The Fallen

The latest offering from My Dying Bride, "A Mortal Binding" is really good. Check that one out.

Yes it was. Ben & I were obsessed with the figurines. Me in particular.

Just revisited this album and my thoughts remain unfazed by time. By now it should be no surprise that I value melody over sheer brutality in my music and Maze Envy is a solid balance of the two elements. By incorporating more doom elements into a death format means that Civerous play some solid grooves and instrumental leads. The structure is pristine by allowing the album to grow from shorter songs at the beginning, to longer, drawn out doom metal during the second half and creates a real sense of growth and development. That it to say, the long songs at the end of this album are more than justified.

Production can be a hit or miss call with some of the pummeling death metal during the first half coming as being just a little too overwhelming. But when it comes to death doom metal in 2024, Civerous are doing it in a way that was much different than I was expecting, but more than thrilled to give a chance.

4/5

https://open.spotify.com/playlist/2rSh9MnfQo9HmPLo2W5MBa

1. Buzzov•en - "Crawl Away" (from "…At A Loss", 1998) [submitted by Vinny]
2. Solstice - "Only the Strong" (from "Lamentations", 1994)
3. Hamferð - "Hvølja" (from "Men guðs hond er sterk", 2024) [submitted by Sonny]
4. Oromet – “Diluvium” (from “Oromet”, 2023) [submitted by Daniel]
5. Om - "Unitive Knowledge of the Godhead" (from "Pilgrimage", 2007) [submitted by Vinny]
6. Church of Misery - "I, Motherfucker (Ted Bundy) " (from "The Second Coming, 2004) [submitted by Sonny]
7. The Vision Bleak - "Chapter VIII: The Undying One" (from "Weird Tales", 2024)
8. Plaguewielder - "At Night They Roam" (from "Covenant Death", 2021) [submitted by Sonny]
9. Acid Mammoth - "Atomic Shaman" (from "Supersonic Megafauna Collision", 2024)
10. Grey Skies Fallen - "No Place for Sorrow" (from "Molded by Broken Hands", 2024)
11. My Dying Bride - "A Starving Heart" (from "A Mortal Binding", 2024)
12. Altar of Betelgeuze - "Echoes" (from "Echoes", 2024) [submitted by Sonny]
13. Nightfell - "The Swallowing of Flies" (from "A Sanity Deranged", 2019) [submitted by Vinny]
14. Solitude Aeturnus – “Mirror of Sorrow” (from “Into The Depths Of Sorrow”, 1991) [submitted by Daniel]
15. Hell - "Gog" (from "Hell II", 2010)

This otherwise good song is totally ruined by Lars Eikind's cleans sound awkward and more overly dramatic than melancholic:

Here's my review:

English doom/death legends My Dying Bride had thoroughly blown Ben & I away with their first two releases "Symphonaire Infernus Et Spera Empyrium" & "As The Flower Withers". In fact, their 1991 "Towards The Sinister" demo was really strong too so I had extremely high hopes for their next record as a teenager back in 1993. The band's experimentation with the incorporation of violin & gothic elements had proved to be a master stroke so the expectation around what they'd deliver us with next was certainly very high. Perhaps My Dying Bride's label & management could feel that excitement because they opted to deliver us a short three-track taster in order to tide us over until the arrival of the classic "Turn Loose The Swans" album later on that year. "The Thrash of Naked Limbs" E.P. would land eight months before that spectacular game-changer & it'd only see my passion for the burgeoning doom/death scene rising to fever pitch.

"The Thrash of Naked Limbs" E.P. contains just the three tracks across its eighteen-minute duration, two of which take the form of their signature doom/death metal sound with the other being something a little different for My Dying Bride. The production job on the two metal songs isn't perfect with the rhythm guitars sounding a little wishy washy to my ears & the violin coming across as a tad artificial too. Thankfully though, the riffs are as crushing as we've come to expect from a My Dying Bride release with Aaron's iconic death growls being in full effect. There are some subtle differences from the band's debut album on show here. The guitar tone is starting to head away from the filthy death metal graveyard it had resided in previously &, despite the production issues, the overall package just seems to be a little more polished & professional. The violin parts that permeated "As The Flower Withers" aren't quite as prominent here either as they play more of a supporting role than they do the thematic protagonist we were presented with on some of the band's stronger works to the time. I'd suggest that there isn't quite as much undiluted death metal included in this material either. It's a little more consistently doomy than the earlier releases were.

The E.P. kicks off with the title track which is generally regarded as the strongest inclusion of the three. Interestingly, I'm gonna go the other way & say that it's the track that I connect with the least. Don't get me wrong, it's still a very strong piece that borders on being a classic in its own right but I just don't think it quite gels as well as My Dying Bride's most transcendent & timeless material. Easily the most divisive song is the dark ambient piece "Le cerf malade" that splits the two metal numbers & I have to admit that I've always found it to be the highlight of the record. Admittedly I'm a big ambient music fan & this piece absolutely nails the atmosphere it sets out to explore. In fact, I'd suggest that any ambient artist worth their salt would be drooling over this track to be honest. Closing doom/death anthem "Gather Me Up Forever" goes pretty close to equaling it too. It's the doomier of the two metal songs & doesn't taint its more beautiful & melodic doom moments with chuggier mid-paced riffage as much as the title track does so there's not a hint of filler here with every piece offering the listener a significant artistic & atmospheric pay-off.

"The Thrash of Naked Limbs" doesn't get quite as much attention as its more highly regarded predecessors but I have a big soft spot for the more mature & refined composition that predicted the direction the band would soon take & this saw it making just as big an impact on my life. In fact, I've tended to think of the E.P. as My Dying Bride's strongest overall work to the time & this revisit has only strengthened that feeling even though there's very little between the three proper releases. This is not only an essential My Dying Bride record but it's an essential release for the doom/death subgenre overall. It rightfully stands alongside the band's finest work & should have Paradise Lost, Anathema & Novembers Doom fans frothing at the mouth.

4.5/5

https://open.spotify.com/playlist/2rSh9MnfQo9HmPLo2W5MBa

1. Whores - "Tell Me Something Scientific" (from "Ruiner", 2011) [submitted by Vinny]
2. Gaul - "Megalodon" (from "Gaul", 2011) [submitted by Sonny]
3. Great Falls – “Old Words Worn Thin” (from “Objects Without Pain”, 2023) [submitted by Daniel]
4. Motherslug - "Stoned by the Light" (from "The Electric Dunes of Titan", 2017)
5. Häxenzijrkell - "Part 2: Von Zeit und Form" (from "Urgrund", 2022) [submitted by Ben]
6. Mortiferum - "Faceless Apparition" (from "Disgorged From Psychotic Depths", 2019) [submitted by Sonny]
7. Rapture - "Nameless" (from "Songs for the Withering", 2002)
8. Fange - "Césarienne au noir" (from "Perdition", 2024)
9. Saint Vitus - "In the Asylum" (from "Die Healing", 1995)
10. Black Boned Angel - "Supereclipse II" (from "Supereclipse", 2003)
11. Dopelord - "Scum Priest" (from "Children of the Haze", 2017) [submitted by Vinny]
12. Sempiternal Deathreign - "The Spooky Gloom" (from "The Spooky Gloom", 1989)
13. Cathedral – “Reaching Happiness, Touching Pain” (from “Forest of Equilibrium”, 1991) [submitted by Daniel]
14. Kowloon Walled City - "Gambling on the Richter Scale" (from "Gambling on the Richter Scale", 2009) [submitted by Vinny]
15. Mesmur - "Refraction" (from "Chthonic", 2023) [submitted by Ben]
16. Memento Mori - "Lost Horizons" (from "Rhymes of Lunacy", 1993)

No need to be sorry. Every music listener will find certain albums / styles more compelling than others. It would be boring if everyone had the exact same tastes.

