#Epic Doom

[cavedwellermusic]

A Brief History of Doom Metal

Four our latest Monster Riff republication, Patrick Schober takes a deep dive in to the history of one of metal's most widely enjoyed and influential genres, doom metal. He looks at the progression and expansion of the genre from 1970 to today, examining everything from Blue Cheer, Black Sabbath and Saint Vitus, to Candlemass, SLEEP, Electric Wizard, My Dying Bride, YOB and more. So if you want something heavy to listen to today why not explore this brief history lesson.

#doom metal #stoner doom #death doom #epic doom #black sabbath #candle mass #sleep band #electric wizard #cave dweller music #saint vitus

[horrid-phantasm]

Iron Griffin

#Iron Griffin #Iron Griffin band #Heavy Metal #Heavy/Doom Metal #Doom Metal #Epic Doom Metal #Epic Doom #True Metal #Real Metal

[doomedandstoned]

GÉVAUDAN Unveil Powerful Lovecraftian Journey in ‘Umbra’

~Doomed & Stoned Debuts~

By Billy Goate

Album Art by Erskine Designs

I love it when bands go for epic. With concept firm in hand, four-piece English progressive doomers GÉVAUDAN reveal a one-track 43-minute epic in 'Umbra' (2023), the band's second LP following the well-received 'Iter' (2019).

Some songs are written to get your body moving and your head banging, and so release a lot of energy in a short space of time. Other songs are written for the long-haul, supporting the unfurling narrative of a story old, grand, mysterious, and surprising.

Gévaudan's penchant for storytelling is worthy of the baffling tale of the Beast of Gévaudan itself, a puzzling corner of history three centuries past. This epic tale seems at times to characterize a carousing beast or the sorrowful cries of its victims or the brimming rage of loved ones headed into the forest to hunt the thing that is like a wolf, yet not a wolf.

Some hints of the band's intentions can be gleaned from the album title, umbra being the darkest place in a shadow. The piece begins with the unsettling scratch of dissonant guitar, like a cloud of electrified mist. Then comes the slow, deliberate thump-thump-thump of the drums. The first doom riff and sorrowful verse emerges:

I’m waiting in the dawn light, clawing, tongue like dirt Bleeding wounds that unwind, nails worn through Screaming, wordless prayer

For a voice this plaintive, you'd have to go to Rainbo from Portland, Oregon's Purification or The Wizard from the late, great Pilgrim. There is genuine mourning here, with words reminiscent of the downcast prayers of King David. Like the Psalmist, the eyes of lyricist Adam Pirmohamed seem to lift heavenward, to the invisible, esoteric realms of God and the soul.

And I slumber, in His embrace He cradles me to death And I slumber, in His faith He caresses, within my flesh

You may wonder how to take the words, just reading them at face value, but Adam has a way of convincing you of them on an intuitive level, such is the sincerity and relatability of his singing. Meanwhile, guitarist Bruce Hamilton gives release to the moment with a dazzling heavy metal solo that does some singing of its own.

When Adam returns to the mic, it is with conviction, and the vocal style becomes considerably more bold.

And I slumber, in His embrace! And I slumber, in His faith!

There follows at 12:43 a period of the sublimest peace, with the airy ambience of pleasant dreams, free from the burdens and cares of this life. In a note from the band, they reveal that the song is about battling depression, with strong Lovecraftian themes (see below).

A third section surfaces at 18:32, with the guitar strumming a triumphant theme and the rhythm section of Andy Salt (bass) and David Himbury (drums) supplying a lofty heartbeat. Adam's singing seems to embrace sunlight and blue skies following the sullen clouds of the first act. At 21:51 a whirling, climbing solo from Bruce, charged with grit and determination.

There is something vaguely Medieval about the riff we return to at 23:03, as though it were ruminating on past sins or future worries. Then at 23:40 bliss enters in the form of a psychedelic guitar set against noodling bass and the gentle tapping of drums and cymbals. The stern riff returns, though it seems to be right at home with its jazzier counterpart.

Then at 25:05 the mood shifts back to the depressive air of the start, and it might seem like defeat -- back to the status quo of gloominess and melancholy. But something has changed. There is reflection and a sense of perspective about the state of things, and an optimistic spirit rises above the morass.

