Ambitious doom anthem that will test you
349723
I haven't had a bowl of ganja in just about 30 years, but I remember the general haze and buzz quite well.  This was in the mid-1980's when I quit, and among metal music there was either the classic older stuff like Sabbath or the NWOBHM and hair farmer bands to choose from.  Naturally, other bands of different genres got more attention too, like the mighty Husker Du and other real alternative bands, not that alternative slop that integrated itself with grunge in the '90s.  Stoner rock would appear in the '90's, too, and Sleep was one of the better known doom bands out there, keeping company with St. Vitus, Candlemass and Kyuss.
  What really set Sleep apart besides their classic album "Sleep's Holy Mountain" was a brave excursion indeed into a long drawn out musical voyage called "Jerusalem", an album that explored Jesus and marijuana.  It was met with some alacrity, and the band decided to change the name to "Dopesmoker" and release the title track as the only track on the album, clocking in at an hour and three minutes long!  That's right - it's one song, and doesn't sound like a bunch of unrelated tunes glued together to call themselves one tune.  It has a central theme, and while there are movements in the tune, it's clearly a single tune.
  But what a heavy song.  Matt Pike knows heavy, being the leader of High On Fire, one of the most ferocious metal bands out there, and his droning guitar provides the backbone for the trip.  The drums are more simplistic, going for atmosphere, sounding Middle Eastern at times, and the bass is up front, as heavy as anything you've ever heard.  Perhaps only Electric Wizard's "Dopethrone" provides any comparison in the heavy competition.
  So the challenge is, can you listen to one song that long and not lose interest?  I would suspect a little herbal enhancement wouldn't hurt, but I like it as the straight sober 51 year old nerd I am.  It's quite a challenge to keep a song that lengthy interesting, but Sleep succeeds.  The new reissue also has a live take of "Holy Mountain", a mere Ramones-length tune by comparison, clocking in at a measly 13 minutes.  Get it for the riffs, get it for the historical value.
964514
5th release from Texas band who play epic, soaring post-rock sonic-scapes with a
  swelling, detail-driven finesse.  These are meticulously constructed, slowly evolving journeys
  within a "hypnotic-building-to-explosive" format.  Daydream tripping music for passionate,
  intellectual fantasy gamers.  Both the vinyl & cd packaging on this one is something special--a
  gorgeous 4-way fold-out "house in the woods" construction.  The music is nice, really well played,
  but kind of predictable.  Similarities to God Is An Astronaut, Mogwai, Godspeed You Black
  Emperor, Caspian, Gifts From Enola, Do Make Say Think.
967282
Back around late 2008, I remember hearing about the hype involving a fresh new band called Hooded Menace, back when they were signed to Razorback records and released "Fulfill the Curse". I greatly enjoyed it and knew that this band would bring promising things for the future. Fast forward to less than two years later, and the band releases "Never Cross the Dead". This time, they're on Profound Lore (for wider distribution), and they still managed to come out with some great material.

If you're new to this band, I'll give you a quick rundown on what you can expect on here. These riffs don't get much doomier than this, taking the styles of Asphyx and Winter and giving them a vibe of traditional doom, classic Finnish death metal and even a bit of the early My Dying Bride melancholy as well. Vocalist Lasse Pyykk has been in a vast number of bands throughout the years, whether it would be Phlegethon, Vacant Coffin or Claws, but I find that this highlights his vocal talents the most effective.

While I personally may have enjoyed "Fulfill the Curse" a bit more, this is another solid and well-played horror themed album that gives the classic death/doom formula new life. Recommended if your tastes include Autopsy, Winter, Asphyx, or even Finnish death like Convulse and early Amorphis.
3502399
Epic power metal. Symphonic metal with progressive tendencies. Modern eighties-influenced metal. Call it what you will, but Milwaukee Wi-based Hedda has come up with a very impressive debut cd. Clocking in at 52:32, this 11 track opus is a strong entry that should please a wide variety of metal fans.

Of first note is the production,handled by Jacob Hansen, who has recorded, performed or overseen in some way the works of Pretty Maids, Pyramaze, Anubis Gate and a host of others. This critically important aspect has been nailed down and further polishes the overall experience of this disc. We all know of too many discs, independent or otherwise, that suffer from a poor production. Not to worry here...

