The Fallen
The Fallen Threads
diSEMBOWELMENT - "Dusk" E.P. (1992)
Being an Australian extreme metal fanatic from way back in the late 1980's, it was perhaps inevitable that I'd possess a strong passion for arguably our most significant metal export (at least from purely an influential & creative sense) in Melbourne's masters of the doom/death sound diSEMBOWELMENT. I'd suggest that very few diehard fans suffer from as complete an infatuation as I do with this band though. I simply worship the ground they walk on & back in the early 1990's I thought of them as being a lot more than mere humans. Without actually knowing the band members, it was very hard for me to envisage them as being every-day people given the remarkably dark, unique & generally foreign sounds they managed to conjure up. I was talking to Bjorn from Grave Upheaval, Grotesque Bliss & Temple Nightside about them the other day & he shares my infatuation to a similar scale so it's not just me. diSEMBOWELMENT had a way of encapsulating everything that was so wonderful about the early 90's extreme metal scene &, to make things even more intense for a young Aussie, they were also from my home country which was a rarity for the elite metal artists in the world at the time. While there's no doubt at all that 1993's "Transcendence Into the Peripheral" album was a game-changer for the global doom/death scene though, for Bjorn & I it was diSEMBOWELMENT's 1992 E.P. "Dusk" that first saw that door opening & I've never felt that it received the respect it deserved because it's a remarkable release in its own right, particularly when you consider that it was the band's first proper release & that there was nothing out there that sounded anything like it at the time.
I was lucky enough to pick up an original copy of the "Dusk" E.P. as well as diSEMBOWELMENT's second demo tape "Deep Sensory Procession Into Aural Fate" by sending cash to the band in the mail. I can't quite remember the timeline for that taking place in respect to "Transcendence Into the Peripheral" but I think it's fair to say that all three releases would be placed on their own individual pedestals in my teenage bedroom from the time they first hit my ears. I even sought out the band's early 1990 "Mourning September" demo tape through the tape trading scene, a release that I found to be pretty decent without ever hinting at the same levels of euphoria as I'd received from diSEMBOWELMENT's subsequent efforts. It's interesting that, despite the clear crossover of material between the three most significant releases, I still think that all of them should be considered to be essential as they each bring something a little different to the table in terms of timbre & texture. None of them are particularly polished (which I strongly suspect was intentional) but there's definitely enough variation to keep things interesting.
The "Dusk" E.P. is a half-hour long affair that includes what were arguably diSEMBOWELMENT's finest three tracks so how could it not be a completely mind-blowing experience? It opens with the band's calling card in "The Tree of Life & Death", a nine-minute piece that begins with one of diSEMBOWELMENT's more brutal & blasting death metal passages before descending into the mire with some of the darkest extreme doom metal we'd heard to the time. It's a clear indication of the thick, oppressive atmosphere this band was capable of creating even at such an early point in their recording careers. The version we have here is remarkably similar to the one we receive on the debut full-length in September of 1993 too, perhaps having been given the time to fully develop after first being birthed on 1991's classic "Deep Sensory Procession Into Aural Fate" demo. This is followed by the epic twelve-minute "Burial at Ornans", another reenactment from the second demo tape & a piece which I feel still had a bit of work to do before reaching its most complete realization on "Transcendence Into the Peripheral". This is the reason for me not being able to reach full marks for "Dusk" actually as "Burial at Ornans" simply feels a little less complete than it would in the near future with some of the less doomy sections not maintaining such an elite level & the track lacking some of the atmospherics that it would gain on the album version. Eight-minute closer "Cerulean Transience of All My Imagined Shores" is another story altogether though & brings with it the most transcendental aura, transporting me to wonderfully dark & obscure places that I'd never imagined existed before. Although I do feel that the album version is a little more polished & complete, this doesn't diminish the impact of what is undeniably one of the earlier examples of the funeral doom metal genre to hit a proper release. The sum of these three classic works leaves me succumbing to pure devastation & infatuation, very much in awe of my elder countrymen.