I’m waiting in the dawn light Screaming, euphoria Sightless woodland Breathless blood

The presence of the synth gives it an otherworldly flare. Then at 32:52 piano, bass, and voice take us to the water's edge for a beautiful song within a song. It might have ended there, but the full band returns at 35:53 with wailing guitar and damning chords to truly finish the piece.

Standing at my hearth, I am showered with gold Strong foundations, I am king, I am known Growing inside, fearless soul of mine Brightest eyes, reflecting through mirrors

Now, as I mentioned, this is inspired by Lovecraft so there could be something stranger, more sinister afoot than I am aware of. I won't spoil those last four lines of the song (beginning at 38:21), but they may leave you questioning whatever you believed about the whole ordeal to begin with. I love the dark, droning synth that takes us into the void at the record's conclusion.

And with that, Gévaudan have created something unexpected and brilliant in Umbra. The album releases this weekend on vinyl, compact disc, and digital formats (pre-order here). Stick it on a playlist with Neurosis, Serpent Venom, Purification, Age of Taurus, and Pilgrim.

Give ear...

Umbra by Gévaudan

A Letter From The Band

We’re delighted to provide an exclusive stream of our second full-length album, Umbra, in partnership with Doomed & Stoned. This has been a while in the making, and we’re really excited to finally be releasing our most ambitious record to date, seeped in grandiose and epic doom.

Our new album, 'Umbra' (2023), evolved from the depths. Through a single 43-minute concept, it explores depression through the eyes of Eldritch horror, culminating in the unrelenting shadow that’s imparted on its sufferer -- a battle of light, stalked by darkness. As you may have come to expect from Gévaudan, this is monolithic, progressive, and highly emotive doom.

It was late 2020 when the first riffs for Umbra appeared in the studio. We felt we’d really found our niche through our debut, ‘Iter’ (2019), and made a conscious decision that our next record was going to take some of the more epic elements even further. Since our inception in 2013, we’d had a strong desire to write a concept album - something vast and atmospheric. It felt like the appropriate time to embark on the piece and see how our sound would translate onto a 40+ minute canvas for the next album.

Our writing process took on a far more live and collaborative approach. Whilst riff-master-general, Bruce, continued to bring riffs into the studio which we adopted, refined, and worked into fully formed ideas. We also took more time to jam and evolve parts, and created more in the room collaboratively. This helped to fully shape the progression and tonal shifts we wanted to achieve.

Lyricist and vocalist Adam has always taken the lead on the thematics. When thinking of concepts for the album, we wanted to take a different approach than usual. We’ve covered a lot of fantasy, history, and the occult; and whilst we didn’t want to stray too far from that, we wanted to write something with more of a personal and relatable element.

At the time, Adam was managing a bout of depression and kind of fell naturally into writing about how they were feeling -- almost an indescribable and ominous feeling, a sense of something looming. From that feeling it felt instinctive to use themes and ideas of Eldritch Horror as an allegory for depression and distress, and it was rewarding to write about a relatable topic whilst still staying true to our known themes and tones.

An important part of our evolution on this album is the introduction of piano and synth. They have extended the layers and palettes we can play with and have allowed us to explore different textures and writing approaches.

As part of the completely immersive concept approach, the cover art was another key ingredient. The impressive cover artwork has been developed by Erskine Designs. Conceptually and tonally, it’s the perfect accompaniment of the aforementioned themes.

The dynamics of our song writing have always been a key ingredient to our musical approach, and we were fortunate to have the opportunity to work with producer and engineer Mike Exeter in the studio again.

Finally, we’re really excited to be working with Meuse Music Records on this release. They have been incredibly supportive in bringing our vision to life on physical formats, and are a really great team to be collaborating with.

Please sit back, lower the lights, and crank up the volume to indulge in this epic musical journey.

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#D&S Debuts #Gévaudan #England #UK #doom metal #progressive doom #epic doom #heavy metal #Meuse Music Records #HeavyBest2023 #D&S Reviews #Doomed and Stoned

[gbhbl]

Album Review: Stygian Crown - Funeral For A King (Cruz Del Sur Music)

Funeral for A King is a step-forward in many ways, but none more obvious than the grandeur the record has overall.

