The Traditional Doom Metal Thread

Saint Vitus - "Born Too Late" (1986)

My favourite Vitus record to the time. It's a little more consistently slow & doomy than their first couple of albums & I think this is a positive thing. The trademark Vitus guitar sound is again in effect & it's hard not to love the accuracy of the title theme as "Born Too Late" definitely sounds like it should have been a long lost Black Sabbath record. There are a few genuine doom classics included here too. Particularly the wonderful title track which possesses a riff that'd bring even the great Tony Iommi to his knees. Excellent stuff.

4/5

The new Suum album, Cryptomass, is damn good for anyone  who's a fan of scandi-doom like Reverend Bizarre and Lord Vicar (although the band are Italian).

4/5

The first half of the album is stellar, lost a bit of steam for me during the back half. The vocals got a bit wonky starting at "The Failure of Creation" for me and the guitar tone got a bit tiresome, but it probably just needs another chance. "Cryptomass", "Creatures from the Vault", and "Burial at Night" had me thinking I'd rate this higher than Lord Vicar's The Black Powder from last year, but Lord Vicar edges it out. 

Still some great and more traditional Doom Metal for 2020, always great to hear. 

Xephyr, I too was a massive fan of The Black Powder and although this is good I don't think it's anything like as good as Lord Vicar's opus. A couple of other traditional(ish) new albums are Saturnalia Temple's "Gravity" (psych-doom) and Doomraiser's "The Dark Side of Old Europa". Both are worth checking out.

I did check out Saturnalia Temple before, didn't do much for me sadly. I'll have to check out Doomraiser, haven't heard of them!

Although not entirely traditional, Godthrymm's Reflections is easily my frontrunner for Doom Metal so far this year, looks like you checked out that one as well. 

Pagan Altar - "The Time Lord" E.P. (2004)

A compilation of the 1978/79 demo recordings from these NWOBHM/traditional doom metal pioneers. The timing of these recordings may well make this the earliest legitimate example of the traditional doom metal subgenre that I've encountered & I actually like it a touch better than Pagan Altar's 1982 self-titled release due to its greater level of consistency & cool 70's psychedelic rock vibe. Fans of Ozzy-period Black Sabbath, 70's Pentagram & Manilla Road should find some enjoyment here despite the demo-quality production.

3.5/5

After completing my Top Ten Doom Metal Releases Of All Time list last weekend, I thought I'd take a shot at my Top Ten Traditional Doom Metal Releases Of All Time. Here's what I came up with:

01. Candlemass – “Nightfall” (1987)

02. Saint Vitus – “Born Too Late” (1986)

03. Candlemass – “Epicus Doomicus Metallicus” (1986)

04. Paul Chain Violet Theatre – “Detaching From Satan” E.P. (1984)

05. Pentagram – “Pentagram” (1985)

06. Saint Vitus – “Saint Vitus” (1984)

07. Trouble – “Psalm 9” (1984)

08. Pagan Altar – “The Time Lord” E.P. (2004)

09. Trouble – “The Skull” (1985)

10. Saint Vitus – “Hallow’s Victim” (1985)

https://metal.academy/lists/single/129

Let's see yours!

Nice list Daniel, quite a number of my faves included there although I'm no great fan of Pagan Altar and I think Trouble are a little overrrated - don't get me wrong, they are a good band but many, in my opinion better, bands get overlooked while Trouble are praised excessively.