While "Dusk" may not quite be as fully realized as "Transcendence Into the Peripheral" was, all of the ingredients were already there to see the global metal scene receiving one of the true greats at their chosen craft. I mean, if this had ended up being the only diSEMBOWELMENT release then one gets the feeling that it would have received far more attention & be referenced by a wealth of extreme doom bands as being highly influential. As it stands though, I can't recommend "Dusk" enough. The monstrous vocals of guitarist Renato Gallina are as scary as you'll ever find in music & the instrumentation around them brings to mind the feeling of being a young child lost in the darkest of forests in the blackest of midnights with drummer Paul Mazziotta's blast-beats being used over the slowest, doomiest riffs imaginable in such a fashion that was completely unheard of at the time. The production is absolutely spot-on too, leaving layers of filth & decay in the guitar tone that works to further accentuate the sheer weight on the diSEMBOWELMENT sound. Perhaps I'm biased given my personal interactions with the band at such a young age (even if it was by mail) but I feel that I'm mature enough to be able to see the forest through the trees these days so I implore anyone who thinks bands like Spectral Voice, Winter or diSEMBOWELMENT's younger sibling Inverloch are where it's at to seek out "Dusk" as I have no doubt that you'll be dazzled by what the true masters of the doom/death genre had to offer way back in 1992.
4.5/5
This revisit has seen me having to adjust my Top Ten Death Doom Release of All Time List again with My Dying Bride's “Symphonaire Infernus Et Spera Empyrium” E.P. dropping out to make way for "Dusk":
01. diSEMBOWELMENT – “Transcendence Into The Peripheral” (1993)
02. Cavurn - "Rehearsal" demo (2017)
03. My Dying Bride – “Turn Loose The Swans” (1993)
04. The Ruins Of Beverast - "Exuvia" (2017)
05. My Dying Bride - "The Thrash of Naked Limbs" E.P. (1993)
06. Anathema – “Serenades” (1993)
07. diSEMBOWELMENT - "Dusk" E.P. (1992)
08. My Dying Bride - "As The Flower Withers" (1992)
09. Anathema – “The Silent Enigma” (1995)
10. Winter - "Into Darkness" (1990)
https://metal.academy/lists/single/131
I've also had to find a place for "Dusk" in my Top 100 Metal Releases of All Time list with Deathspell Omega's "Veritas Diaboli Manet in Aeternum: Chaining the Katechon" E.P. dropping out to make way for "Dusk" which has taken up the number 71 position.
https://metal.academy/lists/single/227
Tiamat - "Clouds" (1992)
Swedish metal stalwarts Taimat have gone through a number of musical transformations over the years & it depends on your musical taste & background as to which you prefer. Personally, I’ve always favoured Tiamat’s mid-90’s gothic releases with 1994’s “Wildhoney” being their clear pièce de résistance. Their 1997 fifth album “A Deeper Kind of Slumber” saw them moving away from metal altogether with most of that record favouring a progressive goth rock sound over the band’s more sinister roots but it was still a very strong release in its own right. Tiamat’s pre-“Wildhoney” albums tend to be a little more divisive though & not without justification either.
Tiamat’s 1990 debut album “Sumerian Cry” took more of a death metal direction which didn’t do much for me to be honest but its follow-up “The Astral Sleep” was a doomier affair that was where the band started to becoming interesting to me with 1992’s third album “Clouds” seeing Taimat moving even further down that rabbit hole. Ben & I owned “Clouds” on CD back in the day & I remember quite liking it but it wasn’t a release that I’ve returned to all that often which is likely more of a reflection on just how strong Tiamat’s next two albums would turn out to be than anything else. It’s been decades since I last investigated “Clouds” though so I was looking forward to refreshing my memory a bit this week.
Although “Clouds” is generally touted as being a doom/death release, I’ve never agreed with that sentiment. As a death metal musician myself, I can tell you that there’s bugger-all genuine death metal on the album. Even the vocals of rhythm guitarist Johan Edlund don’t come close to anything particularly deathly, instead taking the form of an awkward hybrid of clean & growly styles. There’s not much that resembles death metal in the instrumentation either other than some sporadic up-tempo parts that seem to have been haphazardly inserted into the tracklisting at random intervals, a feature that I regard as the clear weakness of “Clouds” as an album. Actually, I’d go so far as to say that the best moments on “Clouds” are when Tiamat completely leave their past behind & forge ahead with their newer influences which results in an attractive brand of gothic doom metal that offers a lot more crossover appeal than the band’s earlier works.