I really enjoyed the Altar of the Stag track you submitted and the Dyatlov Pass Incident has always intrigued me, so that is an album I definitely have on my list to dig into.

It's weird one alright (the incident - not the track).  Currently listening to Dark Histories podcast and the episode about Dyatlov as it happens.

Here's my review:

Dallas-based epic doom metal masters Solitude Aeturnus really surprised me with their 2006 "Alone" sixth full-length when Ben selected it for The Fallen feature release status some time ago. I'd previously allowed the band to pass me by but that record ticked all of my boxes & saw me claiming it as a genuine doom metal classic for the ages. Since that time I've always intended on exploring the rest of Solitude Aeturnus' more highly celebrated releases & thought I'd take this opportunity to kick that exercise off with their debut full-length "Into The Depths Of Sorrow" which is generally regarded as one of the elite examples of the niche subgenre overall.

In many ways "Into The Depths Of Sorrow" is the quintessential epic doom metal release in that it perfectly embodies the sound that the tag was originally created to label. All of the subgenres calling cards are here. Crushing doom riffs? CHECK! A strong classic heavy metal influence? CHECK! Theatrical power metal style vocals? CHECK! Soaring, shredtastic guitar solos? CHECK! A generally epic atmosphere? CHECK! I can't deny that the album is everything it said it would be on the tin & if that description sounds like something that'd appeal to you then you won't be disappointed but it did take me a couple of listens to get fully into for a couple of reasons. Firstly, I'm a much bigger doom fan than I am a heavy metal one & the heavy metal component is particularly prevalent here with those riffs being pretty standard heavy metal fodder & nothing particularly exciting so I find myself waiting around for the doom to return which it inevitably does & with devastating effect too. There's obviously a lot of Candlemass influence on show as this was Solitude Aeturnus' first full-length & Candlemass were, of course, the creators & clear leaders of the epic doom movement so there are clear similarities in the way the two bands go about their craft but the area that Solitude Aeturnus fall down in as far as that comparison goes is in the guitar solos as Edgar Rivera & John Perez aren't quite as virtuosic in their capabilities. Thankfully, the general quality of the song-writing is very strong & the vocals of future Candlemass, Concept of God & Tyrant front man Robert Lowe are exceptional which has gone a long way to seeing me crowning Solitude Aeturnus as my favourite band from the epic doom movement overall regardless.

The tracklisting kicks off in very solid fashion indeed with the short intro track "Dawn of Antiquity (A Return to Despair)" building the atmosphere nicely before the first proper song "Opaque Divinity" kicks in & wastes no time in flexing its muscles. It's followed by "Transcending Sentinels" which is clearly the least impressive track on the album in my opinion but is still pretty decent. The remaining five songs are all very strong indeed though & round out a particularly consistent album with no real blemishes. The reason I don't see "Into The Depths Of Sorrow" competing with "Alone" for bragging rights as my favourite epic doom metal release any time soon is that it doesn't contain as many genuine classics. The utterly mind-blowing "Mirror of Sorrow" is the clear highlight of the album & is frankly one of the best examples of the subgenre I've experienced to date but none of the other material comes close to matching it with the brilliant doom passages regularly having their impact offset a bit by some flatter heavy metal chug riffs. It's a shame really as I think there was a lot of potential for another classic release here if a bit of quality control had been employed.

At the end of the day though, I can't be too critical as "Into The Depths Of Sorrow" is still an impressively consistent first-up effort from one of the leaders of the movement. In fact, I'd go so far as to suggest that it's eclipsed all but "Alone" & Candlemass' classic "Nightfall" album in reaching my personal top three for the subgenre overall which is quite an accolade when you consider the areas of improvement I highlighted above. The experience has certainly left me wondering whether Solitude Aeturnus have managed to top their debut over the course of their next four records so I've penciled a couple of them in for exploration in the not too distant future. In the meantime though, "Into The Depths Of Sorrow" should be essential listening for all of you Candlemass, Solstice & Isole fans out there.

4/5

Had the time to get through this playlist today on my morning walk.  I still have no idea of the attraction of Sunn O))) (sorry Sonny) and I listened to all 14:59 of that track.  It is just not my cup of tea.  Also had to skip Iron Man (those vocals) and The Gathering (a bit too rocky and again the vocals grated).  I have come to the conclusion that Wino's voice actually grates on me nowadays and so I had to skip The Obsessed track also.

Thankfully there was still lots to keep me happy on the list.  Standouts were Dolorian, Crowbar, Goatsnake, Godthrymm, High on Fire and Saturnalia Temple.  Good work Sonny. 

Thanks Vinny. Drone metal is a hard sell, with even it's most ardent followers recognising that it isn't for everyone and Sunn O))) are no exception, so no apologies required. I'm not a fan of Iron Man myself, but I feel it is incumbent upon me to showcase all aspects of the Fallen, despite my own preferences. I wasn't sold on Goatsnake either, to be honest. I have always been a fan of Wino's "cigarettes and whiskey" voice, so I have enjoyed the preview tracks from the new Saint Vitus album.

I gave Khanate an honest try but as Sonny alluded to in his review, I wasn't able to make it fully through. I would have gotten through the whole thing if I didn't run out of time at work yesterday, but I have zero interest in picking it back up or restarting it from the beginning to try and get the full experience. I can see why it would resonate with people as I saw what they were going for with the vocals, but man, really not something for me at the end of the day. So I'll refrain from rating that one, it's very far from my wheelhouse. 

As we have got to know each other's tastes, I would have been very surprised if you had come out in favour of Khanate, Xephyr. They are definitely not for everyone and I would never hold it against anyone who didn't much care for them, even though I absolutely love them. Drone metal is an acquired taste at the best of times and Khanate are by no means an easy listen, even in drone circles.

For sure there are a couple of things I liked about Objects Without Pain, the guitar tone is nicely pitched and best of all the drums sound amazing. I could listen to an isolated drum track of this quite happily and would prefer to over the finished thing. Unfortunately I couldn't take to it other than that. The songwriting is too spasmodic for me, it veers far too much into mathcore, djenty type territory for my preference and although I really like the tone of the album, the actual songwriting leaves me cold. But the absolute killer for me is the vocals. I would be the first to admit that I probably put too much weight onto vocals but I think I am quite tolerant of some very divisive vocalists, Silencer, Cirith Ungol, King Diamond or Demilich for example, but if I take against a singer then it is like a movie with Adam Sandler in it and no matter how good the rest of the production, it still has Adam Sandler in it! Such is the case with Demian Johnston, his vocals amount to little more than shouting at the top of his voice and just come over like some angry child berating his parents for some perceived injustice and which I find wearisome in the extreme. I don't have an issue with shouted vocals per se, but these are just irritating and off-putting to me to the degree where, by the second half of the album, my mind is wandering and I have pretty much tuned out. I seem to be a minority of one and good luck to those who derived far more enjoyment from it than I was able to muster, but this just isn't one for me I'm afraid.

