Undoubtedly, this is one of the best US doom releases of the year and sits alongside The Skull and Apostle of Solitude as one of the best albums in the genre for 2018.
“Pale Divine” CD//CS//DD//LP track listing:
1. Spinning Wheel 2. Bleeding Soul 3. Chemical Decline 4. So Low 5. Curse the Shadows 6. Shades of Blue 7. Silver tongue 8. Ship of Fools
The Review
Pale Divine have been playing this music for two and a half decades and it shows- in terms of quality and experience. This record is doom/stoner doom in the traditional sense. Think The Obsessed, Pentagram, Troubleand throw in a heavy dose of Sabbath and The Sword and that gives you a fair idea of what is on offer here. The band also have some trad metal in their veins too (some Maiden-esque passages here and there) and that melting pot makes for a very satisfying listening experience.
The vibe is pure doom and comparable to the dark and powerful atmosphere that Iron Manconjured up on their “South of the Earth” album. “Spinning Wheel” and “So Low” both have heavy doses of Maryland Doom within their structures and the sound is pleasingly raw and live. It's melodramatic, downcast and features superb riffing with twists and turns that Sabbathcirca “Vol. 4” would be proud of.
The bass work is fantastic- very Geezer. The drums are rock solid and tastefully done; nice fills here and there, good groove and good dynamic use of the kit. The guitar work is very Griffin/Iommi esque and therefore superb. The vocals are of course actual singing- rough edged and smoky and thus another huge plus for the record. In fact... there is nothing about this that I don't like.
With songs like “Ship of Fools” and the closing doom blues of “Shades of Blue”extending to the seven and eight minute territory, there is the possibility for the record to drag, but the playing time of around 45 minutes (or so, I am looking at the MP3 song lengths here and adding up) means that the record clips by at quite a rate and feels solid front to back. There are riffs and substances to die for in “Chemical Decline” as well as archetypal Sabbathian “fast bits”. “Bleeding Soul” manages an epic feel with a sub five minute running time- quite a feat.
If anything, the record builds up a head of steam as it goes; the back stretch providing some of the most satisfying music of the album. “Silver Tongues” is a grooving delight that fits alongside the best of US doom/stoner material. Conversely, “Curse the Shadows” strays a lot closer to proto doom/70's rock territory and is a nice change for the record.
The aforementioned “Shades of Blue” is a bassy and bluesy beast and closes the record in some style; large in sound and scope with a laid back feel to the grooves and delivery. Undoubtedly, this is one of the best US doom releases of the year and sits alongside The Skulland Apostle of Solitude as one of the best albums in the genre for 2018. It may well be that the Europeans have ruled the doom roost this year with superlative records from Dawn of Winter, Witchsorrow, Iron Void (cough!), Conanand Barbarian Hermit but this record is truly excellent and I have enjoyed reviewing it almost as much as I have enjoyed listening to it. Doom on, gentlemen, doom on.
For listeners prepared to take this grim journey, there are impressive rewards to be had. Not for the faint hearted, but certainly this album is one of the best releases this year in doom or any other genre. The whole album is a grim steed, plodding inexorably towards its own fate. Fantastic.
“Sentiment” CD//DD//2LP track listing:
1). In Its Absence
2). Pools of Reflection
3). Sentiment
4). A Garden Where Nothing Grows
The Review
Well, there are four tracks here, nothing much under twelve minutes in length and there has been a sizeable buzz surrounding this record for many weeks prior to me sitting down to review. So what is going on with Un's “Sentiment” album- their sophomore release?!
For starters, melancholic clean work opens up and then gives way to a truly huge and crushing passage of music. Obviously, from the song lengths alone, it is reasonable to assume that this is an album that is in the arena of the doom genre- and it is, loosely. This is nothing really like Sabbath, Vitus, Trouble, Candlemass et al- it is not trad doom by any stretch. It does fit into the more modern interpretation of the genre label- think Conan, Yob and so on.
The vocals are of the growled variety (not on every track though, so keep an ear out!), the sound is absolutely enormous and the mix is excellent. This is very, very weighty stuff indeed and by the time opener “In Its Absence” has finished, the tone has been set. There is nothing uplifting here: only the darkest and murkiest riffs and sounds are to be found here. It's a downbeat listen, as song titles such as “Pools of Reflection” suggest. The title track is just as sprawling and epic in approach and utilises the same clean opening (yielding a promise of something sweeter than the bitterest of fruit which is actually then served up).
