ALBUM REVIEW: Iron Void, "Excalibur"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 25/05/2018 (Digital)

Label: Shadow Kingdom Records

"Excalibur" is going to win over a lot of classic doom fanatics. Iron Void should be on the radar of the scene for a revivalism that it owns wholly and proudly.

“Excalibur” CS//CD//DD//LP track listing:

1). Dragon’s Breath

2). The Coming of a King

3). Lancelot of the Lake

4). Forbidden Love

5). Enemy Within

6). The Grail Quest

7). A Dream to Some, A Nightmare to Others

8). The Death of Arthur

9). Avalon

The Review:

Veteran doom peddlers Iron Void have had plenty of fits and starts over their career. After forming in 1998, the band disbanded for a decade before roaring back with a vengeance, dropping 2010's "Spell of Ruin," 2014's "Iron Void" and "Doomsday" in 2015. Now at their creative peak, Shadow Kingdom Records will issue the European vinyl of "Excalibur," Iron Void'sArthurian themed nine-song release tracking at just over 45 minutes.

Vinyl has been the financial shot in the arm to the music industry that few ever expected to make the comeback it has. Partially such success can be credited to bands like Iron Void. "Excalibur" offers rich, earthy sonics that seem made for wax. As the LP kicks off with "Dragon's Breath," Iron Voidis inescapably catchy as it is dense. The band is also deceptively elegant in how its songs are constructed; the Sabbathesque "The Coming of A King" boasts a holistic duty to the story it's telling, while not breaking the power of the song itself, its guitar or rhythm section. Thus, lyrics inject themselves into just the right points, while not interfering with the structure of the cut. You hear similar instances on "Forbidden Love" as well.

Those who love fantasy in metal are going to appreciate the story immensely. Without spoiling anything, just know that Iron Void set out and succeed at telling an effecting tale. The vocals throughout are quintessential doom and even transcendent at turns. As the album builds, it is impossible not to be swept up in how massive the sound comes across.

In addition, what doom and sludge devotees may most appreciate with "Excalibur" is its fidelity to providing a new varnish to classic doom in the vein of Saint Vitus, Pentagramand the like. As you know, there's been a major renaissance in the old-school sound of black metal and death metal, hastened surely by the number of derivative bands in more modern takes on these subgenres. Doom, stoner and sludge undoubtedly have these bands as well – The Sword may have been the most popular and prescient of the revamp – and Iron Void stakes its flag admirably. Even songs like "Enemy Within," with clear influences from "Electric Funeral," feel rejuvenated and original. Iron Void deserve a lot of credit for having the courage to make an album that is inevitably going to draw tons of comparisons, yet doing so in a way that feels like a modern makeover of doom metal. Steve Wilson's riffs are heavy, Iron Void's lyrical themes are solidly mystical and medieval, and its ultra-thick drums by Richard Maw and bass by Jonathan "Sealey" Seale compose a ridiculously good foundation for it all.

"Excalibur" is going to win over a lot of classic doom fanatics. Iron Void should be on the radar of the scene for a revivalism that it owns wholly and proudly.

“Excalibur” is available here

Band info: bandcamp|| facebook

“11 is one Louder”: Iron Void part II. Guitarist Steve Wilson chooses his Top 5 Trad. Doom Albums

As we may have mentioned before, Iron Voidare one the UK's leading exponents of traditional doom: doom with singing, doom with riffs, doom with... songs?! A few weeks back Iron Voidbassist, Jonathan “Sealey” Seale chose his top five trad doom records in the first of a two article feature.  Today we present part two of this double header with Iron Void, guitarist/vocalist, Steven Wilson choosing his own top five trad doom albums, so turn the dial all the way to up because “11 is one louder”

Black Sabbath– “Black Sabbath”

The album that started it all! As soon as you hear the rain and thunder with the church bell tolling in the distance, you know you're in something heavy. It could be argued that they've done better albums since, but the first one captures the sinister essence of Black Sabbath while keeping the blues and jazz part of their sound. Songs from this and the “Paranoid” album were the first Sabbath riffs I learned to play, and I learned a lot about how the drums, guitar and bass can work together. Each instrument is really clearly defined and easy to make out. I don't always agree with everything Ozzy Osbourne says, but I think he could be right about this being his best vocal performance on record. This is a simpler sounding band, but just as heavy as their later albums. This record sounds good at any volume level. It's heavy and powerful, loud and relaxing and melodic if you turn it down.

Cathedral – “The Carnival Bizarre”

“Hopkins – The Witchfinder General”is a very cheesy song, and I'm sure we're all sick of it now. It did get me into Cathedraland made me check out their albums though, so it served its purpose in that respect. I think this was the first or second Cathedral album I ever heard. It's the first one without Adam Lehan (Gaz Jennings plays all the guitar on it) and that seems to give it a different character. Gaz was able to do whatever he wanted and it seems to be a bit more focused for it. It's the perfect mix of heavy doom metal and psychedelia. I don't know if Lee Dorian's vocals have aged that well, but it really opened my eyes to simple songwriting and how much you could do with a couple of riffs. It's worth mentioning that the track 'Utopian Blaster' features a guest solo by none other than Tony Iommi himself! It's worth checking out just for that fact alone. I've still got the double 10” vinyl somewhere in my collection and it's not likely to be sold any time soon!

