Locus Amoenus are a Dutch blackened funeral doom band with a sound that is powerful, bleak and unafraid to wear its influences on their collective sleeve. Their new album, 't Gloem Heil is three tracks of monochromatic and ominous stuff, full of grim atmospheres, stripped back production and a sense that we are staring down the barrel of the end of the world. It's rare these days that yo uget a record that feels this big especially in the more DIY world, but here we are. THis is a release that stands apart in the scope of its vision and it's sure to lure you back in time and time again.
There is something freaksihly and poetically transcendent about what Locus Amoenus have accomplished here. This is a record that does not stray far fro mthe core tenets of the genre and the production is nothing to write home about, but it's in this dedication to their craft and their songwriting that they are able to conjure up some truly massive atmospheres that you will want to ceaselessly wander through. There is an elegant vision to what guides this whole thing forward, and through all of the gnarled riffs and frostbitten atmospheres it becomes clear that 't Gloem Heil is also an album with otherworldly beauty.
't Gloem Heil is a crusher any way you slice it. From the liberal use of ambient rain sounds to the punishingly guttural growls that define the vocal lines throughout this record, Locus Amoenus have found unique and visionary ways to consistently craft an image that will leave you in awe. This is a dense album and not for the faint of heart, but for those of us already enamored wit the world of funeral doom and black metal, then this is going to come across as a record to draw you back in and leave you thrilled for what's to come.
Funeral doom is such an interesting metal subgenre. The way that it can feel almost cosmic in scope and invoke bleak emotions that are sorrowful in a way few other pieces of music can be is entrancing. Such is the case with Of Darkness, whose new album Missa Tridentina is some of the most incredibly nihilistic funeral doom I've come across i na long while. Far removed from so many of the prettier sides of the genre, Missa Tridentina is much more about the bleakest and most apocalyptic sonic conjurations imaginable.
It's hard not to be enamored with the crushing brutality of this music and the chaotic swirls of sound that they inject into a slowed down funeral doom crush. It's exactly the sort of thing that leaves us in shock and awe of the devastating sounds to emerge from this abyss. Songs like "Deus Qui Humanae Substantae" present an almost Dante-esque inferno of sound, full of creepy noises and tortured vocals layered on top of ominous pounding drums and crunching guitars. Missa Tridentina is much more about the terrifying vibes than it is anything else. There is no room for melody when you are unveiling sounds that are designed to drag listeners to hell.
Few albums these days are able to fascinate me with the evil that they conjure up. Missa Tridentina though is fascinating in its evil. Few records feel so out and out satanic, or as devilish in their incarnations. This is an album that is unafraid to force listeners to face the brutal unreality of being and encourages them to embrace something blasphemous and forbidden. Take the left hand path and press play on this one of a kind album. It's exactly the sort of terrifyingly evil offering that I think drew most of us to metal in the first place.
Usnea are back! Bathed In Light is the funeral doom quartets first album in four years and its a crusher. While the doom metal scene has changed pretty dramatically since Usnea's last offering, Bathed In Light shows the band continuing to build on their slower than life, crushing sound that first enamored fans when they rolled onto the scene in 2011. This album feels like a fitting next step for a group that have stayed so true to their roots. It's hard not to be enamored with the darkness they've inspired and the layers of heaviness that keep them so interesting.
Bathed In Light fascinates because of not just the heaviness of the guitar tone but the general sense of despair that the band is able to so easily communicate. There is a depravity and a sense of fate in the bands discography that keeps me coming back. Bathed In Light is just another addition to that legacy of sorrow. This is also perhaps the bands most fully fleshed out work to date. Songs like "Premediatio Malorum" reflect a new era of darkness in the music and a crushing use of dynamics that the band had perhaps not been able to deploy before. As a result, Usnea's blackened funeral doom has gotten all the more punishing, a reflection of sorrow to come.
For those of us who miss the peak of the doom scene back in 2014-2015, this feels like a return to that era. It showcases a wonderfully heavy band who are unleashing plodding and terrifying tenterhooks guaranteed to drag you to Tartarus. Bathed In Light is the sound of the world ending, and with it, Usnea prove once more that they are among the best doing it today, with a vision and approach that few of their peers could really ever emulate. This is funeral doom done right, and the heart rending dirges that define them just keep getting sadder.