Los Angeles epic doom crew Stygian Crown returns with their long-awaited sophomore album, ‘Funeral for A King’, out on February 23rd 2024, via Cruz Del Sur Music. Way back in 2020 we admired Stygian Crown for being a bleak and cold example of doom. One that left an impact, even if it was a drawn-out experience. Now, they return even colder, even bleaker, and even more epic sounding. Funeral for…

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#Album Review #Cruz Del Sur Music #Doom #epic doom #Funeral For A King #Stygian Crown

[doomanddead]

A Gothic Elegy from Thy Listless Heart

I can get behind some rough and ready vocals as much as the next person, but It’s a delight when a doom metal vocalist can sing. I mean REALLY sing. It’s one of the first things you’ll notice about Thy Listless Heart’s new album. Pilgrims On The Path Of No Return plumbs the depth of sadness. It’s soaring and sighing melodic metal, thickened with a heaping spoonful of doom. The whole album is half way between a grand, gloomy Candlemass composition, and a folk ditty that a medieval peasant would play by candle light during a long winter’s night. It’s no surprise that the work is artfully constructed. The band’s sole progenitor, Simon Bibby, has a wide-ranging metal resume that includes decades on the strings for thrash act Seventh Angel. Drop the needle with me as I embark on this somber and emotional voyage. 

Pilgrims On The Path Of No Return by Thy Listless Heart

The first track, As the Light Fades, is a reverent plod through a wilted world. The lyrics paint a dismal scene with an endless void, raging skies, and rising seas. Clean and growled vocals pick their way through the destruction hand in hand. The mood is both monumental and disconsolate. The layers of this track are delicately and intentionally balanced, creating an epic requiem for a dying realm.

A tinkling piano line slinks through The Precipice like a spider creeping over old lace. Bibby’s voice is solemn and foreboding. A drum rolls in the background, and death seems imminent. A guitar wails in anguish amid the tension. The vocals play angel and devil on your shoulder as they spar for dominance. This song is both fragile and crushingly heavy, pleading with the listener to “walk away from the ledge.” 

Yearning is a brittle folk tune that evolves into a grand gothic ballad. Bibby’s vocal talents shine brightly here. His elegy climbs and plunges in a deeply felt performance. It makes for glorious, devastating doom.

When the Spirit Departs the Body is an unhurried funeral dirge that leaves the artist exposed, the the listener emotionally raw. The song explores the sunset of one person’s trek as another continues on. Slow pounding of a drum sets the pace. Monastic voices ring through the space, invoking a sense of peace and resignation. Pipes drone through an intense and emotive passage. The piece is tender, noble, and heartrending.

Confessions exhibits a different kind of passion. A chuggy guitar postures from the sidelines. Slithering vocals command the spotlight. A blackened snarl joins the wicked chorus, adding to the strata. It’s a terrifyingly accurate observation of our time and culture, straight out of a darkened sideshow tent.

Aefnian (“becoming evening” in Old English) brings on the Saxon vibes with a rustic folk instrumental at the top of the track. Woodwinds and strings intertwine, braided together in harmony. A velvety alto joins in, dewy as a lily petal. Maudlin and pastoral, this brief track carries surprising weight— a delightful surprise. 

Clocking in at over 14 minutes, The Search for Meaning is the megalith at the end of the journey. The track is ponderous and grim, yet it buzzes with electricity. The vocals are majestic and mournful. We ride the riff over hill and dale on a legendary final quest, uncertain what fate awaits us. Ominous chugging gives way to stillness. The heroic lament threatens to give way to desperation, as the song strains against metallic bounds. A dark chorus of fallen souls closes book and blows out the flame. A final bit of spoken-word poetry lulls us into a malleable stupor. We find ourselves vulnerable and stunned in the silence that follows. 

You can pick up Thy Listless Heart music and merch at thylistlessheart.co.uk.

#thy listless heart #pilgrims on the path of no return #simon bibby #seventh angel #doom metal #gothic #england #epic doom #funeral doom #black metal #candlemass #dead can dance #uk

[smoshpvnk]

and the funniest fucking dannie ever award goes to

#IM DEAD #LIKE WITH THE EPIC WAD MUSIC THEN THAT TOO #LMFAO #we’re all doomed #wad #wad tour #daniel howell #dan howell #danisnotonfire #phan #phandom #phandometrics #dannies #p #dykes 4 dan #wadposting #wad premiere

[bloodstainsonthefloor]

losing my mind

#misha collins #spn #destiel #ryan ross #p!atd #epic the musical #epic the underworld saga #we’re all doomed #wad #dnp #dan howell #danisnotonfire #mikey's stuff