The production job & instrumental performances are very good for the time with the riffs possessing a thick, tight & completely unified tone that takes a great deal of influence from classic Celtic Frost. The lead guitar work of Thomas Petersson is of a high quality & shows him to not only possess some pretty reasonable chops but also to have a good ear for melody. Edlund’s vocals are the clear talking point for those that dislike “Clouds” though & it’s not hard to see why as he’s not the most talented front man you’ve ever heard but I find that I can accept him for what he is & get on with enjoying the album most of the time.
The eight-song tracklisting is pretty consistent with only the very ordinary “Smell of Incense” failing to maintain my interest. Doomy closer “Undressed” is the clear highlight for me personally as it possesses a wonderful atmosphere that engulfs the listener &, in doing so, has gone on to become a genuine classic from my teenage years. Opener “In A Dream” & the one-two punch of “A Caress of Stars” & “The Sleeping Beauty” are also very solid with only those annoying accelerated bursts I mentioned earlier managing to taint Tiamat’s good work. I really enjoy the use of keyboards which provide further melodic support for the heavy riffs & give the album a dreamy feel that would foresee the direction the band would take on their next record.
Much like “The Astral Sleep”, I find “Clouds” to be a generally entertaining listen but I can’t say that I feel like returning to it all that often. It certainly contains some pretty solid material to sift through for inclusion in your weekend playlist (particularly if you’re into bands like Paradise Lost, Katatonia & Lake of Tears) but it lacks enough genuine highlights to see it becoming a regular fixture when I feel like reaching for Tiamat as the next two albums simply feel superior. Now that I’m discussing all these old records though, it’s made me realise that I haven’t heard anything Tiamat have released since “A Deeper Kind of Slumber” so perhaps I should rectify that at some stage.
3.5/5
Hamferð - Men guðs hond er sterk (2024)
Hamferð are a six-piece doom metal band from The Faroe Islands. They have been in existence since 2008, but this is only their third full-length release in all that time, their debut having seen the light of day back in 2013 after winning the Wacken Metal Battle competition at the Wacken Open Air festival in 2012 and it's follow-up hitting the shelves in 2018. I must admit, I have only recently got on board with these guys myself during a dive into exploring more obscure doom metal bands, but I found much to enjoy in both of their earlier releases.
The new album's title translates as "But God's hand is strong" and the lyrics are sung in Hamferð's native Faroese, relating the tragic tale of fourteen faroese whalers who lost their lives at sea in 1915, with the album's title being a quote from one of the survivors upon his rescue. Musically they play strongly melodic death doom with both growled and clean vocals provided by singer Jón Aldará (also of Iotunn and Barren Earth) who switches between styles, to good effect, often within the same track. The band as a whole are very proficient with a nice clean sound that perfectly suits their more melodic approach to death doom. This melodic approach doesn't seek to crush the listener under waves of heavy riffing, but rather attempts to affect them more subtly with sorrowful airs that worm their way into the consciousness, effecting a deeper sensation of melancholy than a merely bludgeoning approach would achieve. Occasionally they become very light of touch indeed, verging almost on the balladic, which may have come off as a bit corny, were it not for the consummate ability of Aldará who, vocally, never descends into overt melodrama, but who maintains a subtle earnestness throughout, for which he deserves great credit.
I may have given the impression that this is a lightweight album and even though it does like to paint it's sonic landscape with lighter shades, there are certainly heavy moments present. Opener Ábær kicks things off and drags the listener in with a suitably heavy, but also melodic main riff and penultimate track, Hvølja, is the album's heaviest with a monster riff that poses a real risk of crushing the air out of the lungs of the unprepared listener who may have been lulled into a comfort zone by some of the preceeding lighter moments. Elsewhere, second track Rikin features a scarily bellowing Aldará threatening to peel the paintwork with his growls on top of a thundering main riff that you feel at gut level.
Although Men guðs hond er sterk is a concept album, thankfully the music is always pre-eminent over the concept, so none of the tracks feel forced, with the possible exception of the final spoken-word piece, although it isn't at all jarring, especially as it is the final track. The overall impression I get from the album is similar in feel to some of Enslaved's later work, such as RIITIIR or In Times, only within a doom metal framework rather than black metal. I don't wish to downplay the others' contributions, but ultimately it is the astonishing vocal talent of Jón Aldará that strikes me more than any other aspect of the album and on the evidence of this he is one of the absolute best vocalists working in the doom metal field and his performance alone is worth the entry fee.
