse, ambitious and on point so far. Across the ten songs they hit a remarkable range of ideas, themes and variety that can be heard through a thicker range of sounds, from sparkling acoustic guitars to the luminous pianos, enchanted choral vocals and eerie organs, everything has its moment in the spotlight. The lead guitar rips dazzling solo's that let Progressive influences blaze the trail on "Mummy Dust" with an almost synthetic quality. The drumming marches along with the flow of the tracks and punches a lot of pedal kicks and cymbals together to mark the rhythmical hits in the notation. Even the bass guitar gets its moments to show off its snarling raw texture as it bounces and grooves with the lighter guitar distortions utilized.

The record flows from start to end without a dull moment, and although there may be some tracks a little more favorable, it will vary from person to person as every track has wonderful vision and execution. "He Is" was undoubtedly my favorite, an spirited worship song fitting for traditional christian song if it wasn't for the lyrics, on this track its Ghost at their absolute best and there's little this record could of done to be better, however I think we are still yet to see the best of this band who are quite simply killing it right now. Can't wait to see them live again, and already I'm excited for what the next record will bring, but far from done with this gem.

Favorite Track: He Is

Rating: 8/10

Anthemon "Kadavreski" (2005)

A while back I picked out "Dystopia", an all time favorite record of mine, to cover here on the blog. It occurred to me that Id never given their other records much attention. I picked out the follow up record, and subsequently their last, to listen too. It has a very familiar pallet with similar tones, the acoustic and distortion guitars, the operatic vocals and a wall of symphony through the electronics all feel very much of the same page, the only difference are some rougher guttural growls on the opener.

Consisting of four tracks the record opens up with an ambitious 23 minute piece that develops from a majestic traveler into a dark and hasty aggressor accompanied by vicious growls and hammering snare drums as the track unravels back and forth between somber acoustics and doom drenched crawlers crying out unsettled melodies over thick, symphonic chords plastered in distortion guitar. The progression is ever shifting in direction like schizophrenia, as if fighting between different parallels. At around fifteen minutes the song breaks its form with a lush, dreamy laden of piano sweeping in fast flowing, gorgeous form before confining itself to a simple melody that sets a tone for the final part of the track that fails to make sense, or climax the song with any meaning.

The lack of direction or cohesion gives this one an unusual taste, despite being a little erratic and shifting, whatever is taking place sounds great for the most part. The group deliver a similar taste of melody and mood to the predecessor, but not the song structure and emotional narrative. The following songs feel second fiddle to the colossal opener and feel easier to digest and understand in their small length, despite continual shifting mood, melody and tempo that turns in a heart beat. The final track "Weight Of The Feather" has the simplest of song structures present and from the mid point draws the record to a close with a big crunchy riff chugged over and over as the growing magnitude of symphony is cut short by the strike of a gong.

"Kadavreski" is a confusing record, one that's hard to form an opinion on. Its ambitious opener doesn't sit right with the other three songs and they all shift and turn a little to fast to follow. That being said at all times the record provides a lush dense wall of swallowing sound to get lost in, with moody brooding melodies leading the way.

Rating: 6/10

Anthemon "Dystopia" (2004)

Today we write about a personal classic, an album thats been with me for many years and has also been a little bit of a mystery as to how I actually found my way to this one, but over the years it's served as a record I can revisit time and time again. Anthemon were a French band from Paris who fused Symphonic Doom Metal with a operatic vocals, with a distinct sensibility for tuneful, moving melodies and lush, glacial atmospherics that gave them an identity unique to anyone who has been lucky enough to stumble across this now defunct group. After recording three records in three short years the band split up during the writing process of a fourth for reasons never expressed.

"Dystopia" is a concept, sound, an identity created through an aesthetic the entire album sticks too. A niche touch in creating a record that feels like it can only be best enjoyed listening all the way through, more so than nit picking songs. Although a couple of tracks stand out, this is eight tracks of steadily paced, lush doom, playing out crafted melodies and theatric, moody operatics in absorbing strength. The sound oozes a sensuous wall of symphony as brooding, dense, low distortion guitars ring out against uprising, bold, audacious symphonic strings that create a warm, absorbing air of wonder for captivating melodies, and melodramatic performances as the operatic leads soar high and exchange with beastly growls and screams from the harsh vocals, as sturdy drums and solid baselines steady the ship.

The melodics are infectious, tuneful leads that burst out from both the guitars and symphony in between brooding moments that move with the anticipation of the next tune. The craft is astounding, each riff, lead and vocal progresses with ease to the next state with a true architecture that far exceeds the atypical Metal approach to song structure and writing. Anthemon forge their music like a matured wine thats been brewed to the fullest of flavor. Guitars play out giving rhythms that lend themselves to the structure and progression while breaking out into glorious leads with the strings and synth. The mood of the record is a strange one, overall bright and uplifting, with an undercurrent of sadness, mostly heard in the operatics, that flirts with darker feelings as the lyrics brood and ponder on pain and the psyche of the mind.

From a technical perspective this is a grand sound that may feel a touch clustered at times, but does a tremendous job allowing the bright, gleaming leads to play out in unison alongside moody guitar distortions as the symphonies shine through with a bright hazy wall of bliss. The drums play an important roll, sounding crisp, punchy and big, yet playing a moderated roll, providing these songs with a sturdy backbone thats theatric, without stealing the show. The chemistry in the mix may really be in the music, but the lush sensuous aesthetic of this record does nothing but reinforce magical compositions that master their own conception. Truly a work of art that could be easily overlooked, but years of listening has shown me the wonder never dies with this one.

Favorite Songs: Above Us, Tuned To Dead Channel, Sereve Eves

Rating: 9/10

YOB "Clearing The Path To Ascend" (2014)

I was sent the song "Marrow" by a friend, I was thrilled by this lengthy, brooding, melodic and doom like epic that moves at a snails pace, dragging the listener through 19 minutes of heavy, sludging colorful bliss. I was excited, and got hold of this record immediately, but much to my disappointment the rest of the record, despite following similar principles, was a lot more doom and less melodic for what made Marrow shine. Although not strictly my cup of tea, this record was a decent listen that demonstrated some fantastic musicianship through unique suspense and progression. YOB are a Doom Metal group from Oregon USA, who are receiving a lot of praise for this album which has topped several Metal album of the year lists.

Whats most characteristic of their music is the slow drawn out riffage that utilizes the space between each bellowing strum, creating a monstrous stride that parades to its own cause. These riffs pound and bludgeon there way through sections that last several minutes and are spiced up by off kilt repeats and suspenseful returns. Between the guitar bludgeoning come quieter moments that are quite brittle and abrupt, with the growing mood often building to a moment that simply drops of into a lull. In the climatic moments the band stick to their riffs and accommodate the building atmosphere with additional guitar leads and demonic guttural vocals.

The record is crisp, indulgent, the textural guitar tones and foreshadowing drums mold a dynamic, expressive sound that compliments the musicianship. The clean guitars have a dreary melancholy about them, retaining a colorful melody yet expressing a cold and sorrowful tone that gives Marrow an emotional and moving climax. Its a great sound that works so well with the songs, yet for everything great about this record, for me personally the meandering nature of these songs can fail to hold my attention at times and despite being a terrific record, its one that doesn't quite hit the niche with me.

Favorite Track: Marrow

Rating: 6/10