[sluggermcslugsy]

ive been looking at this for fucking ever just take it before i change my mind

#doom game #doom marine #doomguy #doom slayer #doom #doom eternal #epic fail #itches my balls shyly #my art

[lunarharp]

tired

#witch hat tag #orufrey #obsessed with the legendary epic fairytale romance au again #once again they are doomed by orufreycore - oru thinking he has all the time in the world & qifrey neurotic about time running out :') #some merch i'd been waiting months for arrived <3 bookmarks & the little witch hats tin designed by the blue period manga-ka (?!) #might use it to store jewellery in and pretend it's qifrey arranging his gay little apparel

[cinemaocd]

Setting unrealistic expectations for a single thrift haul since 1995: The Doom Generation

#The Doom Generation #gregg araki #rose mcgowan #james duval #jonathan schaech #that belt buckle is an epic find for the ages

[cavedwellermusic]

Malsten – Larum Single Review

James looks at Larum, the first single from the upcoming album Rites of Passage: The Haunting of Silvåkra by Swedish doom act Malsten, released December 1st, with the album out March 15th onSvart Records.

This is the first taste of a concept album that sits conceptually in the vein of King Diamond. By that I mean that this is an in-depth telling of a horror story that employs a narrative style, but through the medium of atmosphere focused funeral/epic doom metal. Personally, I can’t wait for the full album to drop, if this is just a taste then I am extremely hopeful for what’s to come.

Read James' review, listen to the single and pre-order the album at the link below:

#doom #doom metal #epic doom #funeral doom #horror music #concept album #king diamond #cave dweller music #Bandcamp

[czarnoxiestwo]

Instead of my usual autumn diet of atmospheric black metal and dark folk I've been feeding myself some epic doom this year and that's the only explanation I can provide.

#fantasy art #dark art #epic doom metal #nwothm #my art

[haveyouheardthisband]

#Epic Doom Metal #Traditional Doom Metal #Doom Metal #1990s #2000s #USA #poll

[doomedandstoned]

DIE LIKE GENTLEMEN Return with Fiery Double Album ‘Hard Truths’

~Doomed & Stoned Debuts~

By Billy Goate

“Ocean at Night with Burning Ship” by Marcus Larson

DIE LIKE GENTLEMEN have always represented to me the ideal fusion of rock and metal. Drawing on their sludgey roots, the Portland, Oregon quartet adopts progressive and dramatic elements for a punchy sound that is, in the band's words, "new and original, yet familiar." This is no less true on their fifth album, 'Hard Truths' (2021).

In the opener "Guts of a Beggar," a homeless man proclaims: "How can you just step over me? I'm still a man. Even stewing in my own filth, I’m still a man." It is sung with lusty aplomb by the throaty vocals of frontman Adam Alexander. High drama at its best, the first chapter of what feels like an epic adventure as the record spins along.

This takes us to the apocalyptic, "Last Night On Earth," which bemoans our blithe attitude towards this place we call home, as we tear it away little by little.

We’ll pay by degrees plastic tides recede mountains of debris

"Whipping Boy" begins with a chugging gallop and vocals that reach levels of epic doom, mingled with elements of the New Wave of British Heavy Metal. The verses and choruses here are hearty and robust, something that's become a Die Like Gentlemen trademark.

whatever crimes the kings devise the whipping boy will pay the price

"Letting in the Rain" is another standout track, coming later in the album. It captures the gloom, uncertainty, and paranoia of isolation during a long Northwest winter ("Did I leave these footprints on my floor? Did I unlock this door?").

There is sardonic humor on the record, too, as on "Bury Me." If you've ever wanted to watch the world burn, then perhaps you can relate to this dying man's plea:

Bury me but only up to my eyes so I can see the world and watch the spool unfurl

Bury me but only up to my nose so I can smell the smoke and hear the living choke

Lyrics seem to touch upon matters relatable to our time, yet strangely removed from it, as if coming from the realm of dreams. It's like a Dr. Suess poem full of odd characters, unusual turns of a phrase, and whimsical illusions. Not quite a Neil Fallon word salad (Clutch) or a Serge Tankian spittoon (System of a Down), Die Like Gentlemen nevertheless traffic in the urgent, carnal, and bizarre.

The music itself seems to pull you right out to sea in an undertow of brash vocals, bold tonal choices, progressive stylings, and frenetic unease. When I search for the nearest anchoring point, I compare it with Mastodon's Leviathan.