Anyway, limiting my list to releases with a Trad Doom primary genre tag on Ring Your Mother my top ten looks like this:

1. Candlemass - Epicus Doomicus Metallicus (1986)

2. Reverend Bizarre - In the Rectory of the Bizarre Reverend  (2002)

3. Pallbearer - Sorrow and Extinction (2012)

4. Paul Chain Violet Theatre - Detaching From Satan EP (1984)

5. Candlemass - Nightfall (1987)

6. Spiritus Mortis - The God Behind the God (2009)

7. Saint Vitus - Mournful Cries (1988)

8. Seamount - Sacrifice (2010)

9. The Wounded Kings - The Shadow Over Atlantis (2010)

10. Hour of 13 - Hour of 13  (2007)

Another doom metal list video I've found with albums that many of you doom metal lovers with might already be familiar with (and one of my last major Fallen-related posts):

A 1990 re-release of a 1984 EP by Nemesis:

Nemesis would eventually evolve into the band that would become Candlemass, featuring Leif Edling as well as original Candlemass drummer Mats Ekström and guitarist Christian Weberyd. Four of the five tracks, all except closer Goodbye which is an Angel Witch cover, were written by Edling and he handles vocals as well as his usual duties on bass. I think it's safe to say that this ep shows why Leif didn't perform vocals for Candlemass, his range being far too limited to handle the epic nature of Candlemass' songs and in truth he struggles even here. While this is as much heavy metal as traditional doom, there is certainly enough on show to see where Edling was going with his songwriting and is a recognisable early step on his road to almost single-handedly establishing the epic doom genre. There are some terrific Sabbathian riffs, check out the one on opener Black Messiah - it's a real killer and the whole track is amazing, eventually being reworked as Incarnation of Evil on the 1988's Ancient Dreams album with Messiah on vocals. I would really liked to have heard Messiah have a crack at the vocals on this rawer, less well-produced version though, because even with Edling struggling it's still a brilliant song and sounds a bit more immediate than the Incarnation of Evil version.
In God We Trust finds Edling in speed metal mode with a track that could have been penned by Venom, except for the doomy middle section maybe. Theme of the Guardians has simple, but effective main riff that sounds like a staple of the then nascent trad doom genre and one that has been reworked and reinvented a hundred times since. The King Is Dead is arguably the most noticably a Leif Edling-written track, probably sounding the most like Candlemass with a great riff and sterling leadwork throughout from both Weberyd and Anders Wallin (who's contribution here seems to be the sum total of his recorded output). The Angel Witch cover is interesting I think in that it illustrates how Edling's songwriting was influenced by Kevin Heybourne.
In conclusion I found this to be an interesting release, particularly with it's importance in the early history of one of doom metal's most influential figures and even despite it's shortcomings, ie the poor production and weak vocals, it still contains some great tracks and should interest any adherent of early doom metal. As a footnote the 1990 release features a couple of 1984 Candlemass demos, Black Stone Wielder and Demon's Gate which show how quickly Edling and Candlemass were developing from the Nemesis tracks.

We all know Candlemass, Saint Vitus, Trouble, The Obsessed and Pentagram, but here are my top ten underappreciated Traditional Doom Metal albums of the eighties and early nineties. Less than 300 ratings on rym needed to qualify (in fact, all but one have under 200).

1. Internal Void - "Standing on the Sun" (1992)
2. Memento Mori - "Rhymes of Lunacy" (1993)
3. Penance - "The Road Less Travelled" (1992)
4. Mercy - "Witchburner" (1985)
5. Paul Chain - "Life and Death" (1989)
6. Revelation - "Salvations Answer" (1991)
7. Lost Breed - "Save Yourself" (1995)
8. Requiem - "Via Crucis" (1990)
9. Astral Rising - "In Quest" (1995)
10. Mourn - "Mourn" (1995)

Here's my adjusted Top Ten Traditional Doom Metal Releases Of All Time list:

01. Solitude Aeturnus - "Alone" (2006)

02. Candlemass – “Nightfall” (1987)

03. Saint Vitus – “Born Too Late” (1986)

04. Candlemass – “Epicus Doomicus Metallicus” (1986)

05. Paul Chain Violet Theatre – “Detaching From Satan” E.P. (1984)

06. Pentagram – “Pentagram” (1985)

07. Candlemass - "Ancient Dreams" (1988)

08. Saint Vitus – “Saint Vitus” (1984)

09. Trouble – “Psalm 9” (1984)

10. Candlemass - "Tales of Creation" (1989)

https://metal.academy/lists/single/129

Uncle Acid & the Deadbeats - "Blood Lust" (2011)