2.5/5

Solid list again this month.  Particularly enjoyed The Angelic Process, Convocation, Dopelord and Ocean of Grief (which was unexpected since they are quite melodic).

Less enamored with Remina, Kaunis Kuolematon, Lord Vigo, Madvro and YDI and still have my Lee Dorrian aversion when it comes to Cathedral.

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.

https://metal.academy/gallery?cid=1&type=overall_cover_rating&myRating=&fromYear=2023&toYear=2023&exclude=0

I look forward to seeing which release gets up for the win!

It is quite timely for an Isole feature, as they have had a new album out this year, with Anesidora hitting the shelves back in March. For me, Isole have been on a bit of a downward trajectory since their late-2000s high water mark and listening to Bliss of Solitude and Anesidora back-to-back gives an illustation of why. The latter release feels stripped of any real emotional weight, with the band seemingly seeking a sound more palatable to the mainstream, stoner doom crowd.

So, enough of what went wrong and let us focus on what the band were doing well fifteen years ago, with Bliss of Solitude and it's follow-up Silent Ruins. After forming in 2004 the Swedes released a couple of solid doom metal albums in 2005's Forevermore and '06's Throne of Void, but it was with 2008's Bliss of Solitude that they found themselves nearing the summit of the doom metal mountain. Obviously they were influenced by Candlemass' bombastic style of epic doom metal, but that was certainly not the full extent of what Isole were about, that bombast being tempered by a sorrowful, emotionally resonant side like that being displayed by the likes of Patrick Walker's Warning. The result of this for a release like Bliss of Solitude is that it sounds at once romantically triumphant, but also heart-rending and mournful, like the emotions of the victors of a savage battle won at great cost.

The production is spot on and producer, drummer Jonas Lindström (also of Ereb Altor), have fashioned a perfect guitar sound, being at once huge and weighty whilst still possessing a sorrowful emotion that also keeps it quite personal-sounding. Additional weight is provided by the thundering basswork and Lindström's well-pitched drumming, which act as a perfect foundation for the emotionally-charged dirges of the riffs. The band employs dual guitarists / vocalists in Daniel Bryntse and Crister Olsson, their style of esoteric, layered clean vocals being another source of the album's essential melancholy, particularly on a slower, more inward-looking track like "Imprisoned in Sorrow" or "Dying".

There is a classiness to Isole's best work, of which this is definitely an example, to which not all doom bands are able to aspire. This isn't just about playing super-slow riffs, dragged-out to inordinate lengths, but it is about portraying sadness and sorrow in a relatable and humanly resonant way, being able to express negative emotion in a manner that hints at both redemption and hope without sounding trite or insincere. Bliss of Solitude is a classic slab of emotionally-charged doom metal that deserves a larger share of the praise that is heaped on lesser releases and as such is a perfect choice for a feature release. Nice work Ben.

4.5/5

Wasn't too keen on some of the more melodic death/doom tracks this month - I am familiar with Hamferð and Mother of GRaves but neither really floated my boat.  Still lots to enjoy though with Cough, Sir Lord Baltimore, Remembrance and Melvins being highlights.

Dymna Lotva were an interesting prospect, post-black metal and doom (with some folk) sounds as a mixture worked for me.  Playing the album through now as I type this.

SubRosa is an old favorite band of mine. I don't know how I found them, but I found the whole whole female-fronted sludge/stoner metal with violins idea a lot more intriguing than I normally would. While they used the violins on their debut album, it was far more sparingly than they would use starting here.
They really sought to make this album as crushingly heavy and depressing as possible. Usually when one thinks of metal and violins, one thinks of the later providing some contrast. Not so here, here it's just another element adding to the sorrow. There's a very on-edge effect the violins add. Without it, the band would be quite mundane, with it, a tension atypical of such bands.
While I like the EP, it's only after trying to figure out what the albums before and after it have that this lacks that I figured out what was missing. Two of the three tracks were remade for the follow-up, No Help for the Mighty Ones, and those versions of the songs are just better in every way.

3.5/5

The only real change that may be worth considering in future is the addition of epic doom metal as a sub-genre as I am coming to the opinion that it has sufficiently divergent attributes to differentiate it from conventional doom.

Ben & I are still a bit on the fence about epic doom metal to be honest. We're certainly open to it if there's a majority who think it's necessary as it isn't a hard one to implement but can't think of an epic doom metal release that doesn't sit just as comfortably under a conventional doom metal tag. We're certainly not experts on the subgenre so could be wrong but most of the time it seems to be just the vocal style that makes these releases worthy of the "epic" prefix, is it not? I know the heavy metal influence is important but we find that in other doom metal bands too & they don't seem to be tagged as epic doom unless the vocal style is operatic/theatrical (see the early Trouble, Witchfinder General & Pentagram albums for example). Perhaps you could give us some examples of epic doom metal releases that you feel need to be separated from conventional doom metal to help justify this addition Sonny?

I'm not particularly bothered about it to be honest, Daniel, but yes the vocal style and obvious heavy metal influence are two features, although more accurately, to be termed epic doom I think power metal or USPM influences are required, rather than just heavy metal, hence the dividing line between epic doom and Pentagram / Trouble trad doom. I would also probably cite an increased inclusion of guitar solos as an indicator. I look at the black metal sub-genres and see pagan black metal and dsbm and other than lyrical content, I'm not sure either of these differ much from either conventional or atmospheric black metal, so personally I believe epic doom has at least as many, if not more, differentiators from conventional doom as either of those black metal genres do from conventional bm.

Smoulder's "Times of Obscene Evil and Wild Daring", Solstice's "White Horse Hill" and Khemmis' "Deceiver" are pretty good examples.

I guess ultimately it comes down to how much you want to differentiate sub-genres. as I said, I am no genre pedant and don't really care either way, I don't have sufficient technical knowledge to comment authoritatively on any technical differences between sub-genres, I just thought I would throw it out there and let those who are better informed decide if that was a way to go or not.

https://open.spotify.com/playlist/2rSh9MnfQo9HmPLo2W5MBa

1. Orodruin - "Forsaken" (from "Ruins of Eternity", 2019)

2. Corrosion of Conformity - "Wolf Named Crow" (from "No Cross No Crown", 2018) [submitted by Vinny]

3. Orphans of Dusk - "Wasted Hero" (from "Spleen", 2023) 

4. Nile - "Ruins" (from "In Their Darkened Shrines", 2002) [submitted by Daniel]

5. Boris - "Hama" (from "Amplifier Worship", 1998) [submitted by Sonny]

6. Hail the Void - "Goldwater" (from "Memento mori", 2023)

7. Godthrymm - "We Are the Dead" (from "Reflections", 2020) [submitted by Vinny]

8. Stoned Jesus - "Stormy Monday" (from "Seven Thunders Roar", 2012)

9. October Noir - "Burn" (from "Thirteen", 2019) [submitted by Morpheus Kitami]

10. Solstice - "The Sleeping Tyrant" (from "New Dark Age", 1998)

11. 16 - " Tocohara" (from "Drop Out", 1996) [submitted by Sonny]

12. Iron Void - "Living on the Earth" (from "IV", 2023)

13. Solitude Aeternus - "Only This (And Nothing More)" (from "Downfall", 1996) [submitted by Sonny]

14. Kowloon Walled City - "The Pressure Keeps Me Alive" (from "Container Ships", 2012) [submitted by Vinny]

15. Winter - "Eternal Frost" (from "Into Darkness", 1990) [submitted by Daniel]

16. The Obsessed - "Red Disaster" (from "The Obsessed", 1990)

17. Bong - "Trees, Grass and Stones" (from "Mana-Yood-Sushai", 2012)

Thanks Vinny. Nice one!