It's always a good day when you realize you have new music from Mournful Congregation in your inbox. I'm very pleased to share that the bands new EP, The Exuviae Of Gods - Part I is an absolute stunner, and only the first of a pair of EP's the band plans to release this year. This time the funeral doom masters come with two original compositions plus a re-recording of one of their demo era pieces. The end result is 37 minutes of funeral doom perfection once again proving just how talented this band is and what they are all about.
The Exuviae Of Gods - Part I has no real surprises but is rather just a continuation on the Mournful Congregation sound that so many of us know and love. It's the sound of a band who are wholly their own, clear in their vision and dynamic in execution. They are a band delivering at the highest possible level and continually proving the unique magic of their brand of funeral doom punishment. The heart breaking threnodies that define tracks like "The Exuviae Of Gods" are real tear jerkers and speak to the ongoing power of this band. Meanwhile the production is absolutely top notch, showcasing a band at the height of their powers sounding as massive as ever.
Mournful Congregation have proven once more on this record that they are a force to be reckoned with and a band who are impossible to overestimate because they just keep rising to the occasion. Mournful Congregation are masters of their craft and listening to them execute across these three tracks is a treat. We should all feel thrilled to be getting two offerings from these masters this year. This band have always dominated year end lists and it feels like this record will be no exception to the perennial rule. Mournful Congregation are back and they rule.
Man, with the end of the world closer than it's been in a long time, it's a good day for some Finnish funeral doom. Fortunately(?) the masters of the genre, Shape Of Despair are here to provide with Return To The Void a crushing and powerful anthem to sorrow. This record is truly destructive and powerful, an emotional offering ripe with sonic wizardry and one that consistently excites listeners with the breadth of execution. It's a funeral doom record for true nerds of the genre who are looking for that next slow step into hell.
Return To The Void thrills because of how much it scrapes the depths of what heavy music can be. The guitars are absolutely colossal, more akin to the sound of moving mountains than anything else. It's a delight to hear as they unveil their demented layers and leave listeners suffocating on the sheer volume of what has been done here. Shape Of Despair thrills with the emotional depth of these songs too. The minor key threnody of a track like "Dissolution" is absolutely titanic and speaks to the power of these guys as composers. There's a very real magic and vision that fuels Shape Of Despair and keeps listeners eagerly coming back for more.
Shape Of Despair have gone above and beyond on this record and it's good for the soul to get lost in the gloomy layers of sound that they have produced here. This is heavy music executed at the highest, and slowest level. It's a doom metal anthem for the end of the world and one that I think devotees of the underground are going to find themselves coming back too. As for me I will just blink away tears and remain in awe of this monstrous release and hope to one day find more music with this same layer of emotional power.
For those in the know, funeral doom has really been having a moment these past few years. On Earth And Heaven is another addition to that pantheon courtesy of Ember Sun, the solo project of Order Of The Ebon Hand founder Lorthar. It's a one of a kind offering and one that I think devout fans are going to find themselves returning too in awe time and time again. Ember Sun manage to full differentiate themselves on this masterful new offering and prove that they are among the great new funeral doom projects.
What gets me about this project is not just the ability to act on the tropes of the genre but also there willingness to go a little above and beyond. There are guitar solos here, interlocking growls and female vocals and so much more. It's a record that was very clearly a labor of love and the more time you spend examining its myriad layers and unique sound the more clear it becomes just how special this release is. It's a record that routinely goes above and beyond in attempting to prove to listeners that this is a funeral doom project with few peers, which can consistently impress with its willingness to build on classic ideas.
I get the sense that this is only the beginning though. On Earth And Heaven is a great record, but it's not really a jaw dropper. But I get the impression the band could be releasing a jaw dropper soon. The myriad elements are here, but now things are going to start to really percolate into something truly special and mind blowing. Ember Sun are an impressive band and the more time you spend with them the more you realize just what they are onto. Letting yourself get lost in the madness only augments the fascination.
Man - I am so excited that funeral doom is really having a moment right now. One of the most recent exciting additions to this newfound canon is Deber, whose latest offering Aspire To Affliction is an absolutely monumental work full of crushing guitars and vocals dragged straight from hell. Yes the production quality is lacking here and there but that only adds to the overarching magic of the band because it gives them that sort of dungeon demo quality. Letting yourself really get lost in these layers is a delight and hints at so much more to come.