4/5
Grey Skies Fallen - Molded by Broken Hands (2024)
Formed in 1996 as Eve of Mourning and fast approaching three decades of existence, Grey Skies Fallen are another one of a plethora of seriously underrated doom metal bands. None of the New York four-piece's six albums have even got to the modest heights of 100 ratings on RYM and here at the Academy my sole rating for previous album, Cold Dead Lands, is the only one they have received so far, which is a great shame as these are clearly a talented bunch of musicians who deserve more recognition.
The band's approach to songwriting is quite progressive, with a number of shifts in tone during each track which lends them a story-telling, narrative feel. They don't stick to out and out doom metal, nor do they focus on just one style, but rather draw together strands of death doom, epic doom, conventional doom, gothic metal and progressive metal into grand, epic soundscapes that are imbued with an imperial bombast, yet are also tinged with melancholy and regret, like visiting the ruins of a once mighty empire, whose glory days are a distant memory. As well as a deft skill for writing a certain kind of bombastic doom metal, Grey Skies Fallen are also extremely adept performers, with the band sounding exceedingly tight. Guitarist Rick Habeeb also provides vocals and has a fine voice, with convincing deathly growls as well as really nice, soaring cleans and is never left wanting. Interestingly he is also vocalist with grindcore crew Buckshot Facelift, illustrating just how versatile a singer he really is.
The doomy riffs display a nice range of variety from the gloomily gothic a la My Dying Bride to the bombastic and epic, straight out of Rich Walker's Solstice song book, and all points in between. In fact, I would suggest Rich is quite the influence for Grey Skies Fallen because a sizeable proportion of the soloing sounds like it is delivered by guitarists well-acquainted with Solstice's New Dark Age album. In fact the more I listen to this, the stronger the comparison with New Dark Age grows, with even the production sound being similar and anyone who knows my view on NDA knows that is definitely a good thing in my eyes (or ears, as the case may be). I think this is an album that benefits from repeated listens and a cursory exploration may fail to unpeel it's layers, leaving the listener unfulfilled, but time getting to know it is time well-spent as I found it getting better every time I returned to it. I would also suggest listening to it on a decent set-up as I suspect a phone speaker almost certainly won't do it justice.
Ultimately Grey Skies Fallen are superbly talented musicians and songwriters who have languished in obscurity for far too long and Molded By Broken Hands is a high quality doom metal release that deserves a far wider audience than it is likely to garner.
4/5
Monovoth - Pleroma Mortem Est (2024)
Monovoth is the solo project of argentinian multi-instrumentalist, Lucas Wyssbrod, and Pleroma Mortem Est is the sophomore full-length under the banner. It is an album of instrumental funeral doom, comprising six tracks and with an overall runtime of a mere 38 minutes, which is slight indeed for a funeral doom release. In a nutshell that previous sentence sums up the issues that I personally have with this. First off, six tracks for a measly 38 minutes! The funereal and doom-laden atmospheres for top-knotch funeral doom require expansive build-up and layering with the extensive runtime being a pre-requisite for the sense of an inescapable, soul-crushing doom awaiting all of us at life's end. Secondly, instrumental funeral doom just doesn't work completely for me. With such downbeat and morbid instrumentation as that produced by top-tier funeral doom practitioners, I believe a human connection, such as the wholly human sound of vocals, is an absolute requirement in order to mitigate the hopelessness of the music and to place the human condition, as posited by the funeral doom ethos, into context.
The actual individual pieces here show a lot of potential and it is obvious that Wyssbrod is plenty familiar with the big names in the field, as he unleashes dizzyingly towering chords of immense weight interspersed with passages of self-reflective melancholy, but their brevity and lack of vocals suggests to me a series of musical ideas waiting to be worked up into full pieces and not actually an album of finished work. I really would like to hear these ideas expounded and expanded upon with a truly anguished-sounding vocalist on board because there is really some good stuff here, in seed-like form.