English retro outfit Uncle Acid & the Deadbeats seemed to get a whole bunch of attention in the early 2010's, no doubt buoyed by (& partially responsible for) the revival of interest in the old-school heavy psych & traditional doom metal sound. That sound has always offered me a fair amount of appeal however I've somehow managed to steer clear of exploring a full Uncle Acid record until now. I've certainly heard a few tracks here & there but can't say that I've heard anything that made me stand up & pay attention. They did however seem to be unintimidating enough for me to play while driving my young kids around in the car so I thought I'd pull out the band's most highly regarded release to see what all the fuss is about.

2011's "Blood Lust" has clearly been intentionally tailored to sound like the late 1960's/early 1970's with a thick layer of fuzzy distortion having been layered over the top of everything (including the vocals). It's like the levels have been intentionally overdriven & this leads many people to link the band to the heavy psych movement because there is a reasonable amount of psychedelia on offer in some of this material. There's also a fair whack of stoner rock/metal about these songs with the riffs often taking a groovy, mid-paced direction with the rhythm section opting for a bluesy rocking-to-sleep style beat that references traditional doom metal without fully committing to the oppressive atmosphere & sluggish tempos. "Withered Hand Of Evil" is the clear exception as it sees the band descending into fully-fledged doom territory while CD bonus track "Down To The Fire" is a lovely way to close out the album with it's references to the British folk rock scene. The whiny higher register vocal delivery of front man Kevin Starrs is very effective & the added distortion gives him a similar mystique to that which Electric Wizard have often achieved with their vocals.

I enjoyed "Blood Lust" quite a bit with every one of its nine tracks offering me some level of appeal. I definitely would have preferred a bit more of the genuine doom metal I was expecting though as much of this material is a little more mid-paced & groovy than I'd hoped but I do buy into the whole retro vibe it's been so successful at recreating & there's no doubt that "Blood Lust" succeeds in building a lovely thick atmosphere. At the end of the day I think I can see why Uncle Acid & the Deadbeats have been so successful but I don't think they'll ever reach the same level of affection with me personally, even if I get a general feeling of enjoyment out of their music.

3.5/5

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

Darkthrone - It Beckons Us All.... (2024)

I can't believe that eighteen months have already passed since an ice skating Fenriz heralded the arrival of "Astral Fortress", but here we are and, in what is becoming quite the regular occurance, Darkthrone are back again with a new album, entitled "It Beckons Us All". It very much continues the direction of travel of their last few albums, even going back to 2016's "Arctic Thunder", when they started introducing a doominess into their crusty heavy metal sound. Along with Eternal Hails and Astral Fortress this now forms another unholy trilogy for the duo where this crusty trad doom sound has been fully realised into, what I like to call, necro-doom. Obviously nowhere near as influential or seminal as the original unholy trilogy, I think that it is significant that Darkthrone can still deliver the goods more than three decades on, having carved out a niche for themselves in the metal world, where they are pretty much unrivalled at what they do, never becoming dragged in by whatever is trending in the wider world of metal, consistently delivering quality material and with a knack for writing killer riffs which very few can aspire to.

After a few brief seconds of a 1950's sci-fi movie-style synth intro, opening track, Howling Primitive Colonies, kicks off with a marvellously infectious and memorable riff and sets the tone for the album as a whole, taking the early Nineties' trad doom sound of lesser known lights like Penance or Revelation and performing the equivalent of burying it for thirty years so it acquires a rotted, musty odour, by using black metal production techniques and Nocturno Culto's croaky, blackened vocal style that gives it all a real necro sheen. If you have heard any of their new albums since 2016, then you will have an idea what "It Beckons Us All" sounds like, but it is here where that crusty trad doom sound reaches it's peak with some of their most memorable riffs in years. That opener has three killer riffs as it switches from the brilliant introductory riff into a more sustainable and doomier, verse-carrying one which ultimately drops into an uptempo, gallop designed for maximum neck-wrenching action. Howling Primitive Colonies is a really strong opener and is one of the best tracks Darkthrone have written in this latest cycle of their existence, setting the album up in glorious style. Second track Eon 3 is obviously an extension of Astral Fortress' closer Eon 2, sharing themes with the earlier track and serving to tie the two albums even closer together.