Here's my review:

You know what’s amazing about the Metal Academy feature release arrangement? Every now & then one of our well-educated members will nominate a release that’s received absolutely no fanfare whatsoever from a band that I’ve never even heard of & it’ll blow my socks off. Sonny’s got a pretty reasonable record in this department too with a recent example being his Dvvell nomination that went on to become our The Fallen Release of 2022 & it would seem that he’s done it again with Plateau Sigma’s “White Walls of Nightmares” album which is a sublime experience that’s deserving of so much more attention than it’s received in the more than a decade since its release.

I’ve seen mention of “White Wings of Nightmares” being released as a single or an E.P. which is kinda silly given its 49-minute duration & album-style format. The reality is that the band regards it as a bit of an experiment & prefers that it’s thought of as a demo which is the reason for the strangely inappropriate format labelling. It contains just the five songs with each being given plenty of time & space to develop. The production job isn’t top tier with the guitars sounding slightly fuzzy but the flaws are minor & shouldn’t make an impact on your listening experience.

I’d describe Plateau Sigma’s sound as being very much a tribute to the great doom/death releases of the early-to-mid 1990’s. You can expect chuggy, mid-paced death metal-inspired riffs & deep death growls mixed in with slower power-chord driven sections layered with gothic clean guitar melodies. There are a number of atmospheric clean sections featuring beautifully executed clean vocals spread across the tracklisting too & I actually found these to be the most effective parts of the album to be honest. Plateau Sigma certainly know what they’re doing in that department with some of these sections reminding me very much of artists Tiamat, Opeth & particularly Anathema with some of the vocals being the spitting image of Vincent Cavanagh (who I absolutely adore just quietly). The chuggy mid-paced stuff is very simple in a My Dying Bride kinda way & is perhaps a touch less engaging than the doomier material but the band mix things up nicely so you’re unlikely to reach for the skip button at any point.

The tracklisting is very consistent with all five songs deserving of your attention. The shortest inclusion “Lunar Stream Hypnosis” is perhaps the least essential of the five but after the first three tracks I was feeling pretty confident that I’d be awarding this release a solid four-star rating. That’s when things get really interesting though because the remaining two tracks are absolutely stunning & are also the longest in duration which saw them having a massive impact on my impressions of the release overall, particularly the epic, slow-building closer “Maira & the Archangel” which is as good as this style of metal gets.

How a release like this one manages to slip through the cracks in the internet age is pretty baffling to be honest. It’s certainly left me wondering what else Plateau Sigma have to offer with their three subsequent (& equally overlooked) full-length albums. If you’re a fan of bands like Anathema, My Dying Bride & Ahab then you owe it to yourself to check this one out guys.

4.5/5

The debut EP from Isis shows a remarkable level of maturity. The build to opening track Poison Eggs sounds like it is written by a band some ten years into their existence, not just twelve months as was the case with the band at the time. This release shows just why Isis grew into staples of the sludge metal world. Whilst there are spades of aggression and harshness for the listener to feast upon, there is a restraint to elements of the violence also. Underlined by the tightness of the performances, as a whole The Mosquito Control is a real force to be reckoned with.

At not even a full half hour, there still feels a lot of activity to process on this EP. Tracks shift and lurch beneath the monumental weight of the noise created by the fusion of drums, guitars, bass and vocals. Yet no track ever descends into full-blown chaos, even on the manic Life Under the Swatter there is a more subtle passage that tempers the frantic pace and tempo really well, giving the listener a slight breather before launching them straight back into the pulsating fury of the track again. The standout performance on the EP is without doubt Aaron Turner's vocals. Rabid to the point of leaving him breathless, they fit so well with the instrumentation it is literally a marriage made in heaven. That is not say that the rest of the group take a back seat. The stabbing groove of the riff that starts Hive Destruction proper is infectious as fuck and I find myself clamouring for its urgent cuts as the slower, doomier riffs take precedent. Likewise, the motoring bass of Jeff Caxide drives this sense of urgency and control throughout the whole EP, whilst Aaron Harris puts an amazing shift in on the drums.

The heaviness on display throughout The Mosquito Control is relentless. Listen to any modern sludge act like Primitive Man and you will here the poisonous fury of Relocation Swarm as cornerstones of most of what they do. This is possibly one the heaviest releases I have heard in my life and the production and mix job leaves it all sounding so fresh and organic. This is oppressive music that is ironically very freeing an experience to listen to. You absolutely should give this the attention it commands. There are no short measures of focus allowed when listening to The Mosquito Control, close all the blinds/curtains, turn all non-essential devices off and let the music take you.

4.5/5

Hits this month for me to check out further = The Body, Baroness

Pleasing familiar artists = Smoulder, Shape of Despair and Tzompantli

Skips this month for me = Type O Negative, My Dying Bride

Amazingly enough this was my first ever listen to Sunn O))) and although not blown away I accept that this is for a certain mindset and so doing chores whilst listening did not engage me well with it.  I plan to revisit though.

Another solid month Sonny, keep 'em coming.

Before I realized this was Darkthrone, I at first assumed this was some weird-ass Venom-style black/speed outfit, then a This is Spinal Tap-style parody of black metal. That's the kind of album cover a parody band would use. Then I noticed the band name.
Well, like politics, black metal is impossible to lampoon.
This is a very weird album. Were atmospheric black metal not taken for stuff like The Summoning, this feels like it would fit that name well. Black metal production and techniques used at a much slower pace. Where tremolo picking would be used, one single note is used instead. This makes it very noticeable when the album does use tremolo picking. At no point does the drumming go above a walking pace. The growling has an almost ethereal quality to it, unlike any kind I've heard before.
The writing is kind of bland. It seems aimless, possibly by intention. It starts off okay, with the kind of atmosphere you'd expect, but then we get the first solo of the album. I don't know who played it, but it's not good. A half-hearted attempt at regaining the kvlt faction, perhaps with it's strange aggressiveness. Then after another long verse, close enough in sound to the first as to make no difference, there's another solo, closer in tone to what you'd expect, but at this point feels meandering. The song finally ends with what can only be described as a very slow series of tremolos. While the album has more interesting songs on it, like Impeccable Caverns of Satan, most seem to follow this template.
I found this didn't really appeal to me, much in the same reason a lot of melodeath doesn't. If you're going to combine extreme metal with heavy or power metal, it's better to do something like Satan's Host where far less hostile sounding music with clean vocals gets hostile sounding music. Mundane sounding music makes growly vocals goofy.

3/5

Another solid playlist this month.  To call out the standouts for me:

Katatonia - I have this weird "bookend" scenario with this band in that I have only ever listened to the Dance... and then their latest release and nothing in between.  Brave Murder Day has been landing on a few playlists as suggestions around the streaming services I am on of late and so it is liable to be the next full-length I venture along with from this band.  This track proves to me that I am missing out by not listening to the rest of their discography in some more detail.