3.5/5
Melvins - "Bullhead" (1991)
I don't think I ever really came across Washington sludge metallers Melvins back in the late 1980's & early 1990's. I certainly heard their name once Nirvana blew up in 1991 but didn't think they were any of my business given that they seemed to be associated with the grunge scene more than they did to the metal one. I don't think I'd actually ever hear them until around 2012 when I checked out their new "Scion A/V Presents: The Bulls & the Bees" E.P. & I didn't like it much to tell you the truth. My next encounter with them would come shortly afterwards through 2010's split E.P. with Massachusetts post metallers Isis, mainly because I'd gotten heavily into Isis but I found myself enjoying the Isis tracks but not the Melvins ones. So Melvins didn't actually start to show me what they really had to offer until I checked out their very solid 1992 fourth album "Lysol" which was mainly due to its association with the drone metal genre as its somewhat of a passion of mine. I found that record to be really appealing & have returned to it quite often since. This triggered a trip to its 1993 follow-up album "Houdini" which I quite liked too. But little did I know that the real meat on the Melvins bones was still in front of me with this week's investigation of their 1991 third album "Bullhead" being nothing short of game-changing.
"Bullhead" is only a relatively short record at just 35 minutes in duration but that's more than enough time when the quality is kept at such a consistently high level throughout. It sees the trio totally indulging themselves in amplifier worship with the spectacular production job allowing the listener to curl up in the drum riser or speaker box of a live performance & truly "feel" the reverberations of the music. It's about the clever use of rhythmic interplay between the musicians & the often weird yet perpetually gnarly vocals of front man Buzz (Crystal Fairy/Fantômas/Venomous Concept) which are both unusual & endearing at the same time. The commitment to keep unplanned guitar noise & other slight imperfections in the recording in the interest of building character was a masterstroke too while Crystal Fairy, Shrinebuilder & Porn (The Men Of) drummer Dale Crover's confidence in his own ability to explore new territory yet still hit the right beat at the right moment is staggering. Melvins simply sound like the elite version of what a dangerous live rock band should aspire to be here & it's left me devastated in a very similar way to the finest work from a band like Japan's Boris who I can only imagine were heavily influenced by "Bullhead" based on my experiences here.
The tracklisting kicks off in superb fashion with the epic nine-minute doom metal opener "Boris" (hhmmm... further indication of the potential influence I mentioned perhaps?) which is my favourite track on the album before turning towards a sludgier sound for the remaining seven tracks. The songs that close out either side of the record ("It's Shoved" & "Cow") clearly showcase the influence that Melvins had on the grunge scene that had just blown up on a global scale at the time as both tracks would arguably sit pretty comfortably on a grunge release. In fact, there are several passages across the tracklisting when I get similar chills to those that I'd experience during the doomier moments of your more crushingly heavy Soundgarden songs. Other highlights include the miraculous "Your Blessened" which is a perfect example of Buzz's ability to summon up some of the heaviest Sabbathian guitar riffs known to man & deliver them in the coolest fashion possible, as well as "Ligature" & "Zodiac" which aren't far behind in that regard. The grungier songs aren't quite as effective but the tracklisting never dips below a very solid level & is buoyed by the skyscraping highlight tracks that fill more than half of the run time.
I think it's fair to say that "Bullhead" has hit me as hard as a raging bull & I see it as one of the finest sludge metal releases I've ever heard. In fact, it's made such a big impact on me that I've had to find a place in my Top Ten Metal Releases of All Time list too which is really saying something after all these decades of metal indulgence. If you crave the days when rock music was edgy & dangerous then this record is most certainly for you. You can expect to have to give it a few listens to truly sink in but the rewards are nothing short of spectacular, particularly for those with a penchant for Boris, Acid Bath & Crowbar.
4.5/5
Here's my updated Top Ten Sludge Metal Releases of All Time list with High On Fire's "De vermis mysteriis" dropping out to make way for "Bullhead":
01. Pig Destroyer – “Natasha” E.P. (2008)
02. Isis – “The Mosquito Control” E.P. (1998)
03. Gaza – “No Absolutes In Human Suffering” (2012)
04. Monarch! – “Omens” (2012)
05. Fange – “Pantocrator” (2021)
06. Mastodon – “Leviathan” (2004)
07. Great Falls - "Objects Without Pain" (2023)
08. Melvins - "Bullhead" (1991)
09. Black Cobra – “Invernal” (2011)
10. Ufomammut – “Eve” (2010)
https://metal.academy/lists/single/133
Sunn O))) - The Grimmrobe Demos (2000)
Sunn O))) were formed in 1998 by Goatsnake's Greg Anderson and Stephen O'Malley, who was looking to form a new outfit after the splitting-up of Burning Witch, their name intended as a pun on Earth's moniker as the drone pioneers were huge influences on Anderson and O'Malley. The Grimmrobe demos were released in 2000 as the band's debut release, with the duo's worship of all things Earth resulting in the album containing a track called "Dylan Carson" after the Earth mainman. The sound on Grimmrobe Demos is heavily based upon that explored by Carlson on Earth's debut, the seminal "Earth 2: Special Low Frequency Version" with super-slow tempos, heavily distorted and downtuned guitar tones and feedback, all designed to present a monolithically towering sound with which to swamp the listener. Drums are entirely absent as there is no percussion required here, the tempo being so slow and crawling as to render any sort of timekeeping irelevant. Even for Sunn O))) there is little variety offered here, these are unflinchingly slow and crushing primal soundscapes, with zero evidence of the experimentation the duo were to introduce on some of their later releases. This is the music of nature, the music of tides, the music of tectonic plate movements and I imagine, in my more fanciful flights of fancy, that this is what it would sound like if you could get close enough to a star to hear those awe-inspiring cosmic furnaces burning off their plasmic fuel.