There are echoes of Paradise Lost at their gloomiest, echoes of Yob at their trippiest and there are hints of death metal, psychedelia and even shoe-gaze here and there. The closing statement of “A Garden Where Nothing Grows” is a dark and bleak vision and it really sums up the whole record very well. Any track here would sum up the release as a whole as it is a very strong whole and is nothing if not consistent.
Yep, “Sentiment”fits into the doom bracket, but there is a great deal going on here. For listeners prepared to take this grim journey, there are impressive rewards to be had. Not for the faint hearted, but certainly this album is one of the best releases this year in doom or any other genre. The whole album is a grim steed, plodding inexorably towards its own fate. Fantastic.
When its all over you realise that The Skull have upped their game to such an extent that they are no longer just reflecting the band members past glories, but building a new legacy that is equally as exciting as what has gone before
1. The Endless Road Turns Dark 2. Ravenswood 3. Breathing Underwater 4. The Longing 5. From Myself Depart 6. As the Sun Draws Near 7. All That Remains (Is True) 8. Thy Will Be Done
The Review:
The word “legend” is overused, but not in the case of Eric Wagner: the voice of Trouble, BlackfingerandThe Skull for the last 30 years. One of doom’s most influential yet humble frontmen, Wagner is enjoying a creative purple patch at present. Earlier this year he reactivated Blackfingerand the resulting album was his most mature and confident release since leaving Troublein 2008.If Blackfinger replaced the chug of Troublewith a more deliciously relaxed vibe (which was solid gold), then the new album by The Skullbrings back the barnstorming doom of the Chicagotitans he fronted for almost two decades. From the first few notes of the title track – which opens the album – you’re in instantly familiar Wagner territory. Able Lieutenant and doom bass god Ron Holzner is still at his side, anchoring the bottom end with former Cathedral drummer Brian Dixon. Over their thunderous melee guitarists Lothar Keller and Rob Wrong trade solos and huge rhythmic slabs of riffage which churn and grind with wilful abandon. It’s one hell of a beautiful sound.Third track “Breathing Underwater” is an early highlight: funeral pace doom with a chorus built around a startling guitar motif which is guaranteed to give you goose bumps. “From Myself Departs” starts like nothing else in the band’s canon, with Holzer laying down a funk bassline over which a Hendrixian riff floats (bringing to mind Living Colour or Stevie Salas Colorcode) before the band slam back into a more comfortable sturm and drang groove and full-on ‘galloping horses’ bridge section which is the best thing on the record. Elsewhere you get the standard slower number, “All That Remains (Is True)”, which shuffles wonderfully in 6/4 time, and a massive closing boogie in “Thy Will Be Done”. When its all over you realise that The Skull have upped their game to such an extent that they are no longer just reflecting the band members past glories, but building a new legacy that is equally as exciting as what has gone before. They haven’t thrown the baby out with the bath water. But they’ve bought a modern and quite wonderful new bath. Wagner turns 60 next April. It’s great to hear him and his compadres growing old this disgracefully.Long may they continue to do so. “The Endless Road Turns Black” is available here
By: Richard Maw Album Type: Full Length Date Released: 20/10/2017
Label: Metal Blade Records
Fantastical, epic, dark, heavy and doomy are all words that describe the record appropriately. There are not too many doom bands ploughing this traditional furrow these days, but Sorcerer represent the very best of them. This is another excellent album by an excellent band
“The Crowning of The Fire King” CD//DD//LP track listing
01. Sirens 02. Ship Of Doom 03. Abandoned By The Gods 04. The Devils Incubus 05. Nattvaka 06. Crimson Cross 07. The Crowning Of The Fire King 08. Unbearable Sorrow
The Review:
Sweden's Sorcerer return, a mere two years after the excellent “In The Shadow Of The Inverted Cross”. In my review of that album, I noted the Dio-esque lyrical themes and stylings, the Sabbath weight and the epic nature of real doom. Well, I am able to report that all those elements are present and correct on “The Crowning...”
From the rolling drum intro, to the first riff, to the first vocal- everything you would want from a doom album is here. The sound is suitably epic, as are the song lengths. There is some excellent lead work in opener “Sirens” as well. With both the second and last track here clocking in at close to ten minutes, this is not a doom record for the casual doom fan- or the “doom” fan who thinks that sludge is doom. This is true doom for true doom heads- start with Sabbath, go to Saint Vitus, Pentagram, Trouble, Candlemassand The Obsessed and then... Sorcerer would be a logical next step.