The quality never dips either and, as much as I enjoyed Astral Fortress, I think It Beckons Us All... has seen this era of the band hit it's peak and may well be my favourite Darkthrone album since 1995's Panzerfaust. The riffs really are some of the best since the band's heyday of the early nineties and the production has cranked up that crunchy doom sound to a perfect pitch, sounding loads better than AF did. Black Dawn Affiliation, for example, sounds amazing, the crusty crunch of it's main riff providing a driving wall of sound upon which Nocturno Culto's vocals necrotic vocals inscribe the lyrics with Fenriz' drumwork perfectly placed within the mix to reinforce the track's momentum without stealing the thunder from the riffing. And those riffs just keep coming - "The Bird People of Nordland", the doomy "The Heavy Hand" and the longest track and closer, "The Lone Pines of the Lost Planet", all contain memorable and iconic riffs. Songwriting-wise, I think this is some of the tightest the duo have produced in some time, their occasional tendency to let things run away with them being kept under control in the main, allowing the tracks to flow really well and resolve themselves satisfactorily. Even the proggy twists and turns of "The Lone Pines of the Lost Planet" seem vital to the overall narrative and never come across as self-indulgent or padded.

For someone like myself who is already a massive Darkthrone fan, it's always an event and a joy when Fenriz and Nocturno have new material out, but this time around the duo have outdone themselves and totally exceeded my expectations. Two of my greatest musical loves are Darkthrone and doom metal, making It Beckons Us All... sheer nirvana and it will undoubtedly be sat very near the top of the tree when I start making my 2024 best albums list.

4.5/5

Hhhmmmm.... this sounds very exciting given how much I enjoyed Darkthrone's last album "Astral Fortress". I'd suggest that I shall be partaking in this one at some point.

Paul Chain's Violet Theatre - Detaching From Satan (1984)

Detaching From Satan was Paul Chain's first release following his split from the legendary Death SS and was a four-track EP with Chain writing the songs, playing guitar and organ and performing vocals, helped out by drummer Enrico Giampaoli and bassist Paolo Giannotti. After an organ and sound effects intro, "Occultism" kicks off with a doomy Sabbathian riff, heavily informed by the NWOBHM, so having a quite rock-y feel to it. In it's mid-section Chain's guitar lead takes over and we are treated to an extended solo before things get back on track. I actually quite enjoy Chain's singing here, but I can understand why others may struggle with it as it is very reedy and he certainly isn't the most gifted vocalist in the world, yet I feel it really suits the lo-fi aesthetic and general weird vibe of the EP.

"Armageddon" is up next and after a quite substantial, choral, hymn-like intro, we are treated to another terrific, pounding riff that Witchfinder General would have been proud to have written, followed by another display of Chain's demented guitar shredding. "Voyage to Hell" follows a similar template, but here the vocals sound even more demented as Chain tries to add a harsher edge to his singing performance and often sounds genuinely unhinged. Closer "17 Day" is the EP's longest track, running for just short of eight minutes and here his vocals are probably least weird-sounding with him lowering his register a bit and even sounding almost normal. After two or three minutes, an eerie organ interlude insinuates itself into the track, acting as prelude to another extended solo as Chain allows himself to let it all hang out with a climactic ending.

So, this neat 19 minute EP is quite effective as a calling card for Paul Chain as if he is "putting himself into the shop window", so to speak, after his departure from Death SS. His catchy riffs and dextrous guitar solos are the main raison d'etre of these four tracks and I think it also does a good job of displaying Chain's quirky character. I like this quite a lot and it is an interesting release in the development of doom metal, particularly in his home country of Italy and shows the guy as an intriguing character having a quite singular style.

