Not to be confused with Canada's Soothsayer, or even the long since disbanded Phoenix act, this Irish quintet compose audio far removed from thrash, or so the accompanying PR materials would have us believe. The art certainly points to such; a blazing inferno, engulfing a construct of sorts, casts shadows, a lone figure walks away from the carnage as if he carries not a care in the world. Naturally thoughts race to past black-metal controversy though with the way this image is captured (on canvas) depicting zero atrocity, there’s little indication that the audio will veer into either a death or black-metal direction.

"Fringe" is the introduction to both the album and the band's style. Perilously close to six minutes this track evokes vintage Akercocke antics, of incorporating ponderously long introductions. The gothic aura shrouded in baying wolves poses quite the gamble based on the minimalistic nature (chanting, ambient nature and a dusty background narration) it boasts. As the track climaxes however, the atmosphere has built to a palpable crescendo, patience has proven to be a virtue and the second track takes the baton. For those not accustomed to such, "Outer Fringe" is more easily accessible and bears abrupt and, blazingly obvious, definitive oomph following a traditional build, naturally. A furious passion seething with frustration amidst a slew of other emotions in the vocal department, complemented by rhythms straddling the funeral and death/doom fence widen the eyes whilst the haunting nature of the finale showcases the acts apparent hypnotic prowess.

"War of the Doves", next up, literally shatters the listeners assumptions with its unpredictable arrangement. Fading dissonant rhythms are usurped by a passage of bass noodling and a voice (courtesy of Eugene S. Robinson of Oxbow) boasting the power to evoke a stunning grasp of manifested grief and anguish. The aura of the album has suddenly transformed, a driving melodious dirge reigns to whet the audience’s appetite for stomping around in a style similar to an iconic robed Candlemass front man.

Akercocke sensibilities (this time in the arrangement department) are conjured again as the album passes the midway point; infrequent black metal rhythms nestle amidst a landscape dotted with progressive themes, whispered and bellowed vocals and a surprisingly tranquil classical interlude. Although "Cities of Smoke" sports the shortest length it stands triumphant sporting galloping movement and unbridled ferocity.

The album comes to a close with a pair of tracks which easily hurdle the ten-minute mark, a fact (like a hammer to the face) which bluntly portrays the genre this album is nearest. A trio of guest vocalists (sponsoring Benediction, Poltergeist, Murder One, and Medulla Nocte) complement the last half of the album propelling its captivation to stratospheric heights.

Unpredictable and showcasing a manhandling of the juxtaposition of melody versus unrestrained passion this album demands exploration and several listens to fully grasp and completely embrace. When that point is reached however be prepared for this is likely to be all-consuming. (8.4/10)

Cult

Band info: https://facebook.com/soothsayerdoom
Label info: http://tometal.com


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With four years having passed since the release of the monstrous Black Mass, there's a few landmarks to clear up before we gleefully delve into their disturbingly-titled eighth studio effort, Time To Die. This marks their first release on the excellent Spinefarm record label after a lifetime spent building a presence on Rise Above, and with a running time of 65 minutes it's also their longest to date. Otherwise, it appears to be business as usual.

Still, despite all these firsts, it appears to be business as usual. There is still layer upon layer of dense sludge, wall to wall reverb, and that bruising, blackened tone they carry so well. Their standard thematic barracking still rises to the fore and their repeating riffs are jammed into oblivion. On the face of it Time To Die is one foul, gnarly and steady descent into the jaws of death.

The album comes bookended with the soothing sounds of a babbling brook and all seems well until the slow-wind up of those splattering guitars firing out with a dark purpose. Immediately, the repeating motif is established as snippets from news reports which drive home the band's modus operandus - it's a gimmick inspired by a combination of the tape-trading, underground music scene and the associated scare-mongering documentaries of Jus Osborn's youth. Very rapidly, the pit begins to open and Electric Wizard's sludge-packing, doom-and-gloom begins to pour out. Optimists should find some solace in the early lyric "We wanna get high before we die" - doesn't everybody, at least on some level?

You'd think the the evil contained in the words of the title-track might be the album's nadir. "Wake up baby, it's time to die" certainly strikes a chord as it describes the vindictive wish for your soulmate to be lucid when the time comes. However, just when you think the Wiz can't sink lower they do as they churn out the filthy noise-blender of a track, "I Am Nothing". Being force-fed this murderous distortion and blistered overdrive truly does invoke the emotions of being inside the shittiest of sewers. Vomiting from this sonic chaos frontman Jus conjures his most hangdog delivery, each syllable potent with the whiff of remorse and self-pity. The track simply climaxes in nothing less than a slowly dissolving explosion of thick noisome brain matter - chaotic, psychotic and gloriously hypnotic.

This first half-hour, covering just three tracks, leaves the band free to make briefer, less-intense explorations into the subject. There's the joy of hearing a small child gleefully exclaim "Almighty Satan, destroy those who love god", a chance to bliss out to the deconstructed freak-out "Funeral Of Your Mind", to trap yourself inside the monotonous crush of "We Love The Dead", or to rock out to the dual head-bobbing "SadioWitch" and "Lucifer's Slaves".