Saturnalia Temple - well, this is a fucked up sounding box of frogs if ever I heard one.  It is still so damn entertaining though, not in the least because it is so blatantly obvious that these guys have zero fucks to give

Mournful Congregation -  starting to wonder if these Aussies can do any wrong at all as there is virtually endless win in everything I hear from them.  Still sounding relevant thirty years on, this track bodes well for me getting around to the album at some point.

Chained to the Bottom of the Ocean - dumbass name aside, I had very little to argue with here.  Agonising sludge metal that is punishingly repetitive

Iron Monkey - more sludge metal only this time it is raging and ugly as fuck - me like.

Woorms - I have be eyeing that astonishingly good artwork on the Slake record and wondering if the music could ever be as good as the artwork.  Good news, it is.  With a measured level of confrontation in their sound, Woorms sound alienating and hostile whilst tipping their hats to some fine doom metal along the way also.

I seem to be one of the only ones who were familiar with the name Xibalba before checking out this debut full length record from Tzompantli. I heard 2020's Años en infierno by sheer accident and enjoyed the record enough, since for a death doom record, the album decided to focus most of its time on the "death" portion of that hybrid; a sound that I was not as familiar with as the "doom" focused hybrids.

And that also seems to be the case with Tlazcaltiliztli. "Tlatzintilli" begins with a heavy percussive element while the guitar plays a slowed down rhythmic motif. It's certainly an unfamiliar sound in the doom or death metal spheres and left me interested to hear where the band could go from there. Unfortunately, the record kind of finds its groove around "Eltequi" and does not attempt these sorts of hybrid sounds again; instead keeping the death and doom parts isolated. That's because the second half of the album spends a lot more time focused on the Indigenous timbres, which all told, isn't very much. But as I have said with many extreme albums in the past that add objectively softer passages (such as a string/orchestra section), their contributions always feel subdued to the loud guitars, percussion and vocals.

On this record though, these limited elements are fascinating and rarely interfere with the straight up metal passages so as to not overburden the listener. It also keeps them fresh when they return. As for the straight up metal passages, even though I mentioned how stale it can get later on with the death and doom sections kept apart, I cannot deny that some of these riffs are filthy; mostly on the tracks "Tlatzintilli", the title track, "Ohtlatocopailcahualuztli" and the closer "Yaotiacahuanetzli". If you're looking for a death-doom album with heavy emphasis on the "death" as opposed to the much more popular "doom" stylings of My Dying Bride or Swallow the Sun, this record can scratch some real itches.

3.5/5

A few notes regarding the tracks selected for this month's playlist:

1. Worship of Keres - "Book 3" (from "Bloodhounds for Oblivion", 2016) [submitted by Sonny]
I was going through some of the older releases I had purchased from Bandcamp and this 2016 EP jumped out at me with it's chunky and ponderous riff contrasting with singer Elise Tarens voice to great effect. They still seem to be going, but a measly couple of EPs is all they have produced so far.

2. Decadence Dust - "Lighthouse" (from "Lighthouse", 2023)
I must admit that as far as gothic metal goes I have to rely on the RYM charts quite a lot and this month they threw up Russian duo Decadence Dust and their new album Lighthouse. They sound a lot like Lacuna Coil I thought. Vocalist Anna Dust has a really nice voice and multi-instrumentalist Alexander Kargaev does a good job on the instrumental side of things. Not exactly my cup of tea, but I actually didn't mind this track.

3. Black Capricorn - "Snake of the Wizard" (from "Cult of Blood", 2022)
Black Capricorn are another Bandcamp favourite for me and I have just obtained a copy of this, their latest, last year's Cult of Blood. Super-fuzzy stoner doom from Italy that is a nice grooviness to it. The vocals aren't so great, but I can't resist a good fuzz-fest.

4. Toadliquor - "Gnaw" (from "Feel My Hate - The Power Is the Weight - R.I.P. Cain", 1993)
Another more recent discovery, sludgesters Toadliquor only left us a single full-length despite being in existence throughout the entire 1990s. Bleak as fuck, desperate-sounding sludge, I love this track.

5. Liturgy - "Veins of God" (from "Aesthethica", 2011) [submitted by Daniel]
I've not listened to Liturgy before (that avant-garde tag has always put me off) and I am guessing that this isn't what they usually sound like. A repetitive trad/stoner doom riff that I have no idea what effect it has in the context of the album from which it came, but in isolation it sounds quite a bit Ufomammut-ish.

6. Church of Misery - "Come and Get Me Sucker (David Koresh)" (from "Born Under a Mad Sign", 2023)
It was only during the compilation of this playlist that I found out that Japanese, serial killer-obsessed stoners Church of Misery had a new album out. After a sample of a ranting David Koresh this kicks into gear with a hard-hitting stoner groove that somewhat belies the subject matter and is a guaranteed toe-tapper and head-nodder.

7. Nightfucker - "Poisoned Wine" (from "Leechfeast / Nightfucker Split EP", 2023)
Last month I featured Leechfeast's contribution to this split EP, so in the interests of fairness here is the second of Nightfucker's two tracks.

8. Windhand - "Halcyon" (from "Eternal Return", 2018) [submitted by Vinny]
A great track from one of my absolute favourite female-fronted psych-doom bands. This was five years ago now, so a new studio album is long overdue,

9. Messa - "Babalon" (from "Belfry", 2016)
Messa are one of the most celebrated doom metal bands of the last couple of years, pushing boundaries more than most. Babalon is from their 2016 debut and is a bit more conventional in it's approach to doom. It's still a quality release though.
 
10. Tragedia - "Tiamat" (from "El libro de Enoc", 2023)
I've never heard these guys before, again using the RYM gothic metal charts to find them, but this is actually pretty good as far as gothic metal goes. I will have to check it out further I think.

11. Minotauri - "Doom Metal Alchemy" (from "Minotauri", 2004)
Primitive sounding Finnish trad doom that pays homage to early exponents of the style such as Pentagram. Minotauri were contemporaries of Reverend Bizarre and sound very similar to their countrymen.

12. Capilla Ardiente - "The Spell of Concealment" (from "The Siege", 2019)
Chile doesn't just produce the best thrash metal on the planet at the minute, they also have a great epic doom band in Capilla Ardiente. Candlemass worship at it's best. Notably it keeps that prominent, growling bass so beloved of so many modern Chilean thrash bands.

13. Rippikoulu - "Pimeys yllä Jumalan maan" (from "Musta seremonia", 1993) [submitted by Daniel]
Super lo-fi early death doom from the awesome Musta seremonia demo. Awesome stuff for the doom metal historian.

14. Thorr's Hammer - "Norge"
TH have attained legendary status, despite only originally existing for six weeks in the winter of '94/'95. Sunn O)))'s Greg Anderson and Stephen O'Malley teamed up with Norwegian exchange student Runhild Gammelsæter, playing a couple of gigs and recording the three-track EP from which this track was taken. Runhild has a different vocal style to the other ladies who have featured on this month's playlist and could be the musical performance of the possessed Regan from The Exorcist.