4.5/5

The Wandering Midget - The Serpent Coven (2008)

The Wandering Midget were a finnish three-piece, formed in 2005 and split in 2020, who played traditional doom metal very much in similar vein to Reverend Bizarre. In fact, guitarist and vocalist Samuel Wormius has a voice that is remarkably similar to RB's Albert Witchfinder, making the comparison even more pertinent. The Serpent Coven marks the band's debut full-length, released in 2008 and comprises a short intro and five fairly lengthy tracks, clocking in between eight and thirteen minutes, so not as monolithically drawn out as Reverend Bizarre were often wont to be, but long enough to provide the full doom metal experience.

Fuzzy, crawling riffs, accompanied by glacial drum patterns and rumbling bass lines are the order of the day here. B-movie lyrics of the occult and monsters, both Lovecraftian and classic, tread the well-worn path of traditional doom metal lyrical tropes, delivered in an unfussy, basic style familiar to fans of finnish doom metal. The Serpent Coven's sluggish, Sabbathian-derived riffs ooze from the speakers with the implacable ponderousness of lava and the weight of mountains, delivering the goods for any doom metal junkie looking for another fix of the drug that had had it's supply cut off with RB's demise the year before. No marks for originality I'm afraid, but the tracks are well put together with some nice tempo changes, the rhythm section's work is simple, but effective and Wormius delivers some pretty good solos which stops the tracks from becoming too monolithic, all of which makes for a high quality doom metal release in my book.

And that is all there is to it, really. If you have ever heard Reverend Bizarre and thought "I like this but why do the tracks have to be so damned long", then The Wandering Midget may well appeal to you. If RB never floated your boat in any way then there's little chance these guys will either. For me, this delivers exactly what I look for in traditional doom metal and is an uncomplicated slab of metal that summons forth primal forces and allows my mind to drift and wallow in the album's slothful heaviness.

4/5

World Below - Repulsion (2006)

World Below are a relatively unknown name outside of diehard swedish doom metal fandom. Formed in 1999, they involve veterans of a plethora of swedish metal bands such as Scar Symmetry, Grave and Carnal Forge, among many others, and have released three full-lengths to date, of which Repulsion is the third. They are still mooted as a going concern, but have been silent, at least as far as recorded material goes, for almost two decades now.

Repulsion is made up of five lengthy tracks with a 50+ minute runtime. Musically it has it's feet firmly planted in the eighties and early nineties and the old-school traditional doom metal of Pentagram, The Obsessed and lesser-known lights like Revelation with plenty of Sabbath-y moments, particularly during opening track, "Monsters in the Closet", with it's Ozzy-like vocals and "Children of the Grave" aping riff. Whilst the first half of the album sit firmly within the traditional doom metal sphere, the second also contains a significant stoner rock component and the album as a whole makes a nod or two in a progressive direction, particularly the epic twenty-minute, closer, "Monument", giving the second half more than a passing resemblance to the work of prog-stoner bands like Merlin.

The songwriting is very good, with the tracks all developing nicely, feeling like they are actually going somewhere and the technical aspects are very accomplished. The riffs are suitably heavy and mournful, the rhythm section of drummer Ronnie Bergerstål and bassist / vocalist Mikael Danielsson are unfussy and direct, providing solid footing for guitarist Jonas Kjellgren to launch some very satisfying solos, his Tony-Iommi influenced guitar work being the focal point for almost all the album's best moments.

It may well be that Repulsion is not going to satisfy the doom fan looking for bleak as hell, crushingly heavy, ultra-slow riffs and mournful, heart-achingly bereft vocals and the inclusion of some old-fashioned, rock-based riffs may further tip the scales against it, but if you are willing to forgive it it's perceived transgressions then it contains some fantastic lead work and memorable stoner doom riffs coupled with epic and skillful songwriting that may just persuade you of it's undoubted merits.

4/5