Aspire To Affliction will immediately strike listeners with its wonderful emotional depth. Tracks like 'Decay' really give a listener a sense of the despair that goes into this record. It's a release that seems to really feed on its most darkest moments and which pushes above and beyond in crafting sounds that make you question your sanity. The bottom scraping guitar tones and devastating bass lines only add to this, leaving listeners wondering where do we even go from here. While the melodic content isn't as pronounced as in many of their peers sounds, the subtle guitar layers add a sense of sorrow to the whole thing.
Join me in letting yourself get crushed by this record. Aspire to Affliction is the sound of a band eagerly letting themselves get choked out and making us all suffer alongside. Their vision and compositions are devastating and it's a delight to really embrace the filth and look at all it will bring us. There is a sense of terror behind Aspire To Affliction. Terror of the human condition. Terror of a sorrowful world that will never let us see the light. Join me in reflecting upon this madness and lose yourself in the abyssal layers. It's worth it.
Few bands have had as deep an impact on funeral doom as Skepticism. They are a one of a kind force who have continually proven that they are among the great metal acts of their generation. This latest offering, Companion, was hotly anticipated and a perfect next step in the bands epic legacy of crushing and sad music. Devastatingly heavy and full of soul melting riffs, Companion is the sort of powerful late period work that proves Skepticism have a longevity unlike almost anyone else in the game. It's a delight to sink yourself into it.
The production alone is gorgeous adding a very real breadth to tracks like album closer "The Swan And the Raven." The larger than life imagery that guides these songs and the epic atmospheres that they so eagerly lean into really speak to the sense of torment they can invoke. As you pick through the myriad layers of Companion it becomes increasingly clear that this is a masterwork and a record that should not be underestimated. This is doom metal done right, infinitely sad and doomed to leave you begging for more. Not a lot of doom bands can evoke this same sense of pain, and yet here Skepticism are, continually showing they are among the saddest the world has to offer.
Companion is a crusher. A record that bears multiple listens and which sits nicely in the pantheon that is this bands discography .They have once more proven that they are among the best to ever do it and the monumental soundscapes that they craft are guaranteed to drag you with them to the pits of Tartarus. There is an elder power at hand here and Skepticism tap into it perfectly. Losing yourself within that is a pleasure. This is funeral doom for the funeral doom devotee and it will keep you in awe of its masterful execution.
This is a truly crushing one. In an era where I feel we have been hearing more funeral doom than ever before, Convocation have been at the top of their game. This is a time where funeral doom is more needed than ever, where wonderfully blackened threnodies make the most sense. We are all suffering. Bands like Convocation are what is going to help us through this incredible grief. Ashes Coalesce is a thrilling offering from the band and has me deeply curious about what is going to come from them next.
The sense of apocalyptic turmoil that defines tracks like 'Martyrise' is truly thrilling. In some ways this band, with their epic soundscapes and devastating bottom end seem like a younger Inter Arma. On the flip side of the coin there is a sense with Convocation that they are going so much further. The acoustic explorations that close out the record on 'Portal Closed' are just one reminder that this is a band who can do much more than some might expect. All in all though this record is absolutely massive, crushing and a little bit intimidating. Who wouldn't be suffocated by the sheer breadth of the playing here and the overwhelming waves of sound.
Ashes Coalesce is absolutely masterful. The band has a sound that is perfectly slotted into the funeral doom genre but also brings in so many other elements. This is a thrilling listen and a record that features epic songs that will keep you coming back time and time again. Convocation have proven here that they are truly one of a kind, masters of their craft and with a vision for a bold future. The vastness of this record is perfect for repeat listens. So I invite you, come join me in getting lost in the madness. Find them on Facebook! https://www.facebook.com/ConvocationDoom/
This is the real underground. In the process of writing this review I have texted no less than five people just how damn good this album is and how they need to pre-order it. The Funeral Orchestra have existed at the fringes of the underground for years now, and 2020 was set to be their big return to the forefront with their first album and live shows in seventeen years. While the live shows may have been cancelled, Negative Evocation Rites is a goddamn masterclass in underground music that has captured my imagination.
There is something completely entrancing about Negative Evocation Rites. The absolutely massive guitar tone and relentless buzzing is thrilling. On top of this the blackened vocals are twisted, evoking dark morasses of underground violation. The songs writhe in the murk, inviting you down to their twisted corner of Tartarus. There is something incredibly thrilling about spending time with a band who so eagerly embrace the dark. The Funeral Orchestra have gone well above and beyond here to make a record that wallows in its own filth and then continually drives the band to brave new levels of devastation.