I have touched on elsewhere how busy experimental and technical metal often causes me difficulties because of the challenges I often experience with sensory overload, well Sunn O))) are a perfect antidote to that for me, these bassy and monolithically repetitive aural experiences enveloping like a comforting blanket, providing a calming and meditative experience that I don't often find elsewhere. I get it that these guys really aren't for everyone, or even most people, but they are amongst some of the best at what they do and personally I would hate to live in a world where Sunn O))) didn't exist.
4.5/5
So with the start of a new year it's once again time to have a look at the covers for all the releases for each clan. I personally like to rate a whole stack of covers all at once, rather than doing them one at a time throughout the year, as it allows me to get a better feel for where each cover sits in comparison to others. With that in mind, I've just rated every cover for releases in The Fallen for 2023.
Below are the releases that are currently competing for the prestigious 2023 The Fallen Cover of the Year Award (i.e. they rate at least 3.8 and have 3 or more ratings). The winner will be announced on the 1st of February, so there's still time to get your ratings in.
Ahab - The Coral Tombs
Ocean of Grief - Pale Existence
Fires in the Distance - Air Not Meant for Us
Smoulder - Violent Creed of Vengeance
Chained to the Bottom of the Ocean - Obsession Destruction
Abbey, The - Word of Sin
Oromet - Oromet
Obelyskkh - The Ultimate Grace of God
Acacia Strain, The - Failure Will Follow
Witch Ripper - The Flight After the Fall
Lethvm - Winterreise
Soulmass - Let Us Pray
If you want to contribute and rate some covers, the easiest way is to go to The Gallery and select The Fallen and 2023.
I look forward to seeing which release gets up for the win!
Benthic Realm - Vessel (2023)
I have been a fan of Krista Van Guilder's turns in bands like Warhorse and Second Grave for some time now and was very contented with the direction of latest band Benthic Realm as indicated by their first couple of EPs released in 2017/18. However things had gone quiet on the BR front while the world battled the Covid-19 pandemic, but now they are back with their debut full-length, five years after their last EP hit the shelves. Well, the band have certainly not been sitting back and I've got to say up front, this is possibly my favourite release from bands Krista has been involved in. The guitar sound is perfect for this style of doom metal, with a powerful, booming tone that imparts a huge amount of heft to the riffs. The bass and drums provide a rock solid foundation upon which these booming riffs are built, providing a dense, all-enveloping quality to the sound. Then over all this soars the heavenly vocals of Krista herself. These aren't the ephemeral, airy vocals associated with a lot of female singers in the doom metal scene, but powerful and authoritative with a gorgeous tone that perfectly complements the weight of the riffs with a strength of their own, providing both melody and power in equal measure.
The songwriting is very good also, being instantly relatable to any doom metal veteran fan, whilst still retaining a vibrancy and identity very much of their own. No, Benthic Realm don't throw away the doom metal rulebook, but they are so proficient as songwriters and performers that Vessel sounds anything but tired and derivative, feeling like a shot in the arm to a scene that often retreads old ground with solid, but indistinguishable releases. If you only listen to one female-fronted doom metal album this year then you could do much worse than grab a copy of Vessel.