The album is dramatic, textured (acoustic guitars shimmer here and there, melodies are plentiful, riffs are massive) and as heavy as lead. The likes of “Abandoned By The Gods” feature riffs that you would swear were from the hands of Iommi himself. Indeed, the solo backed by rhythmical bass is straight out of the Tony Martin era. An acoustic instrumental bridges the record and the final three tracks are as strong as the first three; the band save the title track for next to last, showing that the record is not front loaded.
Fantastical, epic, dark, heavy and doomy are all words that describe the record appropriately. There are not too many doom bands ploughing this traditional furrow these days, but Sorcerer represent the very best of them. This is another excellent album by an excellent band. Doom on.
I cannot find anything to fault here. Blackfinger have delivered nine tracks of trad doom with style and finesse. Eric Wagner has put his name to another excellent doom album and this is recommended to any fans of Trouble, The Skull, Saint Vitus, The Obsessed and so on out there
“When Colors Fade Away” CD//DD//LP track listing:
1). When Colors Fade Away
2). Can I Get A Witness
3). All My SorrowType O
4). My Old Soul
5). After-now
6). Crossing The River
7). Beside Still Water
8). Waiting for the Sun
9). Till We Meet Again
The Review:
Blackfinger's second album once again has Eric Wagner at the helm on vocals and comes three years after their self titled debut.The band is split between Illinois and Pennsylvaniaand certainly brings the Autumnal melancholy that one associates with those states. The first album was a mixture of doom and classic rock influences and reminded me of Type O Negative in some ways. This second offering, to my ears has ramped up the doom leanings.
The title track is up first and makes an effective statement of intent- it delivers downbeat and downcast doom in the Sabbath vein, while “Can I Get A Witness” also has the blood of Iommi running through its veins. The nine tracks here all sounds great; the drums are boomy and big sounding, the bass rumbles, the guitars suitably thick. Wagner is on good form as ever (when is he not?!) and he keeps his plaintive wail pitched just right- both in terms of lyrics and technical singing. References to obscure darkness, the illusion of choice and so on abound. The nursery rhyme reference in “My Old Soul” works, surprisingly, but it is the atmosphere of the album which really makes for more than the sum of its parts.
Even when the band grooves, as it does on “Afternow”, there is still an undercurrent of menace and despair- which is exactly as a doom record should be! The track is a great example of a slow groove, it features a cowbell and the solo, which is excellent. With none of the tracks exceeding six minutes and most around the four minute mark, the band has their style of arrangements down. This is not epic doom, but it is doom in the most traditional form- please note, sludge is NOT doom.
From the crawling likes of ”Crossing The River Turmoil” to the more creepy “Beside Still Water” the record does cover a fair bit of ground- but only within the sphere of trad doom. This is not a heavy metal record, it does not feature thrash inflections and has stripped away the classic rock feel of the self titled album.
By the time of the melodic “Waiting For The Sun”, the album is most definitely set in stone- melancholy vibe in terms of clean sections, lyrics and vocals, riffs that are thick and heavy with emotional weight rather than aggression. Only on the closing “Till We Meet Again” does the band press the pedal slightly closer to the metal and a fine groove it is too. Really, I cannot find anything to fault here. Blackfinger have delivered nine tracks of trad doom with style and finesse. Eric Wagner has put his name to another excellent doom album and this is recommended to any fans of Trouble, The Skull, Saint Vitus, The Obsessed and so on out there. Try to get hold of it before winter really hits as it suits the atmosphere of Autumn perfectly.
This is a lengthy and worthy collection from one of the unsung bands of British doom- from an era when doom was not in anyway commonplace.This is an essential and extensive release, which will fit nicely onto the shelf right next to your Sabbath and Cathedral albums.
“Doomography 1993-2002” CD//DD track listing:
1). Red Dawn
2). Where Winds Whisper My Cry
3). Lost Horizons
4). Circle of Misery
5). Wasted (Rehearsal ’99)
6). Bleeder
7). Black Hole
8). Two Time Loser
9). Crawl
10). Jezebel
11). Before My Eyes (Rehearsal ’99)
12). Spiritual Solitude
The Review:
Blessed Realmhailed from Northern England, emerging as a doom band in a time when doom bands numbered in single figures in the UK. Going for the classic doom line-up (you know the one) of Sabbath, Vitus et. al. This compilation brings together all the band's studio recordings from their nine years of existence.
As a document of British doom in that time, it is as genuine as it gets. This is a band that never made the big leagues and remained underground, but with a keen influence on the genre (much like, say, Unsilence from the North West) and other bands who sprang up in their wake. Naturally, as this is a compilation of demos from a time when Pro Tools was not the standard recording methodology, the sound quality here is varied. The “Redemption” demo of 1995 has plenty of hiss for all you old schoolers who remember it on tape from twenty years ago not to mention epic song lengths which would become standard for the genre.
