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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Lots of hype around this Australian group and I never really understood why. Sure they got a great drummer and an interesting concept (influenced by HP Lovecraft’s fictional tales), but musically this is simply a murky, less-skilful version of Morbid Angel. Could it be that all artists that use masks or cloaks are destined for success, or is due to the fact that Portal’s albums were released by Profound Lore Records, which is led by the highly revered Chris Bruni? Whatever the reason, this new work hasn’t changed my opinion. “Vexovoid” is more of the same, expelling a muddy, noisey and tortuous sound that lures the listener down into an excruciating and dark hole. While that experience seems appealing for a few moments, opener “Kilter” for instance sees Portal incorporating a more polyrhythmic approach, offering some interesting and complex time signatures along the lines of Meshuggah, other times it seems to drag on a bit and sound like an indiscernible and agonizing wall of sound.
Fans of the band will surely disagree with me, but the truth is that Portal were never a consensual group, you either like it or you don’t and I just don’t have the stomach to endure such tortuous and excruciating atmosphere.

Band info: www.facebook.com/portaldeath
Label info: www.profoundlorerecords.com

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