It's refreshing to hear a funeral doom record that isn't trying to sound pretty. It's exhilarating to really inject yourself into the rubble of past lives that The Funeral Orchestra have so carefully decimated. This is a record that chokes out the listener, forces you to embrace their inner sense of evil and reminds you time and time again, there are none so vile, none others who can dive to quite the same depths and force the same level of grasping at straws, searching for sanity and hoping that it all ends. This record fucking kills. Find them on Facebook! https://www.facebook.com/thefuneralorchestra/
Man it's been a while since I've dug into a funeral doom record that really 'got it'. However Noctu, with their new offering, Gelidae Mortis Imago create weird and powerful funeral doom that can't help but to fascinate. On this record that band conjure up wonderfully bleak sounds and twisted ideas to make for a masterpiece. Fusing dungeon synth with more traditional funeral doom ideas, the group trudges along at a crawl, with three tracks, non under fifteen minutes long and three interludes It makes for a record you can really get lost in.
It's rare these days to find funeral doom that is so synth driven. Gelidae Mortis Imago seems to revel in this aspect. They develop Lovecraftian worlds of sound that are evil and majestic. Snarling their way through a trip into hell. Meanwhile the anthemic and wonderfully put together guitars provide a sense of the triumphant through it all. Undeniably introspective and alienating to all but the most dedicated of fans, Gelidae Mortis Imago is a funeral doom record that will keep the devout masses entranced. Find them on Facebook! https://www.facebook.com/noctu.funeral.doom
It's hard to believe that it's been six years since the last Evoken record. Sure in the interim they have stayed busy with a single and a compilation having been unleashed upon the earth since then, but there's nothing quite like a full length from these New Jersey visionaries. Well into the third decade of their career the band is only just preparing to unleash their fifth full length, a masterful and swooping body of work that encapsulates everything which has made Evoken such a special group over so many years.
Hypnagogia is a stunner from front to back, the songs dabble in both dark and light and then seem to conjure up just about every emotion in between. The crushing growls seem to have grown in intensity since 2012's Atra Mors and the bands execution has only improved and evolved to bold new heights. The potent melodies on these tracks are absolutely massive in scale and seem to only grow stronger with each passing hour. Hypnagogia is the sound of a band plumbing the depths of the humn condition and moving towards ever bleaker strains. There is something incredibly fascinating about the refinement and sense of pure poetry to these songs. You find yourself falling forward with the music, deeper and deeper into odes to a time forgot and a human spirit that refuses to be crushed.
Evoken have always been one of the most potent bands in this scene and here their unique brand of funeral death/doom seems to have attained bold new heights. It's always exciting to see a group continuing to expand their sonic horizons a quarter of a century in, but such is the case with Hypnagogia and it feels like it's only going to keep pushing that way. Immense in scale and simply thrilling in approach, Evoken consistently grow, expand and discover new ideas here. Dig in, the powerful soundscapes and mournful epics are waiting for you. Join the threnody.
It's been seven years since we've had a Mournful Congregation full length, a stunning amount of time, especially given how dedicated the fanbase is. But in the slow moving world of funeral doom, seven years is like a blink of an eye. It makes the bands latest release, The Incubus Of Karma all the better, and while one could argue that the scarcity of new Mournful Congregation music over the last decade could have something to do with it, I feel confident in saying that this offering is one of their best yet.
I know that I have a reputation as a funeral doom fanboy and that it's easy for me to get carried away with these sorts of things, but simultaneously, it feels like the band has crafted something iconic with this release. They've been a group for a quarter century, and now more than ever it feels like not only can Mournful Congregation craft some of the most tear jerking funeral doom that I have ever heard, but they can make you want to drown in the seemingly never ending sorrow that is their artistic triumph. This is an album that sucks you up and reminds you time and time again why we fell in love in the first place.