“The Chasing The Dragon” Demo of 1996 features a drum machine- the material is worthy, but the feel is lost for me as the mechanical element of using a machine takes some of the life out of the songs- for me, anyway. That said, the performances of the rest of the band are strong and the programming is solid- particularly for its time.
“The Return To Zero” demo of 1998 is a step forward for the band and features live drums once again with strong songs such as the sinister “Bleeder” and the punchy “Two Time Loser”. “The Crawl Demo” of 2000 is the strongest selection here forme- I note that it may be a little further from their pure doom roots, but this takes in an almost Iron Man/Trouble sound along with the dark moods of earlier material.
Alongside the official demos there is a sprinkling of rehearsal tracks from different eras and the superb finisher “Spiritual Solitude” from 2001. This is a lengthy and worthy collection from one of the unsung bands of British doom- from an era when doom was not in anyway commonplace (remember the snide comments Cathedral used to get for playing slow and “looking 70s”?!).
This is an essential and extensive release, packaged in a luxurious digipack with photos and liner notes, which will fit nicely onto the shelf right next to your Sabbathand Cathedralalbums.
It's a very engaging listen, 33 years on and is an absolute must have for any fan of doom- or anyone looking at how the genre started to really form into something (along with the work of Vitus, Trouble et al). An essential album and a worthy reissue. Enrich your record collection and your life by buying it!
“King of the Dead”(Ultimate Edition) CD//DD//LP track listing:
1. Atom Smasher 2. Black Machine 3. Master of the Pit 4. King of the Dead 5. Death of the Sun 6. Finger of Scorn 7. Toccata in Dm 8. Cirith Ungol 9. Last Laugh (Live) 10. Death of the Sun (Alternate Mix) 11. Master of the Pit (Live) 12. King of the Dead (Live) 13. Cirith Ungol (Live)
The Review
Cirith Ungoloccupy a strange place in the book of heavy metal; a true cult band that mixed sword and sorcery themes with classic rock, traditional metal and true doom, all punctuated by Tim Baker's unique (the best word for it) voice. “Frost and Fire” was a good debut- with one foot in the 70s. “King of the Dead”, meanwhile, is regarded by many as their best album, being as it was self produced which gave the band a certain amount of freedom to do what they wanted. The band now occupy a similar space to Manilla Road- cult, underground, quirky and worshipped by their true disciples.
This ultimate edition of the revered album gives a new remastered sheen to the main album and adds on some live tracks and alternate mixes. The album itself sounds... pretty great, actually! This is a well produced record with an unusual sound. The lead work reminds me of Iommi (in tone as well as content), the bass is prominent (as per the debut) and the drums still pack a forceful percussive sound.
Let's be honest, the album is a classic; it's weighty, but never over the top in terms of heaviosity . The songs are there- “Atom Smasher” and “Black Machine” are a fearsome opening twosome. “Master of The Pit” is a doom classic, straying into epic territory- as does the title track. There is some quicker stuff on here (“Death of the Sun”), more melancholy fare (“Finger of Scorn”), an instrumental (“Toccata in Dm”) and the band's theme song. It's a very engaging listen, 33 years on and is an absolute must have for any fan of doom- or anyone looking at how the genre started to really form into something (along with the work of Vitus, Troubleet al).
The ultimate edition comes with the aforementioned bonus tracks- live versions (some very recent, some contemporaneous), alternate mixes and what have you- but as usual, all you really need is the original album- particularly in this superior audio form. The remaster is great and made my old CD sound very wooly indeed. An essential album and a worthy reissue. Enrich your record collection and your life by buying it!
“King of the Dead”(Ultimate Edition) is available here
In summary, Edling has lost none of his Midas touch here. The DoomsdayKingdom is a record that delivers in every way that is expected. It melds doom and trad metal to great effect and does so whilst sounding fresh and inspired, with a great cast of superior musicians. If you have any interest in any of Edling's previous bands, this is a must. If you are looking for some doom in the trad style, then absolutely pick this one up. A sterling success all around, then!