Each instrument is well placed in the mix and vocalist John Swenson cuts through and soars above when needeed. His style reminds me of Mike Baker of Shadow Gallery (RIP) at times or perhaps D.C.Cooper, with an occaisional nod to early Geoff Tate on some of the siren-like vocals that punctuate the disc. Track 4, "See The Light" especially reminds me of Shadow Gallery circa "Tryanny" --in a good way! Bassist Jamie Mac often thumps across the top of many tunes to great effect. The drums (Jef Jaeger) are  precise and the guitars of Kent Herman are ever-present, with no shortage of leads and melodic flourishes! If you were to slap on a pair of headphones (which I highly recommend), you would be hard pressed to find any major faults or compositional errors, yet nothing seems overly formulaic or redundant. Keyboards are present but generally atmosferic/complementary in nature so as to generally fill in an already full sound.

This is a well thought out and performed disc, epic in scope, and one cannot help but feel that right from deluge of the intro "The War". A good-vs-evil concept is unfolded throughout and fits very well with Hedda's musical stance. I, a total purist, recommend that you pick up the cd version and check out the extensive booklet that accompanies this release. Full lyrics and a descriptive storyline included all add to the overall experience. This is definitely an album that grows on you, as there are many nuances to this record that are rewarded with repeat listens.

In an overall sense, this album has a strong feel of the early-to-mid eighties era when Helstar, Queensryche, Agent Steel, Abbatoir, Savage Grace, Omen and so many other US bands were leading the charge in the American metal explosion. While it is pretty much impossible to record a totally original cd while at the same time staying true to the roots of this genre, I feel that Hedda has done an admirable job at keeping one eye on the future with one foot firmly planted in the past. Highly recommended for fans of the afforementioned bands , as well as Iron Maiden and the army of bands that they have influenced.

Favorite tracks: See The Light; Dance With Fire; Cataclysm; Gypsy's Kiss and the epic closer Heaven's Fate.

That this is relatively unknown today is quite a shame and if I were still doing my radio show, that would CERTAINLY not be the case, at least not in upstate New York!
2040295
Only 5 tracks but each one is a real journey in themselves, but make no mistake about it, this is an album to listen to in its entirely to get the nice flow it has.  Some very heavy sounding riffs sounding like very EARLY Sabbath (The Legion), with sprinkling of Pink Floyd at times(An Offering Of Grief, Given to the Grave).  The vocal and twin lead guitars, crushing bass, and to-the-point drum accompaniment are skillfully done. Wish the vocals were mixed a little louder at times as they really work in tone of the album.  This is a album that is both sorrowful and triumphant sounding.  Worth giving a serious listen to even if you're not into doom metal.  Seriously good stuff for the careful listener, as there's much to be found here.
2135557
Reminds me of Kurt Harland's soundtracks for the Legacy of Kain video games, though it wanders around the genre map more, touching on metallic vocals on one track.  (They sound like metal vocals to me, but I don't listen to metal.  YMMV)
4521203
Everyone's favorite drone doom hipsters from the pacific northwest are back with their strongest offering to date. Monoliths and Dimensions builds even further on Sunn o)))'s signature drone doom legacy, but it also proves to be something remarkably different from the band. I have watched their evolution - from being a simple Earth 2 clone band to the experimental offerings of White 1 & 2 to the post-black metal and dark ambient stylings of Black 1. Monoliths is indeed the quintessential Sunn o))) record. Minimal, but the difference between past releases and this one is that there is far more texture and experimental tendencies in the sound. The songs also vary from one another, so people complaining about the band being too monotonous need not to worry with Monoliths and Dimensions.

This is easily Sunn's most versatile record to date.

Attila Csihar also returns to provide some pretty fantastic vocals. Varying from simple spoken word stuff to multiple layers of weird chanting. His vokills give Sunn o))) Monoliths and Dimensions an almost ritualistic sound, as if the music is being played in some dark cathedral somewhere in which the notoriously hooded band members are standing around in a circle chanting all kinds of sacrileges.

Highly recommended for fans of pure low end sound.
3493021
Svarte Greiner is doom. Well, sort of. Maybe acoustic doom is more like it. And this very well may be the first time we've heard a record, or an artist that perfectly captures the sound and mood of the hitherto unexplored world of acoustic doom. Svarte Greiner is the solo guise of Norwegian soundmaker Erik Skodvin, who, when he is NOT Svarte Greiner, channels his less doomy musical emotions into an outfit called Deaf Center. But the dark and doomy loveliness of Svarte Greiner is what we're most concerned with here.