The Incubus Of Karma is a challenging listen at times, but it's also an album that reminds you authoritatively why these guys are so goddamn beloved. It's an album that comes out of seemingly nowhere to craft some of the most thrilling doom metal soundscapes that I have heard in a good long while. It is these very soundscapes that bring me to tears, which crush my soul and which make me realize this could possibly be my album of the year. There is a transcendent majesty to The Incubus Of Karma, it's a record that understands the power of funeral doom because its writers built the genre from the ground up, and I fucking love it. Find them on Facebook! http://www.facebook.com/mournfulcongregation
Full of Hell were up first, jumping right into business by blasting away with quick fire rounds of chaotic, abrasive outbursts of magnificent and torturous grindcore songs of the finest kind. Sure enough, the onslaught was as loud as one might have expected, though anticipation did little to undermine the sheer intensity of the bands’ set. Ear protection was an absolute necessity to reduce the loudness down to a level roughly equivalent to that of a loud concert without ear protection. Thankfully, the bands’ sound remained surprisingly clear and comprehensible throughout their set, allowing us to instantly recognise which songs were being played (which may pass off as a luxury in the context of certain grindcore shows). Taking what little space they had at their disposal onstage, the 4-piece sure displayed some impressive stage presence, with frontman Dylan Walker tearing his throat to shreds while pulling off the most pissed-off glare you’ve ever seen. Drummer David Bland’s performance was nothing short of mind-blowing, blasting away at insane speeds that are barely comprehensible to the human brain. Given the speed and intensity of the show, it should certainly come to no surprise that the bands’ set barely reached the 30 minute mark. Despite what would seem like a short set, the band delivered every bit of promise within that short span of time, leaving little to no room for disappointment.
Following up on this high-note, The Body were ready (no pun intended) to keep things going, slowing things down ten-fold with their pachydermic sound. The two-piece from Rhode Islands’ raw, guttural atmosphere submerged the jam-packed room with an impressive wall of sound, with sludgy riffs and gloomy drone doom sections. The stone-paved walls of the narrow venue reinforced the cavernous acoustic of the bands’ imposing sound; the drumset crashed and pulsated with an incredible force atop the immensity of the guitar sound. Despite the more drawn out, slow nature of the bands’ music, the set did not seem to last much longer than that of their tour comrades, which did make for a slight disappointment. With that being said, the disappointment would not be there had The Body delivered a short performance half as good as the one they played.
A great evening of extreme music thus came to a close. Far from overstaying its welcome, it will have certainly marked the minds and ears of its enthusiastic audience that made the show an overwhelming success, undoubtedly leaving some of them with some ringing ears as a keepsake. Living up to their reputation and name, Full of Hell & The Body have yet again conquered the city of Paris, guaranteeing an abundant and eager turn out for Full of Hell’s next date in Paris alongside Nails.
A huge thank you goes out to Kongfuzi booking, Matt and the bands for making this article possible!
Be sure to check out the bands on their websites and social media
Inverloch is one of those bands who walk that delicate line between powerful funeral doom and devastating death metal. Few records are as truly heavy, emotionally and sonically as Inverloch's latest, Distance | Collapsed. Reminiscent of bands like Bell Witch and Saturnus (Although not without its Asphyx-esque passages) this is a record that resonates with the listener, every note mournfully plucked and the crashing chords representing a sort of dystopian fall into a future of bleak hatred.
Compositionally Distance | Collapsed is an absolute stunner of a record. It takes the listener on a journey from start to finish and paints unique landscapes. Inverloch have taken traditional death doom paradigms and infused it with a sort of neo-classical beauty. There is something incredibly poignant about a song like From The Eventide Pool. It fits in nicely to the greater concepts that Inverloch paints on this album. Meanwhile - the few moments of death metal absolution are stunning, coming in as refreshing blasts on a record that some might criticize as 'too slow'. For what is essentially a funeral doom record Inverloch are surprisingly dangerous.
Distance | Collapsed is the sound of some sort of gigantic beast. While its repose is noble, elegant even, when you awaken the rage all hell breaks loose and you feel the world melting around you. The devastating crush and funereal might of the faster songs on this record are a perfect counterpoint to that which comes before - standing for something far greater and proving that death metal isn't just a question of speed, but also primitive skullfucking brutality. Inverloch aren't here to mess around, they come from Down Under and they will you pull you down with them. Find them on Facebook! https://www.facebook.com/InverlochOfficial/?fref=ts
It's Christmas Eve so I'm drinking tea out of my new Bernie Sanders mug and listening to funeral doom. That seems about right. That being said - Lycus are an incredible band and one whose ability to plumb the depth of human despair ha certainly given me a reason to carry forward this Christmas. With beautifully crafted melodies and simply crushing riffs Lycus understand the spirit of the genre as they scrape along titanic bottom ends and drag you by your manky hair into a strange soundworld that you can revisit again and again.