“The DoomsdayKingdom” CD//DD//LP track listing:
1. SilentKingdom(5:11)
2. The Never Machine (6:35)
3. A Spoonful Of Darkness (5:50)
4. See You Tomorrow (4:36)
5. The Sceptre (7:19)
6. Hand Of Hell (5:58)
7. The Silence (7:26)
8. The God Particle (9:17)
The Review:
Leif Edling is a name known to anyone with an interest in the doom genre. Via Candlemassand more recently Avatarium, he has written an impressive entry in the encyclopaedia of metal. With The DoomsdayKingdom's self titled debut he has added to his already stellar reputation. Where to start? Well, this is an impressive release which crosses doom with more traditional metal fare. Frankly, this is right up my street in terms of style. Having recruited Niklas Stalvind of Wolf, Edling has given listeners an idea of what to expect here.
Think Sabbathmeeting Angel Witch and you have a pretty good reference point. “SilentKingdom” comes with an impressive opening groove, while “The Never Machine” is a little darker in sound. “A Spoonful of Darkness” is doomier still, but without resorting to the crawling tempos beloved on Edling's original Alma mater.
Indeed, the first three tracks set the tone here; if you like them, the rest of the album will seem like a dream come true. It welds Sabbath, Priest and NWOBHM stylings to great effect. It rocks hard enough to keep your average trad metal fan's head nodding, but in tracks such as “See You Tomorrow” and “The Sceptre” it has enough maudlin darkness (the latter) and experimentation of sound (the former- a charming instrumental) to satisfy fans of Edling's past work.
The material on offer here is heavy for sure and the production is great- clear and thick at the same time. It sounds like every inch a modern doom/trad record, worthy of the names attached to it. There is more than enough texture to the sound as well- you can hear Hammondorgan in parts, there are acoustic guitars on the album, even keys as well. When the band picks up the pace on “Hand of Hell”, it sounds convincing and evokes the sounds of Troubleor mid period Paradise Lost.
There are two doom epics which close the record out: “The Silence” and “The God Particle”. Both are as heavy as lead and finish the album in fine style. There is light and shade to “The Silence”, as well as vocal histrionics from Stalvind, to go with the weighty riffage. The final statement of “The God Particle”is perhaps closer to Candlemass than the rest of the record, in terms of weight and mood. Its post nine minutes of gloom are an impressive way to finish the record.
In summary, Edling has lost none of his Midas touch here. The Doomsday Kingdom is a record that delivers in every way that is expected. It melds doom and trad metal to great effect and does so whilst sounding fresh and inspired, with a great cast of superior musicians. If you have any interest in any of Edling's previous bands, this is a must. If you are looking for some doom in the trad style, then absolutely pick this one up. A sterling success all around, then!
Tombstoned works. It’s unlike anything I’ve heard in a while but it’s catchy and it’ll stick in your head. It’s doom but a different kind of doom I’m used to listening to. Give it a listen, I think you’ll enjoy it.
“II” CD//DD//LP track listing:
1. Pretending to Live 2. Brainwashed Since Birth 3. Time Travels 4. And I Told You 5. Haven’t We Seen All This Before 6. You Can Always Close Your Eyes 7. Remedies
The Review:
I’ll be honest with you. I had to listen to this record several times to really get the feel for this band. Musically I like what they’re delivering. But the vocals I couldn’t figure out. As strange as it may seem I heard influences like The Cure as well as Trouble, Candlemass and Cirith Ungol coming through. I couldn’t figure out if I liked the vox on this record or not but they finally grew on me. I think Tombstoned is best described as early 80’s straight doom, straight fuzz.
“Brainwashed Since Birth” should’ve been the record’s opening track but I’m not complaining, I dug the vibe of “Pretending to Live” which sounds like a fusion between 80’s era Cure and the band Trouble. Weird, right? But it works.
Tombstoned aren’t heavy in the same vein as Holy Serpent, or Sleepor Cathedralbut more in line with, say, Trouble meets The Cure meets Candlemass. Clear as mud? But it works. “Time Travels,” track three, picks up where “Brainwashed Since Birth” left off and continues this journey of cosmic strangeness. Track four, “And I Told You,” is a cool little gem of heavy Cirith Ungolinspired madness. That’s where the aforementioned early 80’s doom inspiration was kinda apparent.
One of the best songs on this record is “Haven’t We Seen All This Before” that features, of all things, a Smashing Pumpkins inspired guitar groove combined with a traditional Trouble inspired doom breakdown. But, damn if it doesn’t jam. Look, without going into the rest of the songs I can tell you this. Tombstonedworks. It’s unlike anything I’ve heard in a while but it’s catchy and it’ll stick in your head. It’s doom but a different kind of doom I’m used to listening to. Give it a listen, I think you’ll enjoy it.
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 15th 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 DoomBarcelona 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 HolyMountain’ (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 HolyMountain’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’.
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