And the reason for that is that the music of SG is practically perfect. It's like that sound in our heads we've been imagining for ages but had never actually heard. Until now. The sticker on the cd namedrops Earth, Angelo Badalamenti and Volcano The Bear, which sounds interesting for sure, but doesn't nearly capture how beautiful and wonderfully creepy this stuff is. Imagine the music of past AQ faves like Jasper TX, Machinefabriek, Xela, Part Timer, that crumbling, hiss drenched loveliness, but then filter it through some dreary drowsy slowcore, Bohren & Der Club Of Gore or Low, but then loop it and process it and pull it apart until it becomes even more fuzzy and hypnotic, a Basinski or Tim Hecker produced bedroom dark ambient doomfolk record from Bohren perhaps? Sounds impossible, but Knive is all that and still somehow more.

From the first track, we were totally hooked. It's like the soundtrack to some ultra abstract black and white film, unearthed and projected in all its decayed and degraded glory. Everything is shrouded in shadow, shades of black and grey, back lit and rendered soft and indistinct. The mood is minor key and ominous. Very epic and cinematic, but somehow still understated and subtle. But definitely scary. And evil. But not overtly so. The record is bathed in tape hiss and record crackle and all sorts of gorgeously textured recording inconsistencies. It's some impossible tangle of mournful slowcore, twentieth century minimalism, and creeping doomy dirge, all deconstructed into abstract and skeletal, Basinski like soundscapes. Strings scrape and squeak, in the distance drift muted percussive thumps. Each track is a droning smear of sound, peppered with bits of random sonic clatter, everything wreathed in smokey cello swells, and soft swoonsome strings. Guitars drenched in reverb offer up the slightest of melodies, riffs are unfurled and left suspended in in clouds of dreamy fuzz, allowed to slowly fade to nothingness. There are melodies, but they develop at a snail's pace, notes stretched to their breaking point, becoming miniature drones of their own, but when viewed from afar, are actually gorgeously rendered, and evoke dark feelings of despair and further define Svarte Greiner's sonic world of wonder.

Elsewhere, gristled guitar distortion is dripped onto spare expanses of late night percussion, bells and chimes reverberate over a dense sea of swirling tape hiss, ambient backdrops sometimes surface briefly, rising up through the murk, wind, footsteps, the call of crows soaring far overhead, and amidst it all, haunting female vocals that drift amidst the decayed ruins, small glimmers of light in a world of utter black, giving Knive even more of an emotional intensity. So dang good.
2812916
There's not a lot to say here that hasn't been said already. Meshuggah are, as the name suggests (it means crazy in Yiddish or Hebrew, I forget which), blisteringly heavy and write music full of mathematical rythms to the point of sounding like a machine and some of the most original and chaotic guitar solos ever heard from a metal band. On top of all this is vocalist Jens Kidman, a ferocious voice who's vocal lines are usually in a different time signiture to the music, itself full of polyryhtmic madness.

Although the above description is more than apt, little can capture exactly what this album sounds like. Its cold, harsh and angry, but expresses such emotions in a way so different from what a lot of other bands are doing. Rather than sounding openly angry, the band sound controlled - impossibly tight and completely leaving the "please feel sorry for me I'm so angry" attitude in the dust. Comparing these guys to the children from a broken home or the husband who has been cheated on would be wrong. These guys are more like champion kick boxers, psyching themselves up to do damage but never losing their cool. See what I'm getting at? With that said, I think I'd be more inclined to compare the music to a futuristic army marching to war.

Chaosphere is a blistering album full of screaming guitar and odd rythms. Any metalhead who wants to be challenged should love this album.
3295591
Critics have gone crazy over this album, and it is really good, not perfect but really good. Doom takes a really laid back approach to his delivery on the vocals, it works well with the (mostly) mellow tone of the album. There are a couple instrumentals, a couple songs with the high pitched Quasimoto (picture the opposite of Chopped and Skrewed vocals), and a couple other guest spots, but mostly its MF rhyming. Vaudville Villian is still Doom's best release, pick that one  up first and then get this and King Geedorah.
852847
On this supposedly last day of planet earth according to certain interpretations (21-12-2012), it's time to open up to a friendly voice, a kind of a softer voice than the one in Metallica on the "unforgiven" mode.