Iron Man – “Generation Void”

Like the other albums on my list, “Generation Void” is mainly made up of simple riffs and well timed vocals, backed up by a tight rhythm section. That's all you need to be honest! Al Morris III comes up with riffs to rival even Black Sabbath on this album. I heard it years ago but I only bought a copy on CD about ten years ago. It just always seems to have been there. Someone must have taped it for me at some point because I remember listening to it a lot. This is probably the first 'Maryland doom' band that I heard, and the simple song writing mixed with melodic vocals have stayed with me into my songwriting for Iron Void. The riffs from 'Final Resting Place'(from “Spell of Ruin”) are directly inspired by Al Morris' guitar playing style.

Spirit Caravan– “Jug Fulla Sun”

After Iron Man, Spirit Caravan are the next logical step forward. I met up with Murray (who I would later find out was in year Zero) and a mate of his a couple of times with the intention of starting a band. It never came to be, but one of them suggested I listen to this record. I remember thinking the name sounded daft, but it stuck in my memory. I think I bought the “Dreamwheel” EP before this, but this was the first full album of Wino's music that I ever got hold of. From here, I moved on to Saint Vitus and The Obsessed, as well as The Hidden Hand, Place of Skulls, you name it. I couldn't believe that I'd never heard of Wino before 1999/2000. I knew about Iron Man but I'd never heard any Pentagram, Saint Vitusor anything like that. I really like simple riffs and powerful clean vocals, and Wino is the master of that! His influence can be heard in everything we've done so far, especially my approach to playing guitar and singing at the same time when playing live. He's not really doing anything unique, but the way he plays really struck a chord with me. Having Gary Isom and Dave Sherman as the rhythm section couldn't have done any harm either! Spirit Caravan's music taught me that it's OK to write simple songs on purpose. They were a master class in how to put together a power trio.

Pagan Altar – “Judgement of the Dead”

Another band that I didn't get to hear until I got online. I think I first heard this album around 2003 or 2004, when it was out on CD as “Volume 1”. I got the vinyl reissue entitled “Judgement of the Dead” a few years later, and it was worth every penny. Their music is a mix of NWOBHM, classic rock and what we would now call Doom Metal. Simple heavy rock arrangements with bluesy guitar but dark, sinister and honest vocals and lyrics. This is their debut album, and it's a bit rough production-wise. I tend to like these the best though, because it's the first incarnation of a band. Everything is new and the enthusiasm is still there. Pagan Altar reformed with a new drummer and bass player a few years ago after a resurgence of interest in the band. We were lucky enough to gig with them a few times and it was a pleasure to see and hear them play live, even though Terry was obviously a lot older than he looked on the album cover! He is sorely missed and unfortunately there are still a lot of doom and metal fans out there who have no idea who he was or what the band might have sounded like. 

Iron Void plays “Hammer of Doom” fest this Saturday.  Check the poster below for more details. 

Band info: bandcamp || facebook



ALBUM REVIEW: Desolate Pathway - “Of Gods and Heroes”

By: Richard Maw

Album Type: Full Length

Date Released: 22/10/2016

Label: Independent

Make no mistake, Desolate Pathway have delivered an epic doom record of epic proportions: light and shade, massive riffs, great performances, a downcast atmosphere... it's all here

“Of Gods and Heroes” CD//DD track listing:

1). Intro

2). The Old Ferryman

3). The Perilous Sea

4). Medusa’s Lair

5). Into the Realms of Poseidon

6). Enchanted Voices

7). Gods  of the Deep

8). The Winged Divinity

9). Trojan War

The Review:

Desolate Pathwayfollow up their rather excellent debut with this, their sophomore release. Musically, this is doom. Trad doom, to be precise. It's low and slow, but with clean and clear vocals which weave stories of ancient myths in amongst the riffery.

The themes here take in exactly what the title denotes; ancient myths and legends- tales of courage, magic and honour. “Enchanted” Voices runs the gamut of doom riffage with slow, mid paced and swinging variants all getting an airing. You can play spot the reference/mythology as the album progresses. Medusa gets a look in, as does Poseidon (as you will know from the advance single), the Iliad, or more specifically the battles and characters involved, gets a look in on “Trojan War” and all of it is delivered with a gravitas worthy of Christopher Lee at his peak.

This is epic stuff: big melodic vocals, big riffs and solos from Vince and nicely dynamic drumming from Mags (making full use of the kit; lots of cymbals, double kick, toms... but never cluttered). It's dark too (the intro to “Medusa's Lair” is classic full on doom before echoing that classic Sabbath riff from their fifth album). The guest bassists put in solid performances when they appear (take a bow Sealey, my compatriot in Iron Void) and over the course of the eight tracks proper the album is a journey through the darker sections of the ancient world.