15. Warning - "Footprints" (from "Watching from a Distance", 2006) [submitted by Vinny]
It's Warning... It's from Watching From A Distance. Thankyou Vinny, I am a happy man!!

16. Khanate - "To Be Cruel" (from "To Be Cruel", 2023) [submitted by Sonny]
The title track from Khanate's latest. The soundtrack to all your worst nightmares. My favourite album of 2023 to date.

Likewise, I am struggling for time with work pressures at present so will be abstaining as well.

It's mostly in the last track, "Black Lava Flow". It seems to me that the atmospheric steam that has leveled up the album is lost, and therefore doesn't reach the earlier intensity.

1. Obelyskkh - "Aquaveil" (from "The Ultimate Grace of God", 2023)

2. Condenados - "Tierra de cementerio" (from "El camino de la serpiente", 2023)

3. Ningen Isu - "りんごの泪" (from "人間失格 (Ningen shikkaku)", 1990) [submitted by Morpheus]

4. Gore - "USA Is Calling" (from "Hart Gore", 1986)

5. Lake of Tears - "Come Night I Reign" (from "Forever Autumn", 1999) [submitted by Daniel]

6. Konvent - "Sand Is King" (from "Call Down the Sun", 2022) [submitted by Vinny]

7. Evoken - "The Mournful Refusal" (from "Antithesis of Light", 2005) [submitted by Ben]

8. Theatre of Tragedy - "Aoede" (from "Aegis", 1998) [submitted by Daniel]

9. The River - "Broken Window" (from "Drawing Down the Sun", 2006) [submitted by Sonny]

10. Tiamat - "Alteration x 10" (from "A Deeper Kind Of Slumber", 1997) [submitted by Daniel]

11. Encoffination - "The Keys of Hell and Death" (from "We Proclaim Your Death O' Lord", 2019)

12. Coffinworm - "Of Eating Disorders & Restraining Orders" (from "IV.I.XIII", 2014) [submitted by Daniel]

13. Hell - "Victus" (from "Hell", 2017) [submitted by Vinny]

14. Dolorian - "Raja Naga – Rising" (from, Voidwards, 2006) [submitted by Ben]

15. Leechfeast - "Bells of Fire" (from, "Leechfeast / Nightfucker Split EP", 2023) [submitted by Sonny]

Invernal is composed of thick, dense riffs that are common in sludge metal but which also possess a thrashiness and complexity that is much less common in the genre. This makes the album sound more kinetic than the vast majority of sludge, which by it's very nature is a slothful style of metal, but there is more than enough doominess present, despite the uptempo pacing, to justify it sitting under the Fallen's umbrella. Instrumentally this is a really fine album, the complexity of the busy riffing on a track like Somnae tenebrae is exceedingly interesting and doesn't fall into the trap of excessive "jerkiness" that I feel with a lot of technical metal and all the tracks flow along really nicely. When the band do turn in a slower-paced riff like the early riff in Corrosion Fields then they build a nice, ominous atmosphere and they aren't afraid to occasionally insert a gentle post-metal section, such as during Abyss, to break things up a little and build anticipation for their next aural assault. The production is great and very clean-sounding, which isn't always a plus for a sludge metal album, but doesn't hurt the sound here and the riffs, although they aren't as muddy as those on many other sludge releases, have a depth and "crunch" that should satisfy all but the most demanding of sludge metal fundamentalists. It is fairly unbelievable to me that this has no bass at all, because the guitar sound has such amazing depth to it that you don't even notice the four-string's absence. The drumming is excellent, but is occasionally drowned out a little, particularly on faster sections like during the middle of Erebus Dawn, however, Rafael Martinez is a busy little bee and he turns in a performance to rival even Animal from the Muppets!

The "but" is coming now I am afraid, and it is the vocals that are the subject of it. Like Vinny I think the vocals are the weak point. I actually don't mind them per se, they are not as grating or ascerbic as some sludge vocals and they don't have the shouty, "spoilt toddler" quality that turns me off to other releases so often, but they just don't sit comfortably here with the instrumental work. I have seen elsewhere that there is little variety to be found on Invernal, which I would ascribe to the singing as it does seem to sound the same on nearly every track and the accusation of lack of variety can't really be laid at the door of the instrumentalists. Invernal would definitely benefit from a more aggressive-sounding and harsher singer I feel.

In summation, this is a really excellent album musically and the two guys have done a great job of sounding like twice that many, but they really should look at drafting in another singer to push them into the top echelon of sludge metal marvellousness.

4/5

Lots of Slowcore. I find the less folky end of the genre to basically be Doom Rock. Wider Than the Sky by 40 Watt Sun is a great example, as are Low's first few albums. Codeine are this taken to the extreme, being incredibly heavy for a non-metal band. 

Dark/Depressive/Atmospheric Alternative Rock Albums like Alternative 4 by Anathema, or some mid-career Katatonia (Last Fair Deal Gone Down most of all) .

Some of the darker, more depressive Shoegaze bands creep into this territory occasionally (Nowehre by Ride, or My Bloody Valentine or Slowdive at their most depressive) 

The highlights for me this month have been Smoulder, Chelsea Wolfe and Fistula.  I keep meaning to explore more of Monolord's discography beyond No Comfort and Vænir looks he likely candidate if I am honest.  Went all skip button on STAKE, Hanging Garden, The Wounded King and Goya (I mean not bad stuff but a tad too similar to Electric Wizard really).  Passed a wet bank holiday Monday nicely though Sonny, keep up the good work.

Thanks Vinny. For me, Vaenir is Monolord's best and I would heartily recommend it if you like any of their other stuff.

I always find sludge to be quite a warm genre. Sure, it can be plenty abrasive, but generally the distorted doom metal element adds a certain warmth to the sound. Here, however, Coffinworm have imbued their sludge with an iciness forged from black metal which removes any comforting fuzziness from the album and replaces it with a cold, implacable visage that suggests that the band couldn't care less whether you like it or not. But the joke's on them because it seems everyone, myself included, does love it - haha!

Sludge metal strikes me as a genre that it is quite easy to get wrong and there are plenty of releases that leave me cold, but with IV.I.VIII Coffinworm have turned in an album that manages to get the sludge part right, whilst producing something a bit different-sounding to the plethora of sludge acts who seem to have emerged from every piece of available wordwork over the last decade or so. There is a dichotomy at the heart of IV.I.VIII, which is that it feels like it is a really abrasive and pugnacious album, but before you know it, it has sucked you in with an unexpected melodic riff before hammering you with the battering ram it has had hidden from view. Kind of the epitome of the steel fist in the velvet glove.

This is some seriously heavy-sounding shit and the blackened edge to the vocals and some of the guitarwork sound like a ripsaw trying to saw the top of your head off while the riffs are oppressive and overbearing, looming over the listener like an impending tidal wave. In addition to the black metal influence there also seems to be a detectable death metal component to some of the riffs that makes them really tight-sounding (and all the more oppressive for it). Some bands seem, to me anyway, to strive for extremity by making themselves virtually unlistenable, so drenched in dissonance and angularity are they in a search for the holy grail of inaccesibility that they forget about writing any sort of "songs". Luckily Coffinworm have been able to attain extremity without completely eschewing what makes music so cool in the first place - the songs. The tracks here are well-written and have both a direction of travel and a resolution, whilst still sounding like world-killers.