(By the way I still like "Enter Sandman" a copy of Slayer's "In-a-gadda-da-vida" or vice versa?)

The voice of doom, a death metal clich. remember Lord Humungus as heard in the movie Mad Max 2: The Road Warrior(1981),the thunder of anger and aggression, the blasts of machine guns, the shouts of "Kil Kill" can yield to a warm tone singing "love love".

The cult of ugly can stand by the side of the cult of beauty knowing that the best for one is the worst for another; categories should be used to compare not to condemn. "Green Home" is gorgeous, "March to the sea"and "The line between"
wallop along with peacefull interludes in remembrance of Nirvana. Quoting Linda Leseman from The Village Voice: Yellow and Green "trancends metal,venturing into folk and psychedelic spaces."

Please check out two french metal bands, Gojira: L'enfant sauvage and Alceste: Les voyages de l'me for a similar taste.
Suppose you have a soul and you lock into it, then suppose you're alone in a crazy and brutal world. Choose your vision.
Yellow for the light of the sun; green for the radiance of life. Not yellow and green for the color of vomit... Be propelled into a happy state instead of one of obliteration.
2925853
Atlantean Kodex have produced an absolute masterpiece of magisterial doom; a truly momentous and powerful release.

The White Goddess soars on clean vocals, rises on epic, long lead guitar lines, and drives forward on thundering slow percussion and stampeding, galloping fills. It stands, in my view, with Bathory, early Candlemass and While Heaven Wept, eclipsing the template set by Black Sabbath and breaking out from the contrived narrow bullishness of Manowar to reach truly epic heights.

From the opening horns of Trumpets of Doggerland its clear a great deal of thought has gone in to both the structure of the album and its themes. This is an album of depth and intelligence; powerful in musical and literary heritage. Doggerland leads in to Sol Invictus, a fast paced paean to the Winter Solstice shot through with startling imagery. Its a monstrous statement of intent. Bilwis follows. A delicate and foreboding break, its a relaxing palate cleanser before the chug and Sturm und Drang of Heresiarch a slower, a more intense song, full of pounding drums, leaden riffs and soaring chorus. It stops, starts, veers off and is always dramatic and engaging to the last fade.

Fifth track Twelve Stars and Azure Gown is centre piece and cornerstone to the album. Opening with Winston Churchills prophetic 1946 speech at the University of Zurich on European unity, Twelve Stars is a sparkling legend tale of Goddess Europa founding a New Jerusalem. It is epic Metal genius. Repeating sinuous guitar lines and a powerful chorus brood with grandiose despair and forlorn desire. The epic coda Der Untergang Der Stadt Passau reprises the main theme against a desolate bloodied landscape of galloping riders and echoing bells and leads into the utterly dystopian Enthroned in Clouds and Fire. This is Europe destroyed; the world on its knees: Gtterdmmerung. A roiling, rolling hymnal of repetitive thundering riffs with melodic mournful leads riding over the chaos.

Final track White Goddess Unveiled brings things beautifully to a close. A multi-part song of bluster and redemption that tails off with a gentle piano riff, like a purifying rain falling over the battlefield.

There are few moments in life when art engages to such a degree that it enhances the mortal experience to make the soul feel genuine, tangible, and to leave a person humbled and ecstatic to have been given, from wherever, the ability to revel in the pure adoration of creation; the rapturous joy of existing: To be alive and to hear music like this that puts everything in perspective.

So happy I am and so grateful to be in a world where this slice of magisterial doom even exists.
292652
The mellowish intro to 3rd Root's debut album is just a bit deceptive, as what follows is a fierce offering of throbbing guitar and bass riffs matched with head-bobbing drum beats and a mix of hauntingly melodic vocals and wrenching screams.  This is definitely a new era of heavy metal, and these guys have arrived with authority.  Their sound can be compared to bands like the Deftones or even Stabbing Westward, but the message 3rd Root sends is what sets them apart and pales the comparison.  They are by no means ashamed of their faith and go out of their way to share it with their audience.  The sound is a kind of laid-back style of 'hardcore', but at certain moments explodes into small fits of devil-hating rage, especially in the all-Spanish track "Sangre", the hardest song on the CD.  Other standouts on the album are the upbeat, driving "Wicked", the challenging "Prophet's Eye", and the melancholy "Torn".  Overall, this is a great listen, and with 14 tracks you're certainly getting your money's worth.  The only real drawback I noticed was that the beats from track to track are a little repetitive, but that should change as their sound evolves.  I'm eagerly awaiting what's to come!
3716563
Bad Religion's New Maps of Hell CD, is a good disc with many memorable tracks and a lot of fast, intense, punk rock songs. Although it doesn't remind me of Suffer as much as you hear in some reviews but it is good nonetheless.