4/5
Pentagram - "Day of Reckoning" (1987)
I think it’s fair to say that I became a fan of Virginia-based doom metal legends Pentagram relatively early in their recording career, if not all that early in terms of their overall tenure as a band. The Pentagram story really began way back in 1971 but, given that their debut album didn’t see the light of day until 1985 & I became acquainted with them in early 1990’s, I’d suggest that I was earlier than most, especially when you consider that they’re still a functioning band today. The self-titled debut made a significant impact on me, perhaps more so than I knew at the time. Black Sabbath played a strong role in my formative years through a double compilation that included the best of the 1970’s Ozzy Osbourne releases & “Pentagram” did a fantastic job at tapping into the same areas with a sound that included a little more heavy metal than the band’s traditional doom metal peers. Pentagram weren’t afraid to up the tempo a little while always maintaining their knack for creating the crushingly heavy & guitarist Victor Griffin had clearly mastered the art of creating timeless riffs after a decade or so of studying the godfather of metal Tony Iommi. Despite my allegiances with the self-titled album, my obsession for the extreme metal scene would see me leaving Pentagram back in the early 90’s though & we wouldn’t cross paths again until I’d investigate the “First Daze Here: The Vintage Collection” compilation some time in the 2010’s. I quite liked that collection of Pentagram’s 1970’s hard rock material but it didn’t raise the same level of interest as the self-titled album (also known as “Restless”) did so I haven’t returned to it since. After exploring a slew of mid-80’s heavy metal albums during drive time with my kids of late though I’ve found myself craving something a little heavier which has led me to Pentagram’s 1987 sophomore album “Day of Reckoning” in the quest for the ultimate riff. Let’s find out how it’s faired, shall we?
“Day of Reckoning” is a well composed, executed & produced album that showcases a band that have clearly paid their dues & know their craft well. In fact, the tight instrumental performances & chunky production job for the time really represent a lot of the appeal for me personally as it’s not nearly as consistent a record as the debut was. Pentagram had dropped any semblance of the hard rock sound they’d maintained on the self-titled through tracks like “Run Your Course” & “20 Buck Spin” by this point but I’d suggest that there’s not as much of your pure doom metal sound either with only album highlight “Evil Seed” fully embracing the dark side. The classic heavy metal sound that had perpetuated some of “Pentagram” is toned back a touch here too with the majority of the tracklisting sitting in the murky mid-point that is the traditional doom metal sound. There’s a fair bit of groovier mid-tempo stuff going on here, often hinting at the stoner metal sound that Sabbath had created with their 1972 “Vol 4” album. The use of tightly harmonized guitar melodies pops up quite regularly too & neither of those techniques traditionally sit within my musical comfort zones.
There’s an inconsistency to the tracklisting on “Day of Reckoning” which is in direct contract to “Pentagram” which I found to be without blemish. The album begins very poorly with a couple of numbers that do very little for me in the title track & “Broken Vows”, both which seem to be quite popular but are stylistically at odds with my taste profile. I also struggle with the nine minute centrepiece that is “Burning Savior” with Bobby Liebling’s out of key vocals putting me off through the early stages & the eventual crescendo all coming a little too late. Thankfully though, the combination of the tight performances, solid production & Victor’s undeniable skills as a riff master see the remainder of the record doing enough to recover & leave me with a generally positive feeling by the end of closing track “Wartime”. There are nowhere near the quantity of highlight tracks as its older sibling sported but the wins outweigh the losses to an extent that makes “Day of Reckoning” worth a few listens but I just can’t see myself returning to it any time soon. In fact, I’d suggest that I’m probably more likely to return to the “First Daze Here” compilation than I am to “Day of Reckoning” & I haven’t felt like revisiting that particular release for a good decade or more.
At the end of the day, I think my inability to fully engage with “Day of Reckoning” comes down to personal taste more than anything else. Much like my younger brother & fellow Metal Academy administrator Ben, I’ve never been all that big on the more traditional doom sound as I greatly prefer a more pure, modern & oppressive brand of doom metal. I’ve never really connected with groovy mid-paced stoner riffs but I can appreciate when they’re done well like they are here so there’s enough of interest to keep me going. Fans of Black Sabbath, Saint Vitus & Witchfinder General will likely really dig "Day of Reckoning" but I’m not going to deny that I find it hard to understand the tendency for fans to rate Pentagram’s heavy metal-driven numbers more highly than their slowest, doomiest material which can be pretty amazing in my opinion. If only there was more of it here!
3.5/5