There's a wonderful sense of forward motion on this album that manages to provide a sense of hope despite the melancholy. Beyond that - it speaks to the quality of the musicianship, while this is certainly a slow record and one that takes a few spins to really digest there is never a dull moment. As a matter of fact I might even bill this as one of the most gosh darned interesting funeral doom records I have ever heard. The droning chants that accentuate these songs are perfectly contrasted by devastating growls and sludgy riffs that run like twisting rivers underneath perfectly composed melodies that reflect a very human sadness.
So let yourself go this Christmas season and dive into something that will allow you to face the true despair of our existence. The thing is - as nihilistic as it might initially seem there's actually something incredibly hopeful about this band, as if out of the murky depths we too can rise up and find a better world. We just have to let the raw heaviness and sadness of this album sink in first. Brilliantly executed and a great example of musicianship in the funeral doom genre Chasms impresses on every level. Find them on Facebook! https://www.facebook.com/lycusdoom
To start off this funeral doom album review with both a pessimistic and thus fitting statement to set the mood, let me just come clean and state that despite my eager will to promote my home-countries' metal scene, I have pretty much given up on it at this point. Rare seem to be the bands that escape the tendency to string together gimmicky , uninspired and incoherent riff collages to step back and simply pay attention to the overall compositions, which truly saddens me. It is for this reason that I am extremely proud and excited to bring you my review of this debut-record by Plaguewielder from Luxemburg, a lone Funeral Doom band in a country void of any doom metal scene to hold on to.
Like I've said before, one of the most poignant elements that sets this band apart from the rest of the scene is its maturity when it comes to composition and its strong attention to atmosphere and ambience. Right from the start of the record, Chambers of Death captivates the listeners' attention and immerses the listener into its bleak, haunting atmosphere with the majestic "Existence is our Exile", which starts out with the vocalists' hair-raising howling, tortured screams (think Asphyx or Suicidal Black Metal). With its 48 minute runtime spanning split into 5 lengthy compositions, the band manages to justify its grand sense of ambition with an overall great sense of experimentation complemented by the albums' equally polished sense of progression from start to finish. Thankfully, the albums' production quality, while not airtight by any means, adds a great sense of authenticity to the bands' performance while also offering the band enough means to build up a captivating atmosphere nonetheless. It seems as though the band were well aware of the possibilities offered by their recording conditions and decided to make the most of it, turning it into an asset rather than a limitation. Whereas Funeral Doom can easily succomb to its' inherent risk at sounding monotonous or long-winded, Plaguewielders' Chambers of Death shows a great deal of diversity and nuance while balancing out the right amount of repetition and ambience to keep a hypnotic, sombre vibe throughout the entirety of the albums' playtime. About half-way into the album, the band introduces some orgue-type synths, creating an interesting mix between the guitars ringing like desolate chimes from a barren cathedral and the 70s' style Dario Argento Horror soundtrack synth melodies. The second to last track of the record also takes an interesting turn with its shrill piano melodies and its heavy post-rock influences. The track picks up the pace and eventually begins its ascent into a beautiful climactic buildup with echoing tremolo picked guitars, sunny synth layers and roomy drums battering in the distance. While this description may make the track seems out of place on a doom record, this temporary change of mood, oddly enough, fits and a complements the overall vibe of the album, adding a nice layer of nuance to the overal sound of the record without ever breaking its progression or mood. The track actually leads into one of the darkest tracks of the whole record "Funeral March", with its massive droning riffs and its gripping sense of gloom; a dark, epic outro toward the albums' conclusion.
Overall, despite a few hiccups here and there in terms of production and "tightness", "Chamber of Death" is a great debut album that shows the bands' great potential and talent.Thanks to the bands' close focus on feeling, ambience and atmosphere, Plaguewielder have put out a gripping, well-crafted record combining tradition and well justified experimentation. The band has nothing to envy from its fellow Funeral Doom counterparts overseas and I dare say this might well be one of the only Luxemburgish band to pull it off. For fans Doom Metal, Depressive Black Metal or even Post-Metal, this is one band from my homecountry that I am proud to present and endorse.
Plaguewielder Official bandcamp
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I've always had a soft spot for funeral doom, as bleak as that might sound I think it makes sense. The genre has lush soundscapes and epic vocal lines and delves deep into a side of humanity that many choose to ignore. In some ways one might argue it's merely the logical end point of one of metals most happening genres. The thing is, it's not every day I get to write about a legend in the genre like Shape Of Despairwhose first full length in eleven (!) years Monotony Fields is already one of my favorite records of 2015.
Heavy synth sounds and gloriously guttural growls come together to help make Shape Of Despair sound epic in scale. You get a sense of the earth moving and the world crashing down around you as Shape Of Despair guide the listener to complete oblivion. The atmosphere of sonic desolation that comes with each crashing chord and every synthed out melody is stunning. The depth of the sorrow behind this record is immeasurable and speaks to the bands ability to communicate the fucked up melancholy of the human condition. Monotony Fields may never dare to speed up, but that's part of the power of the record, finding beauty even as it trudges forward, one painful step at a time.
There is an overwhelming aura of slow death and grim decrepitude on Monotony Fields - an effect that Shape Of Despair have had to work at for years to properly cultivate. Their soundscapes are wholly unique - at once with elements of Summoning and Caladan Brood, but also with touches of acts like Austere, and yet, on top of all of that there is another element that is wholly Shape Of Despair. Digging into their music, with its soaring female vocals and crushing bottom end is a pleasure to the ears, and this is quite likely what makes Monotony Fields the best funeral doom record of the year. Find them on Facebook! https://www.facebook.com/shapeofdespairofficial?fref=ts
Eye Of Solitude may have very well just put out one of the best ambient doom masterpieces of 2014. A nearly fifty minute long, one song affair, Dear Insanity has a crushing beauty to it that will capture the imagination and send you groveling to the deepest pits of tartarus. There is a terrifying majesty to this album that will keep you on your toes from start to finish, proof that the geniuses behind this band have a perfectly clear idea of what they want to do with their musical careers. They are rapidly rising gods of a genre god forgot, and they won't leave you disappointed.
The thing with this song is that not only is it epic, it is incredibly beautiful, there is a romantic sense of magic that defines a lot of it. As you navigate the unique soundscapes that Eye of Solitude have created it's hard not to have your heart strings plucked. The gentle synths, demonic growls and occasionally crushing guitar lines come in to leave you bent over, a slave to the almighty power of this band. What really gets me though are the gentler moments, the clean vocals, and the stripped down guitar parts. It perfectly contrasts the destructive and crushing power that this band can have, making Dear Insanity all the more satisfying.
In the end, we are left with a record that takes us full circle, from the cradle to the grave, as we try to navigate the madness that defines our lives we look north and search for truth. Yet truth is not always what we find, instead we are forced to bend our knees and pray that something, anything can keep the darkness at bay. It seems to me that in this bleak day and age doom metal may very well be our only recourse. So let this anthem of madness comfort you in a plagued world and allow you to find the hope we all need.
The doom scene these days is frankly getting a little bit bloated. A lot of the bands are kind of bland, and certain types of riffs have come to dominate. So it's impressive that Usnea still maintain a special place in the hearts of thousands of fans. With Random Cosmic Violence I get the impression that Usnea are just about to reach a breaking point and start to get offers for tours around the world. The screams are unholy, the riffs wonderfully brutal, and the songs rife with the kind of dominating forward motion that only the greatest bands can seek to emulate. In other words, Random Cosmic Violence proves that Usnea have what it takes to truly rock.
I think that a large part of the appeal of Random Cosmic Violence isn't just in the primal heaviness, but also the bone crunching sense of depravity that seems to give the record so much of its trademark sense of destruction. These songs make you feel like the world is coming to an end around you, they start off stripped back and then suddenly introduce crushing guitarmonies. The growls turn into demented shrieks and you wonder what happened to the shattered remnants of your sanity. As you dig deeper into the pit created by Random Cosmic Violence you start to realize that maybe Usnea have uncovered something that was best left forgotten, the kind of Lovecraftian terror that brings nightmares to life.
Their is something wonderfully transcendent about Random Cosmic Violence, it proves that the band still have a lot to say and can definitely pull out a whole mess of exciting riffs. Usnea are only going to go up from here, and when this record hits, I think that the band are going to start getting more and more of the recognition they deserve. It feels to me that Usnea have done everything right up till now, and Random Cosmic Violence is the gem they needed to bring everything to the next level. Let it wash over you, the scene may be bloated, but Usnea will refuse to die.