The CD's stand out tracks are Heroes and Martyrs (9/10), New Dark Ages (10/10), Requiem for Dissent (8.5/10), Before You Die (9/10), Dearly Beloved (8.5/10), Honest Goodbye(10/10), Grains of Wrath (10/10), Scrutiny (8/10), Submission Complete (9.5/10), and Lost Pilgrim (8/10).

Heroes and Martyrs is a fast song with some interesting chord progressions and some intense drumming.

New Dark Ages is one of the albums singles and it is a really good song. It features a catchy chorus and some good guitar playing. Brooks Wackerman's drumming reminds me a lot of the drumming from No Control a lot with this song.

Requiem for Dissent is another fast punk song with a fist pumping in the air chorus and some interesting guitar playing.

Before You Die is a bouncy track with catchy vocals and good drumming.

Dearly Beloved is pretty catchy and enjoyable, I really like how fast the drumming gets at the end of the last chorus.

Honest Goodbye is the CD's other single and I really enjoy it. For Bad Religion it is a pretty unique track with some interesting bass work and a pretty great chorus. I also enjoy the guitar riff.

Grains of Wrath is a good song with a memorable chorus and some good soloing.

Scrutiny is pretty good. I like the chorus a lot and enjoy the drumming.

Submission Complete is a really original song for Bad Religion as well because it features a predominately heavy guitar riff with an odd time signature and complex drumming. Brooks really shines with his skill in this track. The vocals in this song are also cool and original. I really like this song a lot.

Lost Pilgrim is also good because it features good chord progression, vocals, and and interesting solo in the middle.

For Bad Religion, this CD features fast memorable songs and passages and doesn't have a poor song on the disc. The only thing I can complain about is that songs like Grand Delusion and Prodigal Son are not really memorable in my opinion but they are listenable. Again track Fields of Mars starts off interesting with piano but falls short when it really begins picking up.

However for a punk fan and a Bad Religion fan I really enjoy this CD. Its fast, fun, intense, catchy, and memorable. I would definitely suggest picking it up or giving the songs I mentioned a try.
1747457
The Good

"Time Will Tell" starts off with haunting guitars and soft, echoed vocals. The track builds to an all out metal explosion. Front woman Alev Lenz's vocals are powerful and engaging on the poignant song "Youth (Sleep Well)." Driving riffs command "Cause & Effect" while Alev unleashes her melodic fury on the microphone. "Where is the Horse" is loading with electronic effects and crushing guitar licks. The politically charged anthem "If We Ever" is just as impactful musically as it is lyrically. Inner emotional struggle is the focal point of the acoustic ballad "Dying Every Day." Why isn't this one playing on the radio? It has all of elements required for rock and even pop radio.

The Bad

The Turkish version of "Just Because" is cool, but I don't think it was necessary.

The Verdict

We Live in Paradise is packed with enough metal to shake your foundation, while at the same time being soft and melodic enough to appeal to the masses. It's nice to hear a metal band with impactful lyrics too.
1898029
Picked up the LP on their site after stumbling on them through the Riding Easy label.  Heavy and evil doom with a lot of aggression (the band hit those notes hard, man). Play them nice and loud. Hope another record's in their future.
1862458
I was first introduced to this Norweigan band on Pandora radio with the song, From These Wounds. From there I explored their albums via YouTube. This group of Funeral/Gothic Doom has really impressed me and every track I listen to is wonderful.

When Oratorium came out in 2012, I anticipated another collection of Doom tracks. Boy, did they deliver! This has to be one of their best, if not thee best, album they have released. The haunting sound of the lead vocalist on these tracks gives you the sense of being present in a graveyard or at a funeral; mourning the loss of a loved one but comforted by those around you. To me, this is what Funeral and Gothic Doom Metal is all about.

If you are a fan of the group, Katatonia or Candlemass lead singer, Messiah Marcolin, then you will love this album!