Dramatic, fertile and intensively personal, Time To Die sees Electric Wizard digging deep into their psyches to extract something so morbid as to feel obscene. Perhaps the album's final intonation should be translated as a warning - "When you get into these groups there is only a couple of ways you can get out... one is death, the other is mental institutions or, third, you can't get out".

John Skibeat

Band info: www.electricfuckinwizard.com
Label info: www.spinefarmrecords.com

John Skibeat is a self-described word monkey hampered by cravings for strong ale and stinky cheese. He continues to practice surgical dissection on most genres of music with the leftovers currently reaching publication at 'zines like Heavy Blog Is Heavy, The Line Of Best Fit or Ave Noctum. When not smacking seven bells out of various sizes of orb, he tumbles at johnskibeat, tweets @johnskibeat and blogs at, yes, you guessed it, johnskibeat.

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Sad news, ladies and gents. Following the release of Witch Mountain's new album, Mobile of Angels, vocalist Uta Plotkin will be leaving the band. But not without some final performances leading up to the release date. Those lucky enough to catch those will certainly be in for a treat. As will the smart ones who pick up the band's latest doom opus.

Not to put too much emphasis on one particular member but Witch Mountain has risen to prominence on the vocal chords of Plotkin. South of Salem and Cauldron of the Wild saw the Portland band become a relative household name in doom circles following Plotkin joining in 2009. Mobile of Angels is no different in that it leans heavily on the power and depth of her voice. At least they're getting the most out of her as Plotkin's work here is diverse and powerful as has become to be expected.

Opener “Psycho Animundi” encapsulates much of the album's attributes. Under a steady plod Plotkin dictates the feel beyond the thickness of the doomy tone. The riffs themselves effectively reside in a sinister doom realm but there's also an alluring quality that draws the listener in with a hypnotic pulse regardless of vocals. There is a power within that hits like a brick when they drop into a riff from a pause. Dramatic effect on a musical level.

Mobile of Angels has a definite blues influence hanging over it. It shines through like a breaking dawn in both the music and vocals. The mix of heavy-footed doom and the slight twang and conflicting sorrow of blues is captivating. But it's not all downtrodden. Free-wheeling solos and uplifting guitars protect the overall tone from falling into despair.

The outright power does sort of trail off as the album progresses. “Your Corrupt Ways (Sour the Hymn)” is the bluesiest while the title track brings a psychedelic, eerie, lounge feel with choral vocals. Slithering guitars, rumbling riffs and plodding cadences weave through the fog toward the album's conclusion.

All the while Plotkin does what she does best, pulling the listener close with a sweet and sultry croon then blowing it all wide open as her voice reaches for the heavens. Each and every track bears at least one moment that is so stirring that you can’t help but close your eyes to the glory.

“The Shape Truth Takes” see Plotkin at her most operatic and sorrowful. Forlorn melodies pull the listener further down in a pool of tears. Gradually the entirety swells on determination, rising and rising with power and volume until bursting with pent up emotion. Those moments are massive in every way, and punctuate the band's prowess. The track also sends the album off in a way befitting Plotkin's moving forward. Onward and upward.

Regardless of band member situations, Mobile of Angels is a tremendous doom album. Not quite as powerful overall as many but Witch Mountain know how to work dynamics and make the most out of an undeniable vocal talent. The remaining members (Nate Carson, Rob Wrong, and Charles Thomas) have vowed to carry on with the band (as they should) but it will be a tough task indeed to replace a voice that has become synonymous with the band's identity. Best of luck to Witch Mountain, and Plotkin can be proud in knowing she left leaving nothing to be desired.

Matt Hinch

Band info: www.facebook.com/witchmountain
Label info: www.svartrecords.com

Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Metal Bandcamp, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @KingdomofNoise.

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Before you get into this review, if you've never heard Pallbearer before, go listen to their stunning debut Sorrow & Extinction. When you're done crying, come on back. If you have heard S&E before, the Little Rock doom quartet's follow-up to their critically embraced debut does not suffer in the least from any sort of sophomore jinx.

In fact, Foundations of Burden may even surpass its predecessor in the eyes of many. Vocalist/guitarist Brett Campbell, bassist Joseph Rowland, guitarist Devin Holt and drummer Mark Lierly have taken the structures laid out previously and expanded on them. Foundations is even more lush, warm, massive and emotionally draining.

Pallbearer make music for themselves and with that they don't feel the need to please anyone but themselves on this latest masterpiece. (Yeah, I said it.) In doing so they display a greater diversity and depth, mixing tempos, altering vocals and utilizing the talents of producer Billy Anderson to the fullest extent.

In contrast to S&E, the vocals on the opening track, “Worlds Apart” come earlier, hitting the listener with the most emotional facet from the onset. Both Rowland and Holt harmonize with Campbell and the results are outstanding. As expected the guitars are absolutely huge, solemn and pull the listener in with heartrending melodies and soul-crushing riffs in a way only Pallbearer can. The track, as does the album, cycles through a mix of emotions, the most powerful of which being depression. The lines “darkened heart/enlightened mind/whole worlds apart/remain entwined” put that feeling into sharp focus. But where S&E was intensely morose and morbidly despairing throughout, Foundations builds on that heartbreak.

Tracks such as “Foundations” and “Watcher in the Dark” (this writer's favourite) are not nearly as sorrowful. A growling tone makes the walls shake with malice and dread. Menacing undercurrents and increased cadences add a level of dynamics only hinted at previously. Less time spent hanging your head and more time banging it. Adding to that is a sense of peace and acceptance, a steady resolve that pushes through the loneliness and desolation.

Don't be mistaken in thinking that Pallbearer have moved that far from utter misery however. “The Ghost I Used To Be” begins and ends very close to the signature sound the band stamped out on S&E. Grief, mourning, self-doubt and despair are brought to the fore by the clarity and penetrating quality of Campbell's distinctive voice. But in the song's midsection it takes on not only a speed uncharacteristic of Pallbearer but a heavy gothic undertone that reminds one of Woods of Ypres. And no disrespect for Zach Stine but this track is but one example of how Lierly has pushed the rest of the band into new territory.

The shortest and possibly most powerful track is “Ashes”. At just 3:19 and mostly just (I believe) Rowland's voice, keys and ambient guitars, it stands out but the contrast brings unparalleled gravity to the whole album.

Closing hymn “Vanished” encompasses all that Pallbearer has become. It's the longest track with twist and turns, delicate beauty amidst monstrous tone, darkness, emotion and some of the most tear-jerking vocals you'll hear in metal.

If Pallbearer broke the mold by injecting torturous amounts of melody on S&E, they've reformed it on Foundations by pushing themselves and the genre to new heights. It's everything one could ask for from a doom record and more. Gargantuan riffs, stirring melodies, varied but all-heavy tone and reflective, introspective, deep and starkly poetic lyrics enthral the listener wholly regardless of song length. There is no one in heavy music today quite like Pallbearer.

By embracing the painful side of the human condition in pouring forth their own souls they empower the listener to feel more alive in knowing that by feeling those emotions as well they genuinely care for the things that matter most in life and are not just surviving by allowing the trivial to create their happiness.

Foundations of Burden is merely the next building block in cementing their growing legacy of a band gaining status among not only doom's current elite but possibly doom's all-time elite.

Matt Hinch

Band info: www.pallbearerdoom.com
Label info: www.profoundlorerecords.com

Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Metal Bandcamp, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @KingdomofNoise.

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Comprised solely of one guitarist/vocalist and one drummer, Germany’s Mantar have released their debut album Death By Burning earlier this year and it sounds ten times more massive and intense than many groups with full line-ups. Through smashing together such distinct styles as metal, punk and rock’n’roll, the duo have found a sound that is equally memorable and intimidating, oppressive and engaging.
We recently caught up with drummer Erinc to talk about the band’s background, their crushing new album and their plans for the future.

Mantar is getting a lot of attention in the press lately. Have you been surprised at the reception that the band has received?

“Yes we are… indeed. It’s nice to get so much positive response from all over the world. Furthermore it´s kinda funny as our main goal was to do some recordings and make 50 to 100 tapes for close friends. Everything worked out a little different. We don´t expect anything. We don’t take shit as granted. Actually we take everything more as a gift. It´s great to see how many people dig that record. For a brand new band, that´s very, very cool.”

I understand you have been friends for a very long time, so what provided the impetus to start making music as Mantar now?

“The concrete idea came from Hanno about two years ago. He had the vision of a really heavy band…and if we could handle it…we should run it as a duo. Maybe there was this glory moment to start something new… because we were kind of frustrated about the ongoing musical and non-musical stuff we were into. So I said “yes, let´s meet and work things out”. The only agenda: …play as heavy as possible. It worked out great and we decided to continue this…and still do as you can see.”

Have you two been in other groups before?

“Yeah…there were lots of bands. Some were good and some just crap. But we never played together in one group before, even though we know each other for so long now.”

I must confess I was a bit stunned when I discovered that you only record drums, guitars and vocals and don’t use any other instruments. Seriously, it’s absolutely insane that only two people can make as much noise and sound as massive as you do. Could you tell me a little about how your new record Death By Burning was created and what equipment you use to create such a gigantic sound?

“Well, the magic is to use the equipment of a five-piece-band. Using 3 amps with 3-4 big cabinets at once makes your biceps really impressive ;). Believe me. To coordinate all the heaviness. Hanno is using kinda the biggest FX-Board out there. Looks like a spaceship to me…but this self-build wonder board would kill dinosaurs!! Additional to all this technical stuff…there’s a pretty hard hitting drummer on the other side. Ladies and gentlemen, that’s me…hehe. All in all, we used the same equipment for the recoding we use live and for rehearsals as well. We did not want to fake anything. If you know your gear it´s possible to raise some serious hell.”

The press release sent out by Svart Records says that we shouldn’t call Death By Burning sludge. Why is sludge a dirty word to you? What do you think is the most accurate description of your music?

“I think that the genre "sludge" isn´t something you can rely on anymore as a trademark for something particularly good. It´s pretty worn out these days and a lot of bands use it as a brand because they don’t have any own character or don’t know about their own roots. Maybe due to the fact they never had any. Don’t get me wrong I love shitloads of stuff that is branded as "sludge". Great bands out there, but well... some kind of inflation is going on nowadays. And what the hell does sludge mean?? That people play slow, heavy music? We aren’t even that slow…”

Are there any particular influences that you would say Death By Burning is indebted to? For instance, I recognize some Melvins traits in songs like "Spit" and "The Huntsmen".

“Aaaah yes… great man !! The Melvins always have been a big inspiration. I love Dale´s drumming. And obviously we can’t deny that we like to rock...Motörhead and AC/DC also did their parental deeds. Even though we have a much darker atmosphere I guess.”

"The Stoning" sounds pretty punk’n’roll in the instrumentals. Which one of you is the punk or rock’n’roll enthusiast?

“We both got punk background. That’s where it all started. Energetic aggressive music still has the biggest impact on us. In Mantar it might be me who brings in all that rock’n’roll beats and stuff. I’m a rock drummer and can’t deny that… sometimes Hanno has to slowdown me when I get too rock’n’rollish . On the other hand that might be the interesting thing about the band. We just don’t deny the groove as many other bands do. We still think that even dark, aggressive music´s gotta roll somehow.”

What’s it like playing these songs in a live setting? Is it difficult to recreate the extremely dark atmosphere of the album on stage?

“As we were aware of the fact that we will play shows, we didn’t use stuff for the recording that we won’t be able to reproduce live. Actually we even do use the same technical equipment live as in the studio. Same amps, same cabinets and same drums. ..so from that side it’s pretty identical to the album. The songs sound harder and more energetic on stage…but still dark and evil. I think most important is to play as intense as possible. People will feel if you really are in the moment of playing the song. We get ourselves in some kind of destructive rush, a positive, very energetic feeling though.”

Death By Burning was the church’s privileged method of execution for crimes heresy and witchcraft in the middle age. Is there any particular theme to the record, lyrically?

“No. Not really. The power of nature has been a big lyrical influence. It´s about the urge of man for the final battle. The return to nature. And for sure the general sickness of mankind. I dont´t judge though, I just tell. We don´t have any certain message. I don´t care what people think. I dont want them to act according to my lyrics. Our only message is the power of the music. That´s too important to also focus on any message.”

What can we expect from Mantar in the future? I understand you’ve some shows booked for the next few months.

“Right...playing shows and touring is the main agenda at the moment. Having a good time…reaching lots of people. We are very happy to play so many different countries already in the very first year of playing live with Mantar. It´s great to meet so many new people and get the chance to play big shows like Roadburn and stuff like that. But after all that I hope that we will be back in the studio as soon as possible. The aim is early 2015…”

More info at: www.facebook.com/MantarBand
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London’s Landskap, a new psychedelic doom project formed by members of Serpent Cult, Pantheist, Fen and Dead Existence will release their debut album I this May via Iron Bonehead Productions.
Bassist and rhythm guitarist Frederic Caure recently took a moment out of his busy agenda (Caure is also a sound engineer and producer) to answer a few questions about the band’s origins, the new record and their upcoming plans.

Landskap is new UK project made of members of Serpent Cult, Pantheist, Fen and Dead Existence. How did you meet and decided to work together?

“In 2012 George and I both moved from our native countries to London. We didn’t know each other but wanted to start our own bands and we got in touch via adverts. We eventually met up in a pub to talk music and a week later we were in the studio trying out some jams. Soon Paul joined on drums who I happened to know from the time I was jamming with Fen, we later asked Kostas to join us who I know from playing in Pantheist 10 years earlier and when we got to the final stages of the writing/recording process we asked Jake to join us which we knew from the local scene.”

Each member comes from a different sub-genre within heavy music, but the album features a dominant doom influence as well as elements of psychedelic rock. Would you say this was intentional, or did it come naturally when you all started jamming together?

“To be fair, I don’t understand why everyone labels us by the doom tag, and I believe the only reason this happens is because we opened our album with a slow song that has a “Sabbathy” feel to it. When we started the band, our vision was to create psychedelic rock mixed with progressive and krautrock elements taken from our favourite albums from a certain era. Doom obviously has the same basic ingredients, but when you listen to our music, you will reckon it’s a hard rock album. When we started the band, we jammed the first 6 months without writing a single song, just to get the vibe going between all of us. Once we got it right after that, we decided to compile some ideas and write the album you have in front of you.”

Have you written these songs collectively or there was someone in the band who took a more prominent role in the songwriting?

“I” was written as a band and everything comes out of jam sessions. This is the essence of the band, we like things to happen by accident during a jam, they usually turn out to be the best tunes. It also keeps things fresh and ever-changing; our songs are dynamic and not set in stone, a tune that takes 6 minutes today could last 15 minutes tomorrow. It will prove to be interesting during our gigs, haha…”

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"To be fair, I don’t understand why everyone labels us by the doom tag, and I believe the only reason this happens is because we opened our album with a slow song that has a “Sabbathy” feel to it."

---

Can you talk a little bit more about the recording of I? What studio did you use? Was there anything in particular you wanted to do differently from other studio experiences that you had in the past?

“We recorded our base tracks live in the studio which was essential; our music is not the kind of music where you can just record all the instruments separately, our song structure does not permit it but it would also complete the wrong atmosphere for the songs. We did the whole live recording in one afternoon in the studio. Once that was done, we recorded some guitar overdubs and the vocals at my home studio, mixed the lot and that was it. This is the cheapest album I ever recorded in my life, but also the one that I had the most control over.”

How do you feel the songs and sound of I turned out compared to what you envisioned in your mind before going into the studio?

“We’re really happy with the way the songs turned out; we intentionally left some things open for interpretation when we recorded so that we could steer the songs in any direction when we were recording and it turned out great. We did no more than 2-3 takes of each song and chose the best take to complete. I would definitely work this way again.”

Is there any particular theme to the record, lyrically?

“There is no particular theme for the lyrics but Jake wrote the lyrics in no time and they all seem to be dealing with misery. We hope he’s all right now and that his next lyrics will deal with shopping sprees in London and driving his car in the park on a sunny Sunday afternoon.”

I understand you first released this album independently on digital format back in January. So how did you end up releasing it now on the Iron Bonehead label?

“We wanted our album to be out there and available for everyone, so we offered it as a free download on BandCamp. I’m a big supporter of the free electronic sharing and distribution of music and I believe it’s the only way forward for musicians. I don’t care or believe in making money out of music anyway, nor in the ‘ownership’ of music. We did think it would be nice to have a nice special vinyl edition of the album though, so we got in touch with a few labels we knew were doing quality releases. Iron Bonehead offered to do a 500 copies run of the album with special artwork which sounded great and we went for it. The album is scheduled to be released on 16th May but is still available on BandCamp at the same time.”

What can we expect from Landskap for the rest of the year? You’ll play your first show in June right?

“That’s correct, we’re playing our first gig in Camden’s Underworld on 14th June followed by another gig in London in July. Once these 2 gigs are done, we’ll be going back to the studio to record a new EP with 2 or 3 new songs.”

More info at: www.facebook.com/LandskapUK

Read John Skibeat's review of I here.
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Every once in a while there's one of those bands that just about slips through your fingers. But somehow their name lands upon your eyes and you are compelled to investigate. In this case, that band is Uzala. I kept seeing Mike Scheidt (Yob, VHOL, Lumbar) praise Uzala on his Facebook page. Scheidt's taste is to be trusted without question so I went digging. What I found was Tales of Blood and Fire, the second full-length from the Idaho based doom metal band.

The band consists of vocalist/guitarist Darcy Nutt, guitarist Chad Remains, drummer Chuck Watkins (Ephemeros, Graves at Sea) and bassist Nick Phit (Graves at Sea). Phit left the band shortly after recording but his work on the album is great. The duo of Remains and Nutt combine their powers of amp worship and filthy tone resulting in some of the most effecting vibrations I've heard this year. Aided by Watkins timely and muscular percussion, Tales of Blood and Fire turns mountains to dust, musically at least. Contrary to the low, crushing and dirty riffs are Nutt's vocals. Sweet and soulful, clear and dynamic, yet not without power, they cut through the murk and fuzz with conviction. Her voice rings with authenticity and a timeless charm.

For five tracks and almost 45 minutes Uzala roll out a slow-burning doom. Gargantuan riffs thunder through the listener or flow by with equal grace, erupting from a fountain of grime to cascade down and down, scorching a path towards the catacombs of demise. These are tales of blood and fire but also revenge, death and loss. Five aspects to fear yet through Uzala's warm tones and Nutt's siren-like voice, blood, fire and loss sound so inviting.

The album's first four tracks weigh heavy on the listener with dominant tone, meaty riffs and waves of ambience and darkness; that electric hum of the amps permeating the spaces between. Although the final track is a different beast. “Tenement of the Lost” checks in at over 12 minutes and throughout its depressing run time, a low hum of despair drones ever-present. That static hum is both grating and relaxing at once. Past the five minute mark, guitars float in from the ether, mostly displacing the drone. But instead of crushing and monolithic, melody and sorrow are the predominant feelings. Here, Nutt's voice is at its most angelic, making the track tearfully forlorn.

I could go on all day about the purity of Uzala's doom. About how their riffs crash upon the shores ceaselessly like waves of distortion, wearing away the edges to reveal smooth surfaces of groove. And how Nutt's vocals are like the lighthouse standing steadfast against the onslaught. But the bottom line on Tales of Blood and Fire is an essential doom record from a band that won't be slipping through fingers for very long.

Matt Hinch

Band info: www.uzala.bandcamp.com
Label info: www.kotmrecords.blogspot.com

Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Ghost Cult Magazine, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @MetalMatt_KofN.

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There are enough female-fronted doom-based bands around anymore that it almost becomes its own subgenre. You could probably name a half-dozen in the blink of an eye. While the gender behind the mic is essentially irrelevant there is something about a beautiful female voice countering unfathomable heaviness that enhances the feelings of sorrow and mourning (and sometimes evil) that the best doom evokes from the listener. That being said, the latest voice to grace our ears over crushing doom this year is Dorthia Cottrell on Windhand’s latest, Soma.

The Virginia group’s Relapse debut is nothing short of transcendental. You’ll likely see that word a lot in regards to Soma but that’s because it’s true. The tones alone on this record are enough to induce out of body experiences and carry the listener away. Guitarists Garrett Morris and Asechiah Bogdan (ex-Alabama Thunderpussy) along with new bassist Parker Chandler (Cough) put on a veritable clinic in amp-worship. Monstrously deep and vibratory tone solidifies into dominant doom riffs thick with bong resin. And I hope drummer Ryan Wolfe (The Mighty Could) has good sponsors because he abuses that kit with admirable ferocity and impeccable timing.

Monumental riffs and gorgeous vocal melodies are the order of the day. They’re deceptively catchy, and coupled with the stoner-friendly groove, they pull you in with all the power of a black hole. Once you’ve fallen into its embrace, escape is impossible. After a few listens the hypnotic stoner/doom casts a spell and the act of enjoying Soma becomes a ritual of escapism. Tension and worry fall away, melted off by the warm tones and Cottrell’s soothing voice. However, faster sections and haunting passages call forth their own drama from the abyss.

Amid the mountainous, leaden doom lies “Evergreen”. Seven minutes of gentle acoustic guitar and Cottrell’s charming grace. Thirty minute closer “Boleskine” is seismic in its effect and evolutionary in its speed. A central riff drones on for over 12 minutes on the track’s latter half. It feels like a warrior honing his blade. Muscle memory and instinct take over freeing the mind to contemplate past glories, future plans or silently mourn a loss.

Soma is as beautiful and powerful as a mountain thick with an ancient forest, enchanting and entrancing. Losing yourself in this incredible album is inevitable. Fans of muscular tone cranked to 13 and massive riffs have found their home. They say Virginia is for lovers, well, Soma is for loving.

Matt Hinch

Band info: www.facebook.com/WindhandVA
Label info: www.relapse.com

 

Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Ghost Cult Magazine, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @MetalMatt_KofN.

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Merely a few months following the release of their acclaimed second album ‘‘White Lightnin’, Germans psychedelic doomsters Obelyskkh

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I’d heard the name Obelyskkh a few times over the past couple years but never had a chance to check them out. I’d probably heard the name because they’ve released albums in three consecutive years now. 2011’s 'Mount Nysa', 2012’s 'White Lightnin’ and now 2013’s 'Hymn to Pan'. The German quartet has been categorized as psychedelic doom and that’s a fair approximation but on Hymn to Pan there’s much more to it than that. While based in doom, elements of sludge, ambient, stoner metal, noise and even hardcore thread their way into the gaps to make 'Hymn to Pan' a diverse but cohesive effort.

The title track opens the album but not with the expected instrument. You’d expect to hear panpipes on an ode to the god of the wild, but instead warhorns hearken the arrival of the leaden fuzz Obelyskkh employ on this and much of the album. Setting the tone for Hymn, layered vocals (hollered/refined and clean) infiltrate the dynamics between crushing riffs and more open melodies. Much of the melody found here feels hidden, like secrets everyone already knows.

A stoned out groove drives “The Ravens” and the second part of “Horse”. The latter’s first half features a marching sludge riff trading off with visceral screams until the “Can you dig it?” sample marks the transition to triumphant desert rock tone and some crazy soloing. Changes in tempo are prevalent throughout the album, as referenced by an almost biker rumble and roll that drops into some seriously slow and doomy atmospherics and a contemplative Americana section on “Revelation: The Will to Nothingness”. And that’s just the first five minutes of that 20 plus minute epic.

“The Man Within” and “Heaven’s Architrave” similarly work heavy, militant riffs against swirling melodies, warm tones, ambient, almost alien sounds and the aforementioned vocal dynamics. More often that not, relatively simple, repetitive riffs act like a tranquilizer, sedating the listener into a blissful state while the real work is done with subtlety. The vocals cut away at the fabric of the mind while layers of guitar and synths stitch it back together. When all is said and done you’re all back in one piece but Obelyskkh leave a mark like a scar with 'Hymn to Pan'. It’s a deviously lush, maliciously heavy and wholly satisfying experience in yes, psychedelic doom.

Matt Hinch

Band info: www.facebook.com/TheObelyskkhRitual
Label info: www.mainstreamrecords.de

Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Ghost Cult Magazine, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @MetalMatt_KofN.

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Demon Lung hail from the luminous and exuberant city of Las Vegas, also known as Sin City, where entertainment never ends. It’s a highly improbable place to discover a group of individuals with a penchant for classic doom metal à la Sabbath and Candlemass, which is exactly what the young quartet has to offer us with their first full-length album “The Hundredth Name”. Prior to this work, they self-released an EP entitled “Pareidolia”, which garnered some heavily enthusiastic reactions and caught the attention of Candlelight Records. This new effort follows in the same vein of the EP, and the songs possess a strong vintage slant with a hint of Sabbath and Candlemass present in the plodding, powerful and monolithic riffs of Phil Burns. Songs like “Devil's Wind”, “Eyes of Zamiel” and "Heathen Child" truly hearken back to glorious days of “Master of Reality” and “Epicus Doomicus Metallicus” with those gargantuan riffs recapturing the same chilling crawl that Sabbath and Candlemass nailed on their very first efforts.
This eight-song collection was produced by sludge messiah Billy Anderson, who's worked with artists like High On Fire, Cathedral and Melvins among many others before, and truly knows how to get that big, sludgy sound that works best with Demon Lung. Shandra Fredrick’s voice is also one of the highlights of “The Hundredth Name”; it’s her powerful and enchanting vocalizations that elevate the band’s sound to a whole new and distinct level.
This is highly recommended for fans of occult and classic doom metal, especially those who still spin the classic albums of Candlemass, Sabbath and Trouble once a week.

Band info: www.facebook.com/demonlungband
Label info: www.candlelightrecords.co.uk

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Rise Above Records is a name that rouses reverential bows in doom metal circles. Lee Dorrain’s (ex-Napalm Death/Cathedral) label, founded back in 1989 and financed by prying welfare out of the talons of Margaret Thatcher, has such a following that the label’s endorsement of a band is enough for people to happily hand over their own welfare payments to purchase the label’s latest releases. 2013 has been a noteworthy year so far for Rise Above with Cathedral, Uncle Acid and the Deadbeats, Purson and Moss all receiving plenty of deserved coverage and praise. And now coming hot on the heels of those bands with its full length debut, ‘Desperate Souls of Tortured Times’, is London’s own Age of Taurus.
The band’s pertinently-titled and excellently packaged debut moves forward from its 2010 self released demo, 'In The Days of the Taurean Empire', to display discernably strengthened song-writing. Age of Taurus also continue to drink heavily from the sacrosanct well of doom’s forefathers—Sabbath, Candlemass, and Trouble, and the songs of ‘Desperate Soul...’ range from upbeat doom workouts that sound like a sincere version of the Sword (‘A Rush of Power’, ‘The Bull and the Bear’), to evocative pieces where the fantastical story-telling of vocalist/guitarist Toby W. Wright is pushed to the forefront (‘Walk With Me My Queen’, ‘Embrace the Stone’). These tracks are by far the most engaging: ‘Walk With Me My Queen’ turns the slower traits of doom into a medieval, Warning-esque ode to a loved one, and ‘Embrace the Stone’ is dynamically paced, contains blistering riffs and a brilliant guitar solo near its conclusion.
Sadly the rest of the songs, while well-structured, are nothing that we haven’t been exposed to before: conventional doom riffs and plaintive guitar harmonies, backed by drums that just bolster the riffs and do little more. The production courtesy of Jaime Gomez Arellano (Angel Witch, Ghost) suits the flow of the dramatic songs, but when the band try ramp up the aggression, as on ‘Always in the Eye’ and the title track, a grittier mix would have relieved Wright’s strong, clean vocals and the well-placed solos from trying to disguise the simplicity of it all. Age of Taurus’s take on the genre is one that, although not the heaviest or most interesting doom record you’re likely to encounter, does have plenty of redeeming qualities, but besides a handful of songs the band remains afraid to loosen its firm grip on the traditional tenets of the genre.

Dean Brown

Band info: www.facebook.com/AgeOfTaurus
Label info: www.riseaboverecords.com | www.metalblade.com

Dean Brown is a metal scribe based in Ireland. He is currently a contributing editor to the North American cultural magazine Popmatters and he regularly throws words for a number of other reputable loud noise publications such as About.com/heavy metal, Soundshock.com, MetalIreland.com, MoltenMagazine.com, amongst others. He has a strong affinity for music that shakes souls and leaves debilitating tinnitus in its wake and such obsession has left him financially and medically crippled, but he wouldn’t have it any other way. Follow Dean on twitter @reus85

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The end is nigh as the tenth and final LP, ‘The Last Spire’, from legendary doomsayers Cathedral lands upon us. After 23 years of paralysing doom, twee ‘70s psych-ventures, heavy prog-rock and everything in-between, the band formed by former Napalm Death frontman and Rise Above Records shaman, Lee Dorrain, is now laid to rest. And if there was ever a monument erected in memoriam of Cathedral’s eccentric existence, ‘The Last Spire’ stands a towering epitaph.
By far the heaviest Cathedral record since the highly regarded debut, ‘Forest of Equilibrium’, the doomed four-piece has focused on conveying a deep-rooted sense of finality. ‘Entrance to Hell’ sets an ominous tone through the calls of “Bring out your dead!”—without a hint of Monty Python’s humour—and the all-too-familiar toll of a church bell which summons the tombstone-heavy ‘Pallbearer’. During the tempo changes of ‘Pallbearer’ it becomes evident that Cathedral refuse to be tied to a languorous pace on this record and both ‘Cathedral of the Damned’ and ‘Tower of Silence’ which follow are mid-paced stompers teeming with some of the greatest doom riffs ever cut to tape.
Founding guitarist Gaz Jennings, who is one of the classiest (underrated) players in rock and metal, hurls slab after slab of monolithic doom riffs on top of the graven earth laid by bassist Scott Carlson (Repulsion) and drummer Brian Dixon throughout ‘The Last Spire’. And to match the sinister nature of the music, Dorrain supplies the requisite vocal unease and his lyrics take a darker turn while remaining socially aware, tackling, for instance, the perils of war—a classic doom theme—on the Celtic Frost-flecked ‘Infestation of Death’.
The masterful understanding of dynamics that Cathedral has cultured over its illustrious tenure is even more striking in the context of what is, ostensibly, a true doom record. ‘An Observation’ goes beyond the typical lengthy trudge of slow and suffocating, as Cathedral’s prog undertones infest the mournful arrangements and the band throws one of its signature curveballs: a Camel-esque keyboard break that ends up setting the controls for the heart of the weird. And as the last note fades on this bittersweet finale, ‘This Body, Thy Tomb’—a fitting sonic summation of the band’s entire career—it becomes clear that, unlike bands that continues to fester long after their expiry date, this British institution has gone out on top, sounding as tasteful and timeless as ever. R.I.P.

Dean Brown

Band info: www.cathedralcoven.com
Label info: www.riseaboverecords.com

Dean Brown is a metal scribe based in Ireland. He is currently a contributing editor to the North American cultural magazine Popmatters and he regularly throws words for a number of other reputable loud noise publications such as About.com/heavy metal, Soundshock.com, MetalIreland.com, MoltenMagazine.com, amongst others. He has a strong affinity for music that shakes souls and leaves debilitating tinnitus in its wake and such obsession has left him financially and medically crippled, but he wouldn’t have it any other way. Follow Dean on twitter @reus85

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Haling from Denver, Primitive Man features in their ranks current and former members of Clinging to the Trees of A forest Fire, Reproacher and Death of Self, three groups that have been discharging an unrelenting and chaotic grind sound for the last few years. However, Primitive Man is a slightly different beast, slower, but equally abrasive, they dive down to subterranean depths to churn out an oppressive, tortured, apocalyptical doom that rests somewhere in between the grittiness of Ramesses and the muffled gloom of Winter.
“Scorn” is an intimidating yet engrossing listen, mostly due to their no-frills approach to doom, eschewing anything resembling a melody or a happy tone for a nastier and gritty feel. Then, there’re the vocals of Ethan McCarthy, whose fathomless death growls have that power to awake the most frightening creatures buried deep in your subconscious. Primitive Man truly excel at conjuring a miserable, excruciating atmosphere, most impressively on the title track and “Rags”, where they move at a slow, crawling pace like a dying victim of a nuclear winter.
This is probably too extreme, too gritty and too miserable to most, so be careful and approach it with caution. 

Band info: www.facebook.com/primitivemandoom 
Label info: www.facebook.com/throatruiner

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Active since 2007, Brooklyn’s Batillus are one of the most intriguing sounding bands I’ve come across in a long time. “Concrete Sustain”, the band’s sophomore effort (following 2011’s “Furnace”), features six profound, brooding songs that incorporate elements from several different genres. Their approach is rooted firmly in doom metal, with heavy, bleak guitar chords, agonizing growls, sluggish, pounding drums and rumbling bass lines, but there’s also a strong industrial/drone influence on this record that occasionally brings to mind a heavier version of Swans. This amalgamation might sound odd in words, but Batillus actually know how to fuse these disparate sounds with rather enjoyable results.
The album opens with nearly a minute of noisey feedback, industrial effects and martial drums as part of opener “Concrete”, a song that melds cold, military percussion with crushing guitars and the creepy, raspy vocals of Fade Kainer to create a rather disturbing and chilling atmosphere. Following track, “Cast” carries out the same gloomy and industrial feel, but on “Beset”, Batillus adopt a more minimal approach to churn out nearly eight minutes of punishingly-slow and mournful doom metal. Album closer, “Thorns” is another strong track, offering a bewitching fusion of trad doom with post-rock elements.
All in all, “Concrete Sustain” is pretty solid release that fans of doom and unconventional music will want to check out.

Band info: www.batillusdoom.com
Label info: www.seventhrule.com

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With their follow-up to 2009’s “Shadows of the Shapeless” full-length, Swedish doomsters Kongh continue their long-running tradition of crafting long songs that overpass the ten-minute mark. Featuring just four songs clocking in at nearly 45 minutes, “Sole Creation” sees the Swedish trio mining the same heavy, slow and bleak doom style they’ve been playing over their previous two efforts, but this time around they’re incorporating aspects of psychedelic and progressive rock into their sound. The heaviness and their intrinsic gloominess are still present, but this new effort reveals a greater emphasis on dynamics and greater exploration of melody, especially in the vocalizations of David Johannson. Along with his sinister growls and agonising rasps the singer and guitarist now makes use of his epic wails more often, and with a greater confidence I must add.
The title and opening song establishes the creative stretch, blending heavy riffs with epic melodies while Johannson alternates between some anguished growls on the verses and some otherworldly vocal harmonies on the chorus. It’s the combination of these disparate elements that makes “Sole Creation” such a good listen. Highly recommended!

Band info: www.kongh.net
Label info: www.agoniarecords.com

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