In the end, vocalist/guitarist Adam Alexander comments:

We just write what we write. We all share a lot of influences – classic rock, death metal, doom, grunge. I guess it’s where we feel most comfortable: darkness, anger, anxiety, depression and doom. We’re not the first band to find freedom in dwelling on darker aspects but we’re always following different inspirations to keep things interesting.

Hard Truths is Die Like Gentlemen's most robust effort to date. It releases March 17th and will be issued on CD and 2xLP in addition to digital via Drink This Music (pre-order here). For fans of Mastodon, The Lord Weird Slough Feg, and Melvins.

Give ear...

Hard Truths by Die Like Gentlemen

SOME BUZZ

It’s remarkable to think that almost ten years on from the release of their 2013 debut, 'Romantic Delusions of Hell,' venerable cult rockers Die Like Gentlemen remain one of Portland Underground’s best kept secrets.

Born into the city’s heavy music scene; distinguished, eloquent and steeped in the spirit of Priest and Sabbath, for too long the Pacific Northwest’s gain has very much been the wider world’s loss.

However, this year all that should change. The band makes a thunderous return and with it bring their progressive rock leanings, deft song writing, heavy metal riffs, and well-warranted self-confidence on 'Hard Truths' (2023), their fifth studio album and most ambitious and cohesive work yet.

Photograph by Stephanie Savenkoff

The last few years have been a challenge for everyone in our little town of Portland: the politics, the pandemic, the isolation, the wildfires, the protests, the crime, the poverty, the addicted, and the toll of all this upon our collective mental well-being.

This album, years in the making, was written against this backdrop of turmoil, always keeping in mind that we cannot defeat our demons without first staring them in the face and acknowledging them for what they are: an aspect of ourselves.

'Hard Truths' is a swirling tempest of heavy metal and classic rock, in keeping with the band’s Odysseus-like approach to exploration, rocking hard against prevailing winds of change. A full hour of twists and turns, wails and screams, passion and precision, and through it all, grappling with some very hard truths about ourselves and the world.

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#D&S Debuts #Die Like Gentlemen #Portland #Oregon #progressive rock #sludge #doom metal #epic doom #Drink This Music #D&S Reviews #Doomed and Stoned

[gbhbl]

Album Review: Sorcerer - Reign of the Reaper (Metal Blade Records)

Sorcerer are back and their epic metal sound is sounding more powerful than ever. In fact, listeners will likely come away with just one complaint, and it’s simply that it’s over all too soon.

Since their rebirth in 2010, through a string of amazing live performances, signing to Metal Blade Records and releasing three excellent metal albums, Sorcerer have been firing on all cylinders with no plans of stopping for anyone. On October 27th, 2023, they will release their new album ‘Reign of the Reaper’ via Metal Blade Records. Talk about a band never putting a foot wrong. Sorcerer have…

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#Album Review #Doom #epic doom #Metal Blade Records #Reign of the Reaper #Sorcerer

[lucindasthighs]

hmmgh thinking about laurance but his shadow knight powers connect him to the environment. And he HATES it.

He wants to pretend that he's not changed, that he can go back to a normal life- But he can hear the tremble of the earth as the memories of old gods vibrate through it; he can sense the withering of plants, the decay of corpses in his vicinity.

The feeling he hates the most is the burning, vicious hatred in the back of his consciousness. It's not his - it's old and faded, like the imprints of letters in a worn book. Sometimes, he can't even tell it's there. But he's quickly reminded when he gazes at Irene Aphmau, and it flares with intensity, like an old wound that never healed.

It's not his...right?

#used old twice in the same paragraph raaghgh #anyway AHGGHG SK LAURANCE ANGST BRAINROTTT #i want him to be doomed by narrative. #i want him to be terrified of losing more than he already has. i wanthim to be backed into a corner in his own mind #and when he leaves to the nether i want him to be defeated #not angry or bitter or anything. just tired. tired of fighting against himself #ALSO i think itd be epic if shad tried to get laurance as his vessel at first #like hes always with aphmau the woman he thinks he wants revenge against. #maybe he wouldnt know shit in s1 but after she gets the relic from the irene dimension theres no way he doesnt sense her #“wrote a whole other post in the tags bye 😭” #aphmau #aphblr #aphverse #minecraft diaries #laurance zvahl #mcd laurance #mcd aphmau #shad the destroyer #irene the matron