Make no mistake, Desolate Pathway have delivered an epic doom record of epic proportions: light and shade, massive riffs, great performances, a downcast atmosphere... it's all here (in fact, it's all in the opener “The Old Ferryman”, let alone the rest of the album). Doom fans can buy this one safe in the knowledge that they are in for a treat.

“Of Gods and Heroes” is available here

Band info: bandcamp|| facebook

"Because 11 is one louder": Jonathan "Sealey" Seale (Bassist for Iron Void) chooses his Top 5 Trad doom albums

Iron Void are the UK's leading exponents of traditional doom: doom with singing, doom with riffs, doom with... songs?! Their lineage is not hard to trace: try Sabbath as a starting point. Having put out a stellar EP and two full length albums, Iron Void are preparing to play The Asylum2in Birminghamon Saturday 15^th October as a celebration for the vinyl release of album number two: “Doomsday”, which is out now on Fear Me! Music.

Today as part of a two part article with Iron Void, bassist, Jonathan “Sealey” Seale chooses his top five albums from their band's chosen genre. Read on for a trip into the arcane and mysterious world of doom...and expect part II featuring guitarist Steve Wilson in the coming weeks ahead. In the meantime, turn the dial all the way to 11, “Because 11 is one louder”



1.       Black Sabbath – ‘Master of Reality’ (1971)

Masters of the art! I had to mention Sabbath, it goes without saying doesn’t it? They invented not only Heavy Metal but Doom Metal too. The self-titled song, ‘Black Sabbath’ from their debut is THE Doom Metal blueprint; thunder and rain, heavy riffs, softer passages and the up-tempo build-up in the middle which concludes the song. A classic formula, repeated many times since by a lot of bands, ourselves included! It’s so difficult to pick a favourite Sabbathalbum as I love all eras of the band. The Ozzy and Dio eras are definitely my favourites though. If I had to pick one album, it would be this one. It’s definitely the heaviest Sabbathrecord in my opinion and also the most ‘stoned’ sounding one if you catch my drift?  They tuned down for the first time on this record (the first 2 were in Standard tuning) which made for a darker atmosphere and I love the contrast of the acoustic tracks, ‘Embryo’ and ‘Orchid’ with heavier numbers such as ‘Lord of This World’ and ‘Into The Void’, the dynamics work perfectly.  

2.       Saint Vitus – ‘Born Too Late’ (1986)

        Sabbath invented Doom in the 70’s, but it was the bands who followed in their wake such as Saint Vitus, Pentagram and Troublewho defined Doom Metal as a genre in the 80’s. Again, it’s very hard to pick one particular album from a band I love so much but this is as classic as it gets. Stand out songs for me are ‘Dying Inside’, which is a stark warning about the dangers of alcoholism and the title track, a Doom anthem with lyrics every Doom fan can relate to. I also love the Scott Reagers fronted Vitus and the Lord Chritus era too but Wino is one of my all-time favourite singers and guitarists so this album is as perfect as it gets for me. If I had more choices I would also probably have included an album fromThe Obsessed in this list, maybe ‘The Church Within"

3.       Pentagram – ‘Relentless’ (1985)

        Another stone-cold classic and the first record I heard by them. This album is just killer from start to finish. Victor Griffin’s guitar tone sounds like a buzz saw (in a good way!), Bobby is genuinely sinister in his vocal delivery and Joe Hasselvander pounds the hell out of the drum kit throughout while Martin Swaney holds down the low end. So many classic songs too! There’s no filler on this album at all, every song just slays. You’ve got to love the cow-bell in the middle of ‘Sinister’too! A close second choice to this album would be ‘Be Forewarned’ (1994) but I adore everything they have released. It was a real honour and pleasure to play with them at Day of Doom Barcelona in 2015, a dream come true.

4.       Trouble – ‘Trouble’ (1990)

        Most True Doom heads would probably pick ‘Psalm 9’ or ‘The Skull’ over this but I got into Trouble via ‘Manic Frustration’ in the early 90’s then worked my way backwards. I just really like the vibe of this album. The lyrics, riffs and solos are exceptional. Bruce Franklin and Rick Wartell are one of the best twin guitar teams in the business. I’ve seen them live several times with different line-ups and they don’t miss a note, they’re so tight! It’s cool nowadays that we have both Troublewith Kyle Thomas on vocals and The Skull but I do sometimes wish this line-up (minus Barry Stern, R.I.P.) would get back together for a few shows, that would be ace!

5.       Sleep – ‘Sleep’s Holy Mountain’ (1992)

        Some would argue that Sleep aren’t really ‘Trad Doom’. Although they kick started the whole ‘Stoner Doom’ genre I still consider this to be a trad Doom album, heavily influenced by Sabbath’s early albums and copious amounts of weed! Most Sleep fans bang on about ‘Jerusalem’ (AKA ‘Dopesmoker’) as the best record but I disagree. ‘Jerusalem’ has its charms but ‘Sleep’s Holy Mountain’is where it’s at! When I first heard it I thought it was so heavy, the bass is just off the scale! This was one of the first Doom albums I ever heard and I still listen to it regularly now. I would also highly recommend their debut, ‘Volume One’.

Band info: bandcamp || facebook