Coffinworm truly aren't for the faint-hearted Fallen member, but if you enjoy life on the outer limits of the clan's remit, then that is definitely where you will find IV.I.VIII. like some Arthur C. Clarke monolith waiting to point unwary metalheads towards the next evolutionary level of metal extremity.

4.5/5

Will be taking time to check out FVNERALS, Head of the Demon and Shape of Despair from this list.  Not a fan of Dark Buddha Rising or Om upon first listen but may revisit later.

OK, I'm a day late, but better that than never, right?

Paradise Belongs to You was the debut album from Copenhagen's death doomers Saturnus, released a full six years after their formation in 1991 they had had plenty of time to work up the material for their introduction to the metallic masses. It shows too, because the band presented a set of well-developed tracks here that it is very obvious they felt exceedingly comfortable with. Production-wise (courtesy of Flemming Rasmussen) they have hit a nice spot between clarity and a sheen of just enough muddiness to render the material suitably doomy and gloomy sounding. They have, however, taken the rather puzzling decision to include a plethora of birdsong samples into the album, which can be a bit distracting, although they are brief enough not to provide any lasting irritation.

Saturnus' whole vibe is very much derived from The Peaceville Three, particularly My Dying Bride's gothic death doom leanings and that sound is exceedingly well reproduced here. Slow, towering chords and distant and ephemeral layers of keyboards combine to produce a mournful and introspective atmosphere while Thomas Jensen's understated vocals, both death growls and cleans, effectively convey a deep and abiding melancholy. The songs are well-written and develop nicely during their respective run times with some particularly melodic and memorable riffs, such as the instantly recognisable one unveiled during Christ Goodbye or the opening riff to Astral Dawn. Their song development ensures that none of them drag on just for the sake of filling runtime, but seem to actually be going somewhere and provide a certain satisfaction at track's end that the listener has completed a journey with the band through a particularly mournful episode in their life. There are also a couple of folky interludes, in The Fall of Nakkiel (Nakkiel Has Fallen) and the short instrumental As We Dance the Paths of Fire and Solace, which break up the doomier material and provide a nice contrast in atmosphere. The album also closes with a gentle, medieval-sounding piece that leads into a final chorus of birdsong.

Instrumentally, the Saturnus guys seem very proficient and everything seems to be very professionally realised but that means naught if you don't have the songs and these Danes certainly do. Sure, it probably sits at the lighter end of the death doom scale, but I actually think Saturnus' songs are better than the comparable material from My Dying Bride, mainly because they don't lean as heavily on the whole gothic schtick. I'm sure that will surprise many readers of this, but hey, what can I say?!

(Very Strong) 4/5

This month's playlist was another success to my ears and I have a couple of new bands to check out form the list, namely Crawl and Black Oath.  I had already been listening to The Otolith (given they are basically part remnants of Subrosa who I have also been listening to).  That Ufomammut track reminded me that I already have that album in my digital library and it got quite a bashing when I was working away on the Isle of Wight one year.  I also really enjoyed that Tribulation track which is odd because I have not really gelled with much of their stuff to date.

I went through my first The Fallen playlist this month.  My takeaway picks were The Hounds of Hasselvander, Fvneral Fvck, Mansion, Ahab and The Howling Void.  I didn't mind Admiral Angry either but I have never understood the hype around Orange Goblin and this tack didn't change my mind either.  Some cool takeaways to explore in more detail though.  Thanks Sonny.

It's great that you enjoyed Mansion, Ahab and Howling Void Vinny as they are 2023 releases and it feels like The Fallen may be in for a good year new music-wise. Fvneral Fvck were a new one on me too that I discovered while compiling the list and really dug a lot.

I would suggest that we reduce our limit for The Fallen track nominations to 24 minutes each from next month Sonny.

Agreed. Let us go with that then going forward.

It looks like you've forgotten to put your rating on the release page Sonny.

With the award winners about to be announced, I thought I'd throw in my two cents & say that the Dvvell record gets my vote for The Fallen release of the year. Well done to Sonny for nominating it for feature release status, otherwise it probably would have slipped past me as I haven't seen it getting much publicity.

I'm back from a refreshing vacation to start out the new year and I went through almost 100 covers last night to help out with the sample size, since I never rate covers. I'll try and do the same for the rest of the clans as these threads pop up. Now I've got some serious catchup to do.

Set Chaos to the Heart of the Moon is the Roadburn set performed by the Belgian psych/drone/jazz collective on 17th April 2021. Starting off with Sustain, I guess you had to be there to appreciate the track as it is a bit of a nothingness really, it's random and disparate vocalisations don't do much for me in this recorded form and does very little to build any anticipation for the hour plus that is to follow, although I can see how it may be considerably more effective (and possibly disturbing) in a live setting. Those opening eight and a half minutes are followed by Zâr: Empowering the Phurba: Éon Phanérozoïque which is where the bass and percussion introduce themselves as the driving force behind the piece with the rest of the band doing all their "twiddly bits" over the top of this propulsive force which seems to gain monentum and power as the track proceeds.

The five-part, twenty-seven minute suite, Vajrabhairava is up next, starting with it's heavily eastern-influenced, shamanic atmosphere it is the most interesting part of the set for me and marks the point, quarter of an hour in, where the album finally gets going properly. The psychedelic jazz presented during Vajrabhairava is very hypnotic, in particular The Great Wars of Quaternary Era Against Ego, which comes off like a jazz version of a Hawkwind jam from their seminal Space Ritual live album and I have found myself zoning out more than once whilst listening to it, thoughts off and away elsewhere, pondering the nature of time, space and reality, such is the effect of this sonic mindwipe on my neural pathways! The final twenty-plus minutes are dedicated to another lengthy suite, the three parter, The Conference of the Stars which once more has at it's centrepiece, after a sax-led crawling first movement, a glorious jazzy space-rock jam that is dynamic and propulsive, as if hurtling between astronomical bodies on a tail of fire, which marks another high point of the album for me. The performance sounds impeccable, and it is evident that NM are consummate musicians who are technically excellent and who gel together impressively in a live environment.

Overall, this is an album that gets off to a slow start and begins to test my patience early on, but which redeems itself with some quite sublime, psychedelic-laced musical adventures to places few others dare to tread. I get a similar sensation from this as from another Roadburn set, Waste of Space Orchestra's Syntheosis, which isn't musically the same, but is certainly spiritually so. For all the plaudits for the droning avant-jazz, it is the kineticism of The Great Wars of Quaternary Era Against Ego and The Conference of the Stars Part Two: the Ascension that really grabs me, their dynamism providing more focus and direction than the sometimes (to me) aimlessness of the most avant-jazz sections. I can imagine this was a brilliant live experience and I am sure that a Neptunian Maximalism performance is indeed something to behold, with the recorded version probably lacking a bit of the x-factor you sometimes get with the best live acts. When it is good, it is absolutely superb, but there are a couple of sections I could do without if I am being honest (as in the first fifteen minutes) and so I can't award it my very highest scores.

4/5 (may get bumped at a later date!)

Hey there, Daniel. Since you enjoy that Admiral Angry album, and you have a good feeling about Knut's Challenger based on earlier monthly playlist research, this Today is the Day album might just make your day:

https://open.spotify.com/playlist/2rSh9MnfQo9HmPLo2W5MBa

1. Monolithe - "Sputnik-1" from " Kosmodrom" (2022) [submitted by Sonny]

2. Candlemass - "When Death Sighs" from "Sweet Evil Sun" (2022)

3. My Dying Bride - "Symphonaire Infernus et Spera Empyrium" from "Trinity" (1995) [submitted by Daniel]

4. Saint Vitus - "Clear Windowpane" from "Born Too Late" (1986) [submitted by Sonny]

5. Spiritual Beggars - "Angel of Betrayal" from "Ad Astra" (2000)

6. Conjurer - "Basilisk" from "Páthos" (2022)

7. Mortiferum - "Incubus of Bloodstained Visions" from "Preserved in Torment" (2021) [submitted by Ben]

8. Sentenced - "Cross My Heart and Hope to Die" from "The Cold White Light" (2002)

9. Orodruin - "Ruins of Eternity" from "Ruins of Eternity" (2019)

10. Rapture - "This Is Where I Am" from "Futile" (1999) [submitted by Ben]

11. Pantheist - "Lust" from "Amartia" (2005)

12. Horn of the Rhino - "Reins of the Warlord" from "Dead Throne Monarch" (2008) [submitted by Sonny]

13. Doomshine - " Sanctuary Demon (Chapter of Prognosis)" from "The Piper at the Gates of Doom" (2010)

14. Cavurn - "II" from "Reheasal" E.P. (2017) [submitted by Daniel]

15. Greenmachine - "Golgotha" from "Mountains of Madness" (2019)

16. The Ocean - "Benthic: The Origin Of Our Wishes" from "Pelagial" (2013) [submitted by Daniel]

17. The Otolith - "Hubris" from "Folium Limina" (2022) [submitted by Sonny]

18. Procession - "To Reap Heavens Apart" from "To Reap Heavens Apart" (2013) [submitted by Ben]

OK, so what, at one point as we passed from summer to autumn, felt like a very lacklustre year for doom metal, has picked up quite considerably and ultimately has produced some sterling releases, albeit the year as a whole is lacking depth of quality. My current top ten now looks like this and I would have no problem recommending any of them to a fan of Fallen-related metal:

1. Dvvell - Quiescent (10/10)

2. Messa - Close (9.8/10)

3. Monolithe - Kosmodrom (9.1/10)

4. Epitaphe - II (9.0/10)

5. The Otolith - Folium Limina (9.0/10)

6. Mournful Congregation - The Exuviae of Gods: Part I (9.0/10)

7. Shape of Despair - Return to the Void (8.8/10)

8. The Funeral Orchestra - Funeral Death - Apocalyptic Plague Ritual II (8.7/10)

9. Conan - Evidence of Immortality (8.5/10)

10. BlackLab - In a Bizarre Dream (8.2/10)

There are still a couple of releases I need to work up reviews for, such as Darkthrone's Astral Fortress and Spiritus Mortis' latest, but this is where we are at the moment.

I really enjoyed this release Ben. It was new to me as I'd only heard Void of Silence's 2010 fourth album "The Grave of Civilization" previously but I think this is the better record of the two from what I remember of that particular release. I'd describe the sound of "Criteria ov 666" as being blackened/gothic doom metal. The style of the riffage certainly borrows a lot from My Dying Bride while the use of dark atmospheric interludes & cinematic symphonics gives Void of Silence a clear differentiator. The vocals are obviously drawn from black metal with Aborym front man Malfeitor Fabban handling the microphone duties on this occasion. I have to say that the rhythm guitar sound leaves a little to be desired but the tracklisting is completely free of duds so it's a very consistent record. It is a little strange though that they've elected to leave the three strongest cuts until right at the end of the album but it does leave you wanting more which can hardly be negative now, can it? Great selection once again Ben.

For fans of My Dying Bride, Dolorian & Dread Sovereign.

4/5

https://open.spotify.com/playlist/2rSh9MnfQo9HmPLo2W5MBa

1. The Obsessed - "Brother Blue Steel" from "Lunar Womb" (1991)
2. Darkthrone - "The Sea Beneath the Seas of the Sea" from "Astral Fortress" (2022) [submitted by Sonny]
3. MWWB - "Valmasque" from "Y proffwyd dwyll" (2016) [submitted by Ben]
4. Conan - "Levitation Hoax" from "Evidence of Immortality" (2022) [submitted by Sonny]
5. Spiritus Mortis - "Death's Charioteer" from "The Great Seal" (2022)
6. The Body - "Even the Saints Knew Their Hour of Failure and Loss" from "All the Waters of the Earth Turn to Blood" (2010)
7. Tiamat - "Carry Your Cross and I'll Carry Mine" from "Prey" (2003)
8. Daylight Dies - "Dismantling Devotion" from "Dismantling Devotion" (2006) [submitted by Ben]
9. Toadliquor - "(Opening Sections Of) Inter-Stellar Space" from "Feel My Hate - The Power Is the Weight - R.I.P. Cain" (1993) [submitted by Sonny]
10. My Dying Bride - "A Sea to Suffer In" from "The Angel and the Dark River" (1995)
11. Elder - "Gemini" from "Dead Roots Stirring" (2011) [submitted by Daniel]
12. Assumption - "Triptych" from "Hadean Tides" (2022) [submitted by Sonny]
13. Candlemass - "Solitude" from "Epicus Doomicus Metallicus" (1986) [submitted by Ben]
14. Khazad-dûm - "The Forsaken Palace" from "Hymns from the Deep" (2020)
מזמור. 15 [Mizmor] - "The Narrowing Way" from "Cairn" (2019)

Well shit; it turns out that I have been remarkably tardy when it comes to the Fallen clan in recent months. In fact, my last review of a featured release from this clan was Type O Negative's World Coming Down back in July. And I feel a little regret in this because I have most likely been missing out on some crushing, Sonny nominated Doom metal such as this!

One of my biggest criticisms of the limited funeral doom that I've reviewed here is its clunkiness. What we have here on the debut album from Dvvell has the production quality of a death doom project from My Dying Bride or Swallow the Sun. There is a pristine level of polish to the instrumentals and the performances throughout the record. Even the malformed vocal timbre is precise.

What makes Dvvell stand out from those death doom albums is the suffocating atmosphere, which is heavily influenced by M.S.W. or to a lesser extent, Ahab. These four tracks have some titanic low ends, which allows for the post-metal adjacent guitar leads and vocals to pierce through the wallowing atmosphere. Which does lead into songwriting and I must admit, Dvvell did a fantastic job of defying my initial expectations. Every track is close to fifteen minutes and while it certainly feels like this is the case, each one has more than enough modulation to not make it too redundant over these extended runtimes. This is most notable in those guitar leads and vocals rather than just a monotonous implication of the open power chords for the entire runtime. RYM has drone metal listed as a subgenre and I can see it, but those lead parts are enough of a change of pace that I think we can devalue that as a subgenre.

If I had to criticize this record for anything, it would probably be how tracks end, specifically "Mother" and "Son" with their extended electronic/ambient passages that don't really develop the tune that just finished, or prepare the listener for the next tune all that well. Otherwise, this is a splendid release. This is an example of doom metal in its highest quality and continues to impress with each subsequent listen. Ahab sounds like a big influence and for me, that is the highest